Cinematography Quiz 1 Review

Subjects: Camera and Lens, Filmmakers

Chapters from book:
Brown - Measuring Digital pp 119-136, Exposure pp 137-162
Optics and Focus pp 365-380, Camera Movement pp 343-364
 Camera Settings

• Frame Rate - how many samples per second for recording and playback

• 24P - cinematic frame rate - mimics the characteristics of shooting on lm

• P stands for progressive - each frame is scanned fully

• 30i - video frame rate - more samples per second creates a smoother

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Camera Set Up
• Settings - format, NTSC, etc.
• Sensor
• Exposure - iris, shutter, ISO
• Speed Settings - frame rate
• White Balance
• Lens Choice
Camera Settings
• NTSC - North American video
system that runs on 60 Htz

• ISO - International Standards

Organization (sensitivity)

• Sensor - microchip that holds an

array of light sensitive “sensels”
which measure brightness values
and convert them to a binary
code

• Format Resolution:
HD 1920x1080
UHD 3840x2160
Exposure - ISO
Exposure Triangle

• ISO - measures the sensitivity of

a camera sensor or lm stock

• The higher the number, the more

sensitive (can shoot in lower light)

• Each doubling in ISO doubles the

sensitivity 200 is twice as
sensitive as 100.

• Doubling ISO is equivalent to

adding one stop of light in
sensitivity
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Exposure - Aperture
Exposure Triangle
• Aperture - iris in lens that allows
more or less light to pass through

• F-stop - numbers on lens to denote

how big the aperture is

• Common F-stops: F/
1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22

• Each stop on the scale changes

light by 2x or 1/2 (logarithmic)

• F/2.8 lets in twice as much light as

F/4

• F/4 lets in half as much light as F/2.8

Exposure - Shutter
Exposure Triangle
• Shutter speed denotes how long each frame is
exposed

• Standard lm 24P shutter speed is 1/48th of a

second

• Shutter history - lm cameras had a 180 degree

half-circle shutter that spun around to cover lm
as it advanced after exposure, thus at 24 frames
per second each frame would get 1/48th sec
exposure time.

• Video at 30P standard exposure time is 1/60th

sec

• Longer exposure time increases motion blur and

gives movement a wispy blurry e ect (1/12th sec
or 1/4 sec)

• Shorter exposure time decreases motion blur and

gives movement a jumpy staccato e ect (1/96th
sec or 1/192nd sec)
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Shutter and Shutter Angle • Original purpose of a shutter - shield lm from light as it was
transported to the exposure gate

• 180 degree shutter is standard opening for lm/digital video

(1/48th of a second in cinema, 1/60th in video)

• Some digital cameras have a physical “global” shutter, but many

use exposure time as an approximation of a physical shutter

• With digital cameras it’s possible to shoot with 360 degree shutters

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Frame Rates
24P vs. 30P or 30i
• Frame Rate - how many samples per
second for recording and playback

• Common Frame Rates - 24P, 30P, 30i,

60P, 60i

• 24P - cinematic frame rate - mimics the

characteristics of shooting on lm

• “P” stands for progressive - each frame

is recorded at the same time

• 30i - video frame rate - more samples per

second creates a smoother

• “i” stands for interlace - half the video

information is recorded at a time
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 Interlace vs. Progressive Scanning
Interlace (“i”) images break the image into two elds,
scanning odd horizontal lines rst, then even lines
second.

This is how television has been delivered for decades,

breaking the 30 frames per second into 60 elds,
matching our 60 Hz electrical cycle.

Progressive (“P”) scanning takes the whole image at

once, so it is better for transferring video images to
lm.

Usually this is done using Progressive Segmented

Fields (PSF), where the camera is working in
progressive mode but the picture is delivered in an
interlace structure.
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Bad Interlaced Image Freeze Frames
White Balance
Color Temperature
• White Balance sets the camera’s sensitivity
to a “white point”

• Daylight is in the blue spectrum

• Tungsten arti cial light is in the orange
spectrum

• Fluorescent light is in the green spectrum

• Our eyes lter out the colors and “auto white
balance” for us

• Cameras need to be told what setting to

record color as “normal”

• AWB - camera automatically sets the white

balance based on colors in frame

• Common WB settings - Tungsten, Daylight,

Cloudy, Fluorescent, Flash
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Maya Deren
 Approached lmmaking and the camera as a ‘motor driven
metaphysics’ but most importantly saw cinema as a creative art
rather than reproducing reality, recording theater or illustrating
ction

These were some arguments that had previously been applied to

photography via the Photo Secessionists of the late 19th/early
20th century Alfred Steigliz and Edward Steichen to name a few

She took her task as an artist to ful ll the unique potential of his
or her medium

She described lm as ‘the twentieth-century art form’ concerned

with ‘time, movement, energy and dynamics’
It’s a time-space art with a unique capacity for creating new
temporal-spacial relationships and projecting them with an
incontrovertible impact of reality

Created an art-form based on the poetic, metaphysical concepts

of the nature of reality which were contained in the most ancient
visionary myths and are today con rmed by science via physics
and psychiatr
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 Temporal Art Form
Her work focuses on time, movement, dance,
anthropology and poetics
“the structure of a lm is sequential…primarily a time
form”

Unlike photography, which suspends a moment, she

was ‘concerned with the way in which the moment
passes and becomes the next one.’

‘This metamorphosis cannot be composed within a

frame, but only through frames, from one frame to the
next’

Deren saw the distinguishing feature of human

consciousness that memory is not committed to the
chronology of experience, it can all be recalled in any
number of ways

Deren saw slow-motion as the ‘microscope of time’ - the

ability for the camera to see something more closely
than the human eye

In lms like Meshes of the Afternoon and At Land she

explored the relationship between the body and space,
distorting our perceptions of reality
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 Deren’s analysis of her own work continued to change over the years:
In 1944, At Land’s program notes on the lm stressed it bipolar construction
around the tension between a moving body and a changing environment; but a
year later she claimed that it depicted “a relativistic universe in which the
individual alone is a continuous identity and the e ort of individual to relate to
oneself, as an identity, to a uid, apparently incoherent universe.’

Then in 1946 she described the lm as ‘an inverted Odyssey, where the universe
assumes the initiative of movement and confronts the individual with a
continuous uidity, towards which, as a constant identity, he seeks to relate
himself’

By 1960 the universe, which was ‘once conceived as a vast preserve,

landscaped for heroes, plotted to provide them with appropriate adventures, is
now so unstable and unpredictable that one does not so much act upon such a
universe as re-act to its volatile variety. Struggling to preserve, in the midst of
such relentless metamorphosis a constancy of personal identity.’

Deren’s changing accounts transfer agency from the protagonist to the

environment even as she maintains her centrality by inspiring match cuts based
on her actions and eye-lines
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 1945 A Study in Choreography for the
Camera

Deren describes the lm as ‘an e ort of

remove the dancer from the static
space of a theatre stage to one which
was as mobile and volatile as himself.
It was, actually a duet - between Talley
Beatty, who danced, and space, which
was made to dance by means of the
camera and cutting.’

Important for Deren was to de ne lm

dance in a way which distinguished it
from theatrical dance, by constituting
movement outside real time and
space.

She saw ‘Choreography’s’ theme as the

assertion of movement over matter: ‘ I
mean that movement, or energy, is
more important, or more powerful, than
space or matter - that in fact, it creates
matter.’
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 Maya Deren
• America’s most successful experimental
lmmaker - set the template for future
avant-garde American lmmakers

• Born Eleanora Derenkowsky, changed

name in 1943 - Maya is name of mother of
historical Buddha, and the dharmic
concept of the illusory nature of reality

• Believed that the function of lm was to

create an experience

• Used editing, multiple exposures, jump

cuts, slow motion, tilted angles to create
motion and dream-like effects
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• Deren’s lms investigate archaic and modern
ritualistic forms

• Deren wanted to invent new forms and means to

extend the visual horizon of perceivable selves

• All the gures in Deren’s lms are animated

cinematically through slow motion or arti cially
joined spaces to dance across normal time and
space experience

• Deren wrote “ lm, like any other art form, is not

an expression of man “but a form which creates”
emotions and creates experiences “out of the
very nature of the instrument.”

• Deren’s radical aspiration was to liberate cinema

from the domain of the entertainment industry
or governmental propaganda
Quotes from “Moving the Dancers’ Souls” by Ute Holl
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In the 1940s Maya Deren wrote of creating a truly “filmic film”
using depth-of-field, fast-forwards, macro and micro lenses.

Her pioneering work ushered in a new modernist language of

mood, light and techniques of manipulation;

effect was foregrounded, as Ute Holl wrote “the task of cinema

or any other art form is not to translate hidden messages of the
unconscious soul into art but to experiment with the effects
contemporary technical devices have on nerves, minds, or
souls.”

For Deren film was both “space art and a time art”, and two
years after Meshes… she produced one of the earliest works of
film dance in collaboration with Talley Beatty, A Study in
Choreography….

Fascinated by bodily movement she nevertheless asserted the

presence of the apparatus in the process, Beatty’s dance
becoming “so related to camera and cutting that it cannot be
‘performed’ as a unit anywhere but in this particular film.”

From Exeuent Magazine

Meshes of the
Afternoon
• 1943

• Purchased a Bolex 16mm

camera with inheritance
money and made lm with
Alexander Hammid (2nd
husband)

• Expressionistic “Trance Film” -

follows Deren through
dreams

• Certain symbols reccur:

Mirror Figure, a key, a knife,
multiple selves
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 A Study in
Choreography
for Camera
1945
Articulates the
potential for
transcendence
through dance and
ritual.

It is a dance that
cannot be
performed in
reality, only on
camera.
 Canon T3i

• DSLR - Digital Single

Lens Re ex

• 18mm - 135mm Zoom

Lens

• Battery and Charger

• You must supply SD

Card (Class 10)
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Gregg Toland
1904 - 1948
Toland started as an office boy in the early 1920’s and soon became a
camera assistant. He stayed later than everyone else and was soon the
top paid AC on the lot.
When sound came to movies in 1927, the audible whir of movie cameras
became a problem, requiring the cumbersome use of soundproof booths.
Toland helped devise a tool which silenced the camera's noise and which
allowed the camera to move about more freely.

In 1939 he earned his first Oscar for his work on William Wyler's
"Wuthering Heights."

In the following year he sought out Orson Welles who then hired him to
photograph "Citizen Kane."

For "Kane" Toland used a method which became known as "deep focus"
because it showed background objects as clearly as foreground objects.

Toland quickly became the highest paid cinematographer in the business,

and the first cinematographer to receive prominent billing in the opening
credits, rather than being relegated to a card containing seven or more
other names.

Toland's career was cut short in 1948 by his untimely death at age 44.
STYLISTIC TRADEMARKS
Deep focus cinematography - worked against the
common “softness” of contemporary lenses to create a
bold modern look

Layered Images - depicting a clear foreground, mid-

ground and background

Triangles - used bold shapes to frame the action and draw

attention - “The Toland Triangle” became a shorthand
descriptor

Visual Flair - framed actors from unexpected angles using

dramatic and emotional lighting

Natural Lighting - developed lighting cues to match flame

sources

Complete 360 Sets - Toland composed with wide lenses

placed below the actors. They didn’t want to see the light
grid, so they added ceilings to the sets. This took away
the phony soundstage lighting look
DRAMATIC FLAIR
 DEEP
FOCUS
Toland worked with Kodak to develop a fast Super XX lm stock that
was rated 100ASA

Developed anti-glare coatings to help lenses transmit light

Carbon Arc - Toland used the new brighter lights that had been developed
for Technicolor

Films usually shot in the f/2.5-3.5 range, Toland worked at f/8-16

Optical printing - last resort if deep focus was not attainable in lens -
shoot two shots at different focal lengths then combine them into one
shot
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THE TOLAND TRIANGLE
LOW ANGLE SHOTS
HIGH ANGLE SHOTS
MIRROR FRAMING
NATURAL LIGHTING
NUANCED LIGHTING
FIRE LIGHTING
 Films by Orson Welles shot without (but still in uenced by) Gregg Toland

Touch of Evil - DP Russell Metty Chimes at Midnight - DP Edmond Richard

The Lady from Shanghai - DP Charles Lawton Jr. The Magni cent Ambersons - DP Stanley Cortez
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 Spike Lee

Ernest Dickerson
 Do the Right Thing
• Modern-day use of wide lenses with
distorting angles and deep focus

• Spike Lee and DP Ernest Dickerson use

the wide angle to immerse the viewer in
the neighborhood

• Emphasize characters and con ict

• The camera is very active throughout the

sequence, standing in for an inquisitive
viewer, looking back and forth for
reactions and later, direct address

• The lmmakers use stylization to break

through to deeper truths
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LENSES
PINHOLE PHOTOGRAPHY
Lens Cross-section
Lens Diagram
 Two Types of Lenses
PRIME ZOOM
single focal length multiple focal lengths
Cine lens vs. Still Photo Lens
 APERTURE
An Iris is made of individual leaves,
which operate together to allow
more or less light to reach the lm

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 Depth of Field
INCREASE DECREASE
• Use wider angle lens • Use longer angle/
telephoto lens
• Move subject further
• Move subject closer to
from camera
camera
• Close Down aperture
• Open aperture
• Use smaller image plane
• Use larger image plane
Circles of Confusion
• There is only one plane in focus at a
time

• Deep focus image is really a function

of “apparent focus”

• When more than one plane appears

to be in focus it is because the
points of light that make up an image
are small enough to ‘confuse’ the eye
into seeing them in focus

• For 35mm, smaller than 1/500th of

an inch

• For 16mm, smaller than 1/1000th of

an inch
 Exaggerate depth perception –
objects appear to be farther
apart than in reality Wide Angle Lens Characteristics
The perception of movement
towards or away from the lens
is heightened

Space is expanded and distant

objects become smaller.

Gives the viewer a feeling of

being in the scene.

The wider the lens, the more

distortion appears at the edge of
frame.

At a given distance and f-stop

they have a greater depth of field
(DEEP FOCUS)
 Wide Angle lenses used on The Shining

Note the entire frame is in focus and the converging perspective lines help
make the image feel distorted and uncomfortable
 Paths of Glory

Note when a wide angle is used the foreground gures appear much
larger than the background
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L.H. Burel and Robert Bresson
 Robert Bresson Shooting/Editing Style

• “A too expected image (cliché) will never

seem right, even if it is.” - Notes on
Cinematography

• After working with Burel, Bresson shot all

lms on the 50mm exclusively

• Constructive Editing - the lm is shot in

individual shots without traditional
establishing angles so the audience must
‘construct’ the space in their mind

• Analytical Editing - the lm is shot in

wider shots, then ‘analyzed’ in closer
shots such as medium close ups
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 Models
• Bresson wanted to make lms
in their own art form, not
lmed plays

• Models - He used non-actors

to avoid melodrama, directing
them to be stone-faced and
not to think about their
actions

• To quote his Notes on

Cinematography - “Be sure of
having used to the full all that
is communicated by immobility
and silence
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 50mm “Normal” Lens
• Reproduces the “natural” eld of view of the human eye
on a full frame sensor or 35mm equivalent

• Simple lens - little distortion and passes light easily

• Wide lenses have an expanded eld of view and tend to

warp the edges of the frame while telephoto lenses
distort by appearing to compress the image

• Different sensor sizes will use more or less of the lens’

projected image

• An APS-C sensor will crop the edges and only record the
middle of the lens
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 Depth of Field

• The distance between the closest and

furthest points that are in ‘acceptable
focus’
• Control using aperture, focus distance
or focal length
• Larger formats have less depth of eld

200mm 70mm 24mm

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 Creative Use of Depth of Field
f/1.4
• Isolate your subject from the rest
of the image and help it stand out
• De clutter the image
• Create an image where all is in
f/5.6 focus
• Choose how blurry the
background will be

Hyperfocal Distance
When focusing at the hyperlocal distance,
f/16
Everything from half this distance to in nity
will be in focus (landscape and night shots)
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• Burel graduated from the School of Beaux Arts and
began working in the french lm industry in 1912

• In 1915 he was invited to join the prestigious Film

d’Art company as a cameraman

• He was assigned to the director Abel Gance, with

whom he worked until 1941
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 Old-School Anarchist
• “Time was when the cameraman really was the director’s alter ego.
They were insepereable, dependent on each other, trusting each other
compeletely. Crews were small, and although the director was the
boss you made the lm together, really just the two of you, discussing
everything, seeing what you could and what you couldn’t do. And the
cameraman was in total charge of his camera.” - Burel

• “I really loved my profession because you had everything to do,

everything to discover. Nowadays everything has to be safe. They
don’t take risks any more. They never fail. But a great cameraman, to
my mind, has the right to be wrong. And a great director is one who
lets you try for things.” - Burel
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Diary of a Country Priest
 • “When Bresson asked me what kind of lens I was
going to use, I said I was thinking of 50mm. It
doesn’t give you much depth, which he
evidently didn’t want anyway, and it concentrates
the action.” - Burel

• “I also told him I would use relatively powerful

diffusers...but the man who was acting as my
assistant wasn’t used to these diffusers and he must
have changed them while changing lenses, getting
them back to front. When I saw the rushes I was
appalled; it wasn’t diffused, it was out of focus. At
which point Bresson came rushing up excitedly,
saying, ‘That’s it! You’ve got it, my dear Burel. That’s
exactly what I want for my lm.’” - Burel
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 • “I like diffused effects and I don’t like high
de nition, but I wasn’t going to make a
lm that was to be entirely out of focus.
Finally he said we could compromise,
meet each other halfway over what he
wanted and what I refused to do. I
agreed, provided I was given the freedom
to do what I liked. I always have done
what I liked, even when I hadn’t a penny,
and now that I didn’t have to earn my
living I didn’t see why I should do
something I would hate.”
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• So I shot the whole lm with a
50mm lens, and in addition to the
diffuser, used a very light gauze. I
told Bresson I saw the lm entirely
without luminous contrasts, as
something rather insubstantial or
immaterial which I wanted to
handle without any suggestion of
shadows.

• I suggested that we should shoot

without the sun, give the lm a
texture, a style, and entirely new
feel.
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 • Burel was stuck between Bresson, who didn’t think they were going far
enough, and the production company, U.G.C., who said they wouldn’t be
able to show the lm in a cinema.

• U.G.C. sent down a technical advisor, who repeated their predictions of

catastrophe and ruin.

• The lm lab got in the way, trying to add contrast in the developing.

• Burel threatened to quit if they all didn’t stop meddling

• The result: The lm was awarded the Grand Prix for photography at the
Venice Film Festival, and Bresson received the Grand Prix for directing.
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A Man Escaped
“A Man Escaped is by far the best thing Bresson has done. It’s a masterpiece
and it proved he was one of the great French directors.” - Burel
 The lming was dif cult because the scenes in the cell were shot on a stage,
which had to be intercut with hallways from the real prison.

Burel studied the light in the prison cells - he wanted to replicate it, not have
“studio” shadows or have the cell look phony in any way.

“I think I was one of the rst cameramen to use re ected instead of direct light.”

“When Fontaine comes out into the corridor, on the other hand, I used
directional light to suggest illumination from much larger windows.”
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 The challenge with Pickpocket was
that Bresson wanted to shoot on the
street without anyone noticing.

Burel hid lights in trees, batteries

disguised on carts, and did rehearsals
without a camera, waiting until the
last minute to turn on the lights and
shoot.
 The Trial of Joan of Arc

“I don’t really want to talk about The Trial of Joan of Arc because I think
it’s an entirely botched lm. I’d rather forget it. And I think Bresson might
prefer to forget it too...”
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“He stuck me in front of a wall covered
with cloth hangings to represent the
tribunal where most of the action takes
place...You’d have thought it was a
church pageant or something.”

Bresson wanted the set simple and

spare, nothing to distract the eye.

“Here we had this sweet, simple,

charming girl with the most marvelous,
beautiful eyes, and Bresson never let her
look up at the camera. Never. She
always had to look down, even when she
was answering her judges.”
 “I’ll never forgive you for
not letting me have that
girl’s eyes. I could have
given you a face of ecstasy,
a face that audiences
would treasure in their
memories.”
-Burel to Bresson
Dreyer’s Joan of Arc
Akira Kurosawa
 Telephoto
or Long Lens
Telephoto/Long Lens – above 50mm

Compress space

Less depth of field – can isolate a character in a space.

Can be used for a third person point of view, more two-

dimensional.

De-emphasize movement towards and away from

camera.

Emphasize tilts and panning movements.

Good for fight scenes, to make the actors seem closer

together and sell hits
 Kurosawa’s Themes

• Master/Disciple Relationship -
Kurosawa revered his teachers

• Heroic Champion - morale was low after

WWII defeat, Kurosawa’s lms championed a
heightened individualism

• Nature and Weather - the elements play a

large role in his lms and heighten the drama

• Cycles of Violence - Kurosawa came to see

the timelessness of human impulses towards
violence and self-destruction
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 Kurosawa’s Camera Techniques
• Bold Compositions that are
complimented by their lens type

• Right-angle framing mixed with strong

diagonals (compliments architecture)

• Lens height from extreme angles and

camera moves throughout scene/space

• Operating style - camera follows subject

with precise movements or frames a still
shot with exacting compositions

• Axial cut - camera moves in or out on

axis to emphasize a performance or detail
• Kurosawa favored wider lenses and deep focus
early on

• Seven Samurai - started using telephoto lenses

and multiple cameras

• This gave freedom to actors and they didn’t know

what camera was capturing them so it led to more
natural performances

• The longer lenses allowed for more layered

compositions which added to the chaos of battle
scenes

• With Hidden Fortress Kurosawa started to use

Widescreen anamorphic framings
combined with telephoto lenses and multiple
cameras

• Widescreen framings in High and Low allowed for

more people in-frame to create tension in shot
 Westerns
• Kurosawa: “Good Westerns are
liked by everybody. Since
humans are weak they want to
see good people and great
heroes. Westerns have even
done over and over again and in
the process a kind of grammar
has evolved. I have learned from
this grammar of the Western.”
DP: Kazuo Miyagawa

Perfectly balanced framing

Created lateral and triangular patterns with

the set elements

Used low angles to emphasize comedic

elements of the performance
Stray Dog 1949 Yojimbo 1961
Contemporary Crime Drama 19th Century Samurai lm drawing from the Western Tradition

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Throne of Blood 1957
High and Low 1963
Ran 1985
Dreams 1990
Lens Compression vs. Perspective Distortion

People think that long lenses compress the

frame

The compression we think of as “lens

compression” is actually a function of the distance
between camera, subject and background

Lens Angle-of-view in relation to foreground and

background determines what is in frame

This can be tested by shooting a subject at a

variety of distances using both wide and
telephoto lenses

When you zoom in on the wide angle shots you

will see identical compression from both types of
lenses (Depth of Field will still be different)

You will also see how soft your lenses are!

Optical Zoom vs. Digital Zoom
 Depth of Field
INCREASE DECREASE
• Use wider angle lens • Use longer angle/
telephoto lens
• Move subject further
from camera • Move subject closer to
camera
• Close Down aperture
• Open aperture
• Use smaller image
plane • Use larger image plane
 Depth of Field Chart
Check your focus-range based on the
following parameters:

Sensor Size
Lens Choice
Aperture
Focus Distance

Chart also displays Hyperfocal distance:

The closest focus distance at which both
objects at in nity and closer objects are
in focus. (when set at this number,
everything from 1/2 the hyperfocal
distance to in nity will be sharp)
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 Long/Telephoto Lens used in The Bourne Ultimatum

Note how the space is compressed, the background is very soft focus
 Optics and Focus
• Most objects do not emit light, but
re ect light

• The amount of light re ected

depends on an object’s surface

• Specular re ection - from a

smooth surface at a de nite angle

• Diffuse re ection - from a rough

surface, scattering light

• The angle of incidence equals the

angle of re ection
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Refraction of Light
• Allows lenses to focus a beam of light
onto a single point, bending the light beam

• When light passes from a less-dense

medium such as air to a denser glass, the
speed of the wave decreases

• When light passes from glass to air, the

speed of the wave increases

• The angle of refracted light is dependent

on both the angle of incidence and the
composition of the material it is entering
F-Stop or Aperture
• A variable size hole placed in the
optical axis

• The F/number of a lens is a measure of

it’s ability to pass light

• F-stop is ratio of the focal length of a

lens to the diameter of the entrance
pupil - it is theoretical

• T-stop is a measurement of actual light

transmission of a speci c lens
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