Cinematography Basics
Film recording, like any other form of
photography, relies on two basic
variables: how much light is let in to the
camera, and how long that light is let in.
These variables are both controlled by
the opening, or aperture, of the camera.
The less light is let in, the darker the
image will be, and the less time the light
is let in, the darker the image will be.
Since the two variables have
basically the same results, a
photographer can find a
balance between exposure
time and aperture to avoid
underexposure and
overexposure.
This also has an effect on
motion capture: the longer the
exposure, the more moving
things will likely appear to be
blurry.
Not only can the photographer decide what to focus on in a particular shot,
but the range of things that can be in focus can also be controlled.
By coordinating the aperture with the length of time each frame is exposed,
a cinematographer can control the depth of field of an image.
Focus
Deep Focus
allows many
planes within the
image to be
shown in focus,
up to and
including an
infinite focus in
which nothing in
the image
appears blurry.
Focus
Shallow Focus, on
the other hand, limits
the focus to a single
plane of the image,
leaving everything
else out of focus.
Lighting
Most films do not make use of natural light,
but instead manipulate the lighting on set in
order to create particular effects.
The most typical kind of lighting in films and
television is called Three Point Lighting.
The Key Light is the brightest light, and it pulls
out highlights and fine features.
The Fill Light softens the contrast of the shot,
and the Back Light separates the subject in
the foreground from the background.
Lighting
In a typical film there is a
balance between the three
lights, although the Key Light is
usually the strongest light.
You can see this classic kind of
lighting used in this top image.
Another kind of lighting is Low
Key Lighting, often used in Film
Noir, in which the Fill Light is
turned down or off, as in the
bottom image.
Lighting
A third, rarer form of lighting is High Key Lighting, in which the Key
Light and the Fill Light are at equal intensity, leading to very little
contrast and an almost over-exposed and glossy image. An
example of this form of lighting is seen in the image below.
Framing
The director also uses framing to control
not only what is included in the shot, but
also what is not included in the shot.
This creates the effect of an imaginary
off-screen space that exists in the
viewer’s mind. Usually this effect is used
to help the audience suspend their
disbelief, because switching between two
views of the same scene creates the
illusion of space and continuity – that we
are witnessing an event in a real world.
Framing
Framing can be used to
create a sense of
destabilization if the figures
are all pushed to one side of
the image or another.
It can also be used to
strategic effect if the off-
screen space is not re-
established, forcing the
viewer to fill in the space with
their own imagination.
Framing
Framing has to do with not only
what is in the picture, but also
the position of the camera in
relation to what is in the picture.
Do we feel the same way about
the students in these two
different framings? In one, the
camera is above them, in the
other the camera and the
students are on the same level.
Scale
The scale of objects in
film is, of course,
relative.
However, useful
terminology has been
developed relative to
the size of the human
body on film.
Scale
The largest scales are referred
to as Extreme Long Shots.
These images usually show
multiple full human figures, as
well as the larger environment
in which the figures are set.
Scale
Next on the scale are normal
Long Shots.
These images usually show
one or a few human figures
completely within the frame,
with none (or very little) of the
body off-screen.
Scale
A Medium Long Shot is a bit
closer, cutting off some of the
human figure, usually the
lower legs and feet.
This scale is sometimes called
plain américain in French
because it is so widely used in
the Western genre.
Scale
The Medium Close-Up is
typically above the waist of the
human figure, but can also
describe a shot that includes
the actor’s head and
shoulders.
Scale
A Close-Up usually includes
only the actor’s head, though it
can also extend down to the
shoulders as well.
Most shots of objects, unless
they are very big or very small,
are also Close-ups.
Scale
Finally, the Extreme Close-Up
usually frames an individual
part of the human face.
It can also be used for other
individual body parts, or for
very small objects.
There are no Extreme Close-
Ups that I could find in La
Historia oficial, so here are
some from other films.
What is in the Scene?
The director and art director of a film decide what will be included in
every shot. Aside from framing, lighting, and more technical
concerns, what is left is mise-en-scene, the objects, figures,
settings, costumes, props, colors, textures, and other visual forms
contained in the image.
Décor
The setting and props in a
scene do more than just fill out
the frame or interact with the
characters.
They can also tell us a lot
about the characters who
inhabit those spaces.
Compare Roberto’s home to
that of his father
Costume
We can also get a lot of
information about a character
from their costume.
Compare Alicia’s outfit as a
teacher to what Gaby’s
apparent grandmother and her
fellow protestors wear.
On Wednesday we’ll
use The Manchurian
Candidate to begin
looking at the other
formal qualities of film:
camera movement,
editing, and sound.
Assignments/Reminders
! Peer group meetings on Website/Blog Assignment on Wednesday and
Thursday – please make sure you have written down your appointment time
and that you are on time. You should have reviewed one another’s websites
based on the peer review guidelines before our meeting.
! New deadline for final blog entry and website: Friday March 4th
! Complete Study Questions on The Manchurian Candidate on Section Website
for Wednesday’s section meeting. We will be closely analyzing scenes from the
film in class and discussing the prompt for Essay 4.
