CINE 4A 1.

1
CAMERA & CINE
BASICS
1.
INTRO TO
COURSE
Course outline,
outcomes and
expectations
2
COURSE
OUTLINE COURSE DESCRIPTION
▪ Develop critical understanding and
build practical experience in
advanced methodologies of the
craft of cinematography
▪ Develop coherent personal visual
style as a critical skill in visual
storytelling
▪ Lectures, workshops and
assignments to introduce students
to cameras, lighting equipment and
different cinematography operations
▪ Roles and responsibilities of the
camera department
▪ On set protocol and communication
▪ Co-ordination and collaboration
between the crew
COURSE OBJECTIVES
▪ Develop critical skills in
cinematography
COURSE OUTCOMES
▪ Advanced understanding of imaging
technologies
▪ Advanced practice of lighting styles
▪ Competency in pre-visualisation
▪ Development of personal
cinematographic style
▪ Understand the film unit, structure,
hierarchies, floor management,
expectations of personnel;
cinematographer’s tasks and
responsibilities in professional
scenarios
 ▪ WEEK 1: Introduction to course. Recap of cinematography &
camera basics
▪ WEEK 2: Recap of exposure, lighting and monitoring.
Composition
▪ WEEK 3: Advanced lighting 1: natural and “realism”
▪ WEEK 4: Advanced lighting 2: set lighting: chiaroscuro
▪ WEEK 5: Movement and the camera: staging
▪ WEEK 6: Movement and the camera: camera motion
▪ WEEK 7: Pre- visualisation and visual pre - production
▪ WEEK 8: General administration for final films
▪ WEEK 9: Shooting formats and modes
▪ WEEK 10: Colour in visual storytelling and cinematography
▪ WEEK 11: Green screen: lighting and filming
▪
WEEKLY WEEK 12: Exam consultations (compulsory)
▪ WEEK 13: Rushes viewings
TOPICS ▪ WEEK 14: Exam consultations (compulsory)
EXERCISES

3 minute films and accompanying

visual treatments.

Teams will be comprised of 1 director,

1 cinematography and 1 editor and
grader.

1. Natural light
2. Expressive light
3. Fast action
4. Slow and distant
ASSIGNMENTS
Individual assignments, which are
comprised of written or practical
components.

1. Street photography:
ensemble/group composition, after
Henri Cartier Bresson/Alex Webb

2. Case study:
analysis of motion

3. Motion filming
4. Case study:
analysis of colour
FINAL FILM PROCESS

1. Week 1: Group arrangements

and sign-offs
2. Week 4: Presentation of ideas
3. Week 8: Signing off on roles
and first pitch
4. Week 9: Final pitch
5. Week 9 -13: Production
(filming)
6. Week 12: Consultations
7. Week 13: Rushes viewings
8. Week 14: Consultations
9. Final Exam viewing
2.
THE CINE
DEPARTMENT
Roles and
responsibilities of the
cinematographer
8
CAMERA
DEPARTMENT
HIERARCHY
ROLES AND RESPONSIBILITIES OF THE CAMERA DEPARTMENT:

1. DIRECTOR OF PHOTOGRAPHY
Chief of the camera and lighting crew.
Makes decisions on lighting and framing of shots in conjunction with the
director.
Typically, the director tells the DoP how they want the shot to look and the
DoP chooses the correct lens, filter, lighting and composition to achieve the
desired aesthetic effect.

2. CAMERA OPERATOR/S
Uses the camera at the direction of the DoP.
Generally, the DoP doesn’t operate the camera, but sometimes these jobs are
combined

3. ASSISTANT CAMERA OPERATOR/S

1 st assistant: focus puller, building the camera and taking it apart, threading the
film (loading)
2 nd assistant: clapper loader “slate”, loads the film magazines, organisation and
transport of camera equipment

4. DIT (Digital imaging technician)

Responsible for co-ordination of internal workings of the digital camera.
Under direction from DoP, DIT will make adjustments creatively/technically to
manipulate the image
Archive and manage digital data, create compressed dailies, prepare footage
for post -production
ROLES AND RESPONSIBILITIES OF THE CAMERA DEPARTMENT:

5. STEADICAM OPERATOR, MOTION CONTROL TECHNICIAN/OPERATOR

6. LIGHTING: GAFFER (Chief Lighting Technician):

Head of the lighting department
Responsible for the design of the lighting plan for a production

7. LIGHTING: BEST BOY

Chief assistant to the gaffer. Responsible for organising electrics truck
throughout the day.

8. LIGHTING: LIGHTING TECHNICIAN/SPARKS

Involved with setting up and controlling lighting equipment and temporary
power distribution on set

9. GRIP: KEY GRIP

Chief grip on set, head of set operations.
Works with the DoP to help set up the set and achieve correct lighting and
blocking
Grips are trained lighting and rigging technicians – working closely with
electrical department to put non -electrical components of lighting setups
required for a shot – e.g. flags, overheads, bounces.

10. GRIP: BEST BOY

Chief assistant to the key grip. Responsible for organising grip truck
throughout the day.
ROLES AND RESPONSIBILITIES OF THE CAMERA DEPARTMENT:

11. GRIP: DOLLY GRIP

In charge of operating camera dollies, cranes, jibs etc. They place, level and
move the dolly track, then push and pull the dolly.

12. GRIP
Grips report to the key grip – responsible for lifting heavy things and setting
rigging points for lights.
3.
CAMERA
RECAP
Recap of the basics of
the camera

14
STUDYING
THE CAMERA
 ▪ 3 ELEMENTS THAT CONTROL EXPOSURE:

1. SHUTTER SPEED

2. APERTURE

3. ISO / ASA / GAIN

EXPOSURE
 ▪ 3 ELEMENTS THAT CONTROL EXPOSURE– THE CREATIVE
CONSEQUENCES

1. SHUTTER SPEED– TIME

• Motion blur

2. APERTURE – AMOUNT OF LIGHT

• Depth of field

3. ISO / ASA / GAIN – SENSITIVITY OF FILM / SENSOR

• Noise / grain

EXPOSURE
EXPOSURE:
Shutter Speed
(time)

The amount of time the

film/sensor is actively
exposed to light – i.e. how
long a single frame is
capturing the scene for.

Slow shutter: causes motion

blur

Fast shutter: captures static

images of motion
Slow versus fast shutter with motion
EXPOSURE:
What is meant by “shutter angle?”
Shutter Speed
“shutter angle”

Comes from old 35mm film terminology:

How shutter speed was controlled was by setting the angle of the fan -like shutter wheel
which then determined how long a single frame on a film reel would be exposed for.
 Why use the 180 ° shutter rule?
This is the standard for an non-interruptive cinematic look regarding motion blur and
EXPOSURE: cinematography.

Shutter Speed Arguably also what is closest to the human brain’s way of processing motion through
motion blur; i.e. it is what seems to mimic the human eye’s perception, thus is what is
“180 ° shutter rule” comfortable to watch on screen.

What is the 180 ° shutter rule?

To determine the shutter speed of your video, take the frame rate you are shooting at, and
ensure your shutter speed is double that (e.g. 25fps -> 1/50 shutter speed)
EXPOSURE:
Aperture
(amount of light)

The amount of light you

are allowing onto a single
frame. Aperture wide open: f/2 Aperture closed to f/16
This is controlled through
determining the size of the
aperture, i.e. the hole
through which light enters
the lens onto the
film/sensor.
This then affects the depth
of field, i.e. the size of the
area in which a focal point
and its surrounds are in
focus.
EXPOSURE:
Aperture
“bokeh”

The aesthetic quality of the

blur produced in the out -
of-focus parts of an image
produced by a lens, i.e.
"the way the lens renders
out-of-focus points of
light".
<- Anamorphic lens bokeh
 Just for fun:
EXPOSURE: DIY bokeh
Aperture
“bokeh”
EXPOSURE:
Aperture
“ Cinematic f - stop”

Contrary to the beginner’s

instinct to widen the
aperture, traditional
cinema tends to use
mostly f/5.6 -f/8 to achieve
a cinematic depth of field.
Usually a film will use this
range, and increase or
lower it for specific shots
for “macro” or frames with
purposefully deep depth of
field
EXPOSURE:
Aperture
“ Cinematic f - stop”

Contrary to the beginner’s

instinct to widen the
aperture, traditional
cinema tends to use
mostly f/5.6 -f/8 to achieve
a cinematic depth of field.
Usually a film will use this
range, and increase or
lower it for specific shots
for “macro” or frames with
purposefully deep depth of
field
EXPOSURE:
Gain / ISO
sensor/film sensitivity

Film: sensitivity was

determined by how photo -
sensitive the chemicals on the
film reel were. To achieve more
sensitivity, the chemicals were
activated to be more “volatile” –
which caused more grain to
form.

Digital: sensitivity is now

“boosted” with more electronic
signal flooding the sensor. This
The higher your ISO/gain, the more electronic noise you will get in your image.
causes electronic noise to form
the higher your ISO/gain goes. DSLRs, depending on the brand, tend to have base intervals that work best for the camera
on video – this is an example of footage from a Canon DSLR which look cleaner in ISO
multiples of “160”s rather than on the basis of 100s
EXPOSURE:
Gain / ISO
sensor/film sensitivity

Film: sensitivity was

determined by how photo -
sensitive the chemicals on the
film reel were. To achieve more
sensitivity, the chemicals were
activated to be more “volatile” –
which caused more grain to
form.

Digital: sensitivity is now

“boosted” with more electronic
signal flooding the sensor. This
causes electronic noise to form
the higher your ISO/gain goes.

Cine Film, ASA 800 (pushed 1-2 stops = 1600 -3200) Nikon D800, 200%, ISO 1600
Sunny 16 Rule

A way to meter for

correct exposure
during daylight without
using the camera's
meter. So for example,
if your ISO is 200 at
f/16, then your shutter
speed will be 1/200
seconds
STOPS OF
EXPOSURE

In photography, a
‘stop’ is a
measurement of an
exposure, depending
on either the shutter
speed, the ISO or the
aperture.
A stop is a doubling or
halving of the amount
of light let in when
taking a photo.
4.
CINE
BASICS
Recap of the basics of
the cinematography

30
“When you move the camera, or you
do a shot like the crane - down (in
Shawshank) with them standing on
the edge of the roof, then it’s got to
mean something. You’ve got to know
why you’re doing it; it’s got to be for
a reason within the story, and to
further the story.”
- Roger Deakins
 FOCAL LENGTH:

LENSES A shorter lens (smaller

millimetre) will have
focal length, aperture, wide area of coverage,
fixed aperture, prime but will distort more.
The background and
versus zoom, telephoto, the subject tends to be
macro more separated.

A longer lens (larger

millimetre) will have a
smaller area of
coverage, but the
image will be “flatter”
(i.e. the background
and subject tends to
flatten or merge).

The natural lens:

35mm/40mm lens is
well -know to replicate
the human eye
(distortion, b/g and
subject separation)
 FOCAL LENGTH
AND APERTURE:
LENSES The focal length of a lens
focal length, aperture, will also affect the depth of
fixed aperture, prime field of the image.
versus zoom, telephoto,
The longer the lens, the
macro smaller your depth of field
(i.e. the area in which your
subject is in focus).

Even at the same aperture

setting (e.g. f/5.6), the depth
of field will vary depending
on the length of your lens.
 PRIME VS. ZOOM

LENSES Prime lenses have a set focal

length (e.g. 35mm, 50mm,
focal length, aperture, 85mm).
fixed aperture, prime
versus zoom, telephoto, Zoom lenses have a variable
macro focal length (e.g. 24-70mm, 70 -
200mm).

Arguably, professional filmmakers

and photographers tend to prefer
the prime lens – there are less
moving glass elements, and ensure
better optics, mechanics,
sharpness, depth of field, etc.

Some photographers and

filmmakers prefer the zoom lens
but most professionals will use a
fixed aperture lens .
 ZOOM: FIXED APERTURE vs.
VARIABLE APERTURE
LENSES
A fixed aperture lens means that the
focal length, aperture,
maximum aperture will remain the
fixed aperture, prime same regardless of the focal length.
versus zoom, telephoto, e.g. On a 24-70mm f/2.8 lens, the
macro maximum aperture will remain f/2.8
at 24mm and at 70mm.

A variable aperture lens means that

the maximum aperture will fluctuate
as you zoom in.
e.g. On a 24-70mm f/2.8 -5.6 lens,
the maximum aperture will be f/2.8 at
24mm, and will be f/5.6 at 70mm.

This means that as you zoom in, your

depth of field and exposure will
change on a variable aperture lens.
 Diagram of a typical
telephoto lens w ith a
large positive lens
LENSES and a smaller
negative telephoto
focal length, aperture, group combined to
fixed aperture, prime create a much longer
focal length.
versus zoom, telephoto,
macro

TELEPHOTO MACRO

A telephoto lens is a type of long- A macro lens is a lens suitable for

focus lens in which the physical
length of the lens is shorter than the
focal length. This is achieved by
incorporating a special lens group
known as the telephoto group w hich
extends the light path to create a
long focus lens in a much shorter
overall design.
Long focal lenses are often referred
to as telephoto lenses although this is
technically incorrect.
taking photographs unusually close
to the subject.
A ll lenses have a minimum focusing
distance (i.e. how close you can
physically be to the subject w hile
maintaining focus). Macro lenses tend
to allow you to go much closer to the
subject.
 ULTRA WIDE
LENSES & FISH EYE:
LENSES Fish eye lenses distort the
focal length, aperture, image so that you can cram
fixed aperture, prime a wider coverage of the
versus zoom, telephoto, space into a single frame.
These tend to be lenses
macro below 12mm.

Go pros have made this fish

eye or ultra-wide aesthetic
very popular in recent years.
Cine: Visual 1. 180 ° RULE
Storytelling 2. 30° RULE
“rules” and 3. ONE- SHOT- SIZE RULE
guidelines
4. SHOT SIZES
5. SHOT ANGLES
6. COVERAGE
7. MASTER SHOT
8. EYELINES– PERSPECTIVE, IDENTIFICATION,
CORRESPONDING EYELINES (E.G. DIALOGUE)
Cine: Visual
Storytelling
“rules” and
guidelines

1. 180 ° RULE
This rule ensures that in a scene, two characters maintain the same left-
right relationship to one another. A line cuts through the characters’
eyeline, and the camera should stay only on one side of that line.
Cine: Visual
Storytelling
“rules” and
guidelines

180 DEGREE RULE

When the line is respected, the characters maintain left -right sense in shot/reverse-
shot coverage.
Cine: Visual
Storytelling
“rules” and
guidelines

180 DEGREE RULE

When the line is broken, or you “cross the line”, the characters no longer maintain left -
right sense in shot/reverse-shot coverage.
Cine: Visual
Storytelling
“rules” and
guidelines

1. 30° RULE
This rule ensures that in two juxtaposing shots (two shots that follow
each other in a cut) has a large enough change that the cut doesn’t feel
like an awkward jump . When the shot is the same shot -size (e.g. a wide
shot), the following shot’s camera placement more than 30 degrees from
the previous shot.
 30° RULE
Cine: Visual When it’s not adhered to,
Storytelling the cut doesn’t have a big
enough change that it
“rules” and feels awkward, like a
guidelines jump.
 THE ONE- SHOT SIZE RULE Correct examples:
Very wide shot to medium shot (one and a half shot difference):
Cine: Visual
Storytelling
“rules” and
guidelines

Medium shot to close-up (full one-shot difference):

 THE ONE- SHOT SIZE RULE Incorrect examples:
Medium-wide shot to medium shot: (half -shot difference):
Cine: Visual
Storytelling
“rules” and
guidelines

Medium-close-up to close-up shot: (half shot difference):

 SHOT SIZES CHART:

Cine: Visual
Storytelling
“rules” and
guidelines
 SHOT ANGLES:

Cine: Visual
Storytelling
“rules” and
guidelines
 COVERAGE:
Ensuring you have coverage means ensuring you have a good number or
Cine: Visual variety of shots to cut between in a scene. This usually means shooting wide
Storytelling shots to capture all the action, closeup shots , medium shots , of the
landscape, the subjects and important props.
“rules” and
guidelines
 MASTER SHOT:
A master shot is usually shot at the very beginning, with a wide or
Cine: Visual establishing shot. The actors will run through the whole scene in this shot.
Storytelling This ensures that if there are any missing shots within the scene, the editor
will always have the master shot to cut back to.
“rules” and
guidelines
 EYELINES: PERSPECTIVE, IDENTIFICATION, CORRESPONDING EYELINES

Cine: Visual
Storytelling
“rules” and
guidelines
 1. RULE OF THIRDS
2. RULE OF SIXTHS
3. RULE OF ODDS
4. GOLDEN RATIO
5. SYMMETRY, BALANCE, HARMONY
6. ASYMMETRY, VISUAL AUSTERITY, DISHARMONIOUS
7. HEADROOM

8. LINES: HORIZONTAL, VERTICAL, DIAGONAL LINES

9. SHADOWPLAY: LIGHT AND DARK
Composition 10. FRAMES: FRAMES WITHIN FRAMES…
“rules” and 11. FRONTAL, SIDE, THREE- QUARTER, BACK, ETC.
guidelines
 1. RULE OF THIRDS
This guideline suggests that by breaking your image into thirds both
Composition
horizontally and vertically, framing your subject either on these lines or at
“rules” and these intersections, your shot can become more balanced, natural or
guidelines powerful.
 1. RULE OF SIXTHS
Composition This guideline suggests that you can also have a powerful image by
“rules” and splitting your shot further into six parts horizontally and vertically, and
guidelines aligning your subjects in your frame along these lines or intersections.
 1. RULE OF ODDS
Composition This guideline suggests that images can be more visually appealing where
“rules” and is an odd number of subjects. If you are going to place more than one
guidelines person in a frame, use 3, 5, 7, etc…
 1. GOLDEN RATIO: FIBONACCI’S SPIRAL
Composition This is a design principle based on the ratio of 1 : 1.618. The Fibonacci
“rules” and Spiral has a series of squares using Fibonacci’s numbers – using this spiral
guidelines will allow the viewer to be led around the image in a natural flow.
Composition 1. GOLDEN RATIO: PHI GRID

“rules” and This is a design principle based on the ratio of 1 : 1.618. The Phi Grid is
similar to the Rule of Thirds – instead of dividing the frame into equal thirds,
guidelines
(1: 1: 1) it is divided into sections resulting in a grid that is 1: 0.618 : 1.
 1. GOLDEN RATIO: PHI GRID
https://petapixel.com/2016/10/24/golden -ratio-better -rule-thirds/

Composition
“rules” and
guidelines
 1. BALANCE, HARMONY
In a frame, every object or shape has a visual weight. When we talk about balance, it is
Composition the act of arranging the elements in a frame so that there is equality from one side to the

“rules” and other (left vs right, top vs bottom, etc.)

When we talk about harmony , it is the “consistent, orderly or pleasing arrangements of
guidelines parts/congruity”. It is act of arranging these elements that present it in a visually pleasing
way.
 1. BALANCE, HARMONY
Symmetrical balance (formal balance) – both
sides (left vs. right, top vs bottom) hold equal
weight.

Asymmetrical balance (informal balance) -

instead of mirroring or equal weight on each
side, the image is balanced by the creative use
of size, tone, and form of the objects in the
composition

Tonal balance – balance is seen in terms of

contrast between light and dark areas of the
image.

Composition
Colour balance – brighter colours are “heavier”
“rules” and than neutral colours.
guidelines
Composition 1. SYMMETRY
“rules” and Symmetry is a very powerful visual tool that puts an immense amount of emphasis on
guidelines the frame. It is so powerful in fact that many films tend to avoid this altogether as it
becomes a constructed frame that is almost “unnatural” to the eye in audience reception.
 1. SYMMETRY
http://pov.imv.au.dk/Issue_15/section_5/artc1A.html

Composition
“rules” and
guidelines
Composition
“rules” and
guidelines
Composition
“rules” and
guidelines
Composition 1. ASYMMETRY, IMBALANCE, AUSTERITY, DISHARMONY
“rules” and Sometimes, visual austerity, imbalance, disharmony can be used as a tool. Great
guidelines filmmakers tend to still use principles of design while using these effects.
Composition 1. DUTCH TILT
“rules” and The Dutch Tilt frames the shot so that it is not completely level to the ground – it “can be
guidelines used for dramatic effect and helps to portray unease, disorientation, frantic or desperate
action, intoxication, madness, etc.”
 1. SHADOWPLAY: LIGHT AND DARK

Composition
“rules” and
guidelines
 1. FRAMES: FRAMES WITHIN FRAMES…

Composition
“rules” and
guidelines
Composition
“rules” and
guidelines
 1. CAMERA POSITION TO THE SUBJECT: FRONTAL, BACK, ¾, ¼, etc.

Composition
“rules” and
guidelines
TO BE
CONTINUED
…
70