Article

by STEWART REDWINE

The Five C’s of Cinematography

by Joseph V. Mascelli

I n the technological Xanadu we video producers know as the present day it is

easy for outsiders, and some insiders, to forget the person telling the story and
somehow think that the camera being used impacts the quality of the story being
told. Recently, someone who had seen the short film content produced by Christ in
Youth (where I work as a producer) had only one question for me about our vid-
eos. Did they want to know who shot it? No. They wanted to know what camera we
used.
If you think what camera you shoot on is the answer to great way to film the subject – but seem unable to explain just
videos, then I challenge you with this. Go make a big pile of how they do it.”
money doing whatever you want. Maybe radio ad sales, or invent
an alternative energy source for fossil fuels. Once you have the Almost 50 years after the publishing of these words I want
cash, you can buy the very best camera. Then you’ll be able to to re-assure Joseph V. Mascelli that he succeeded in explaining
make the best videos, right? Wrong. Cameras don’t tell stories, cinematography in an easy-to-understand way. He did this by ex-
people do. Since this is the case, there is really only one thing you plaining everything about cinematography in five categories that
need to tell great stories with the videos you produce, YOU. have one common thread – cinematography, like all other aspects
However, none of us are born knowing anything about of video production, functions at its peak performance when it
the tools of the trade needed to produce videos. In an effort to serves the story.
improve the one tool all video producers have in common, their So what are the Five C’s? They are camera angles,
mind, a must have addition to every video producer’s library is continuity, cutting, close-ups, and composition. I want to share
Joseph V. Mascelli’s The Five C’s of Cinematography. I picked with you some of my favorite quotes from each one of the Five
this book up a few years ago and I have learned more from it than C’s. Consider this article the cliff notes version of the book; and,
any other resource on the subject. I’ve been to courses, classes, just like your English teacher, I strongly encourage you to read
looked to chat rooms online, and experimented by trial and error; The Five C’s of Cinematography in it’s entirety in addition to
but, none of those things have come close to the pure un-distilled this summary (you can click here to get it at Amazon.com ).
story driven explanation of cinematography found in Mascelli’s
classic book. 1. Camera Angles
“Camera placement is determined by narrative significance.”
In his own words from the introduction:
“On many occasions during the years devoted to preparation This is very important. Why are you looking at what you are
and writing of this book, I have felt that defining, explaining, looking at? Is it because it looks good or because we need to see
clarifying and graphically illustrating motion picture filming it to move the story along? It should always be to move the story
techniques in an easy-to-understand way – is impossible – along, sometimes both, never solely because it looks good.
but not quite. Most professionals instinctively know the right

Christian Video® Magazine November 2009 21


2. Continuity
“Good continuity encourages the viewer to become absorbed
in the story-telling, without bothersome distractions. The
prime purpose of a motion picture, whether theatrical fiction
feature or documentary fact film, is to capture and hold audi-
ence attention – from opening shot to final fade-out.”
This entire chapter breaks down the nuts and bolts of pho-
tographing action in such a way that it makes sense on screen.
I haven’t come across a better explanation of “the line” (action
axis/maintaining dynamic and static screen direction) in any
other book.
3. Cutting
“Always move players into and out of close-ups to allow
cutting on action.”
Cut on the action. This simple axiom of editing works every
time.
“It is possible to cut away to anything happening anywhere
at any time.”
Remember this. You are in the driver’s seat. You are the one
putting one shot after the other. What do you want the specific
series of sights and sounds you’re placing in order to mean?
“Each shot should make a point. All scenes should be linked
together so that their combined effect, rather than their indi-
vidual contents, produces the desired audience reactions.”
4. Close-Ups
Close-ups should be made to count. The stronger the motive
for using a close-up, the more the close-up can help make
the story-telling truly effective!
The consistent emphasis throughout the five sections of the
book is this; every shot must serve the story.
5. Composition
“Good composition is arrangement of pictorial elements to
form a unified harmonious whole.”
Beauty is in the eye of the beholder. However, when you
Christian Video® Magazine
Article
by STEWART REDWINE
are making videos for others you are not the beholder. The most
important set of eyes belong to the audience. Make sure you are
making images that look good to your audience, and above all
else, serve the story.
6. The Sixth C
In closing, there is a sixth C of Cinematography I would like
to mention: Compliment. When you are in the process of shoot-
ing or have just finished watching a video you think looked great,
make sure you tell the person or group of people who produced
the video. After all, none of us video producers are making
videos just for ourselves. As you continue to strive to be the
best you can be take the time to compliment others on their own
successes along the way. Oscar Wilde said it best, “Anybody can
sympathize with the sufferings of a friend, but it requires a very
fine nature to sympathize with a friend’s success”. The sixth C of
Cinematography may just be the most important. Make sure you
compliment others whenever you can. After all, we’re all creating
videos for others and we want to know if we succeeded in com-
municating our story.
All quotations from The Five C’s of Cinematography by Joseph
V. Mascelli – 1965 - Silman James Press
Written by Stewart H. Redwine
Stewart H. Redwine is a Video Producer for Christ in Youth
as well as Producer and Director of Photography for onetime-
blind’s hit mini-movies and Youth Specialties 36 Parables
DVD series.
He enjoys writing, tending his garden, and slalom skiing in
the gorgeous Ozark Mountain Country of Southwest Missouri
where he lives with his wife and two children. You can read more
of what he has to say about faith, culture, and the arts at Stewar-
tHRedwine.com.
November 2009 22