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The 5 Cs of Cinematography Camera SAM CompositionCuttingClose-upContinuity.

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Presentation on theme: "The 5 Cs of Cinematography Camera SAM CompositionCuttingClose-upContinuity."— Presentation transcript:

1 The 5 Cs of Cinematography Camera SAM CompositionCuttingClose-upContinuity

2 The Elements of Cinematography Camera SAM Shots – Angles – Movements

3 To Begin: Some Basic Terms Frame: –The perimeter of an image as seen when projected on a screen.

4 To Begin: Some Basic Terms Foreground: –What is occurring or seen in the front of your shot closest to the camera.

5 To Begin: Some Basic Terms Background: –What is occurring or seen in the rear of your shotthe area farthest from your camera.

6 The Elements of Cinematography Camera Shots-A-M

7 Establishing Shot Establishing Shot: –Reveals the setting where the action will take place. –The first shot in a scene. –Often are Extreme Long Shots.

8 Extreme Long Shot Extreme Long Shot: –Shows the vastness of location. –EXTREME. –Often is an Establishing Shot.

9 Extreme Long Shot (cont.) Maybe the best opening Establishing Shot ever: Star Wars: Episode IV A New Hope Beginning of the of a scene. Shows location/setting

10 Long Shot Full body shot: –Head-to-toe in frame –Shows background –Good for action shots orororor Wide shot: –Contains the entire subject you are shooting –Shows background –Good for action shots

11 Medium Shot Medium Shot: –Also called a Half shot. –From the knees or waist up –Shows some background. –Used for dialogue shots; presenting conversation.

12 Bust Shot Bust Shot: –Includes the head and shoulders of a person –Little or no background seen

13 Close-up Close-up: –Subject fills up the frame –Little or no background seen –Used for interest and emotional shot Extreme Close-up: –Enlarge to monstrous proportions. –EXTREME. –Fills up frame-no background All Close-ups are used to point out something the director wants the audience to know! All Close-ups are used to point out something the director wants the audience to know!

14 The Elements of Cinematography Camera S-Angles-M

15 Normal Angle Eye-to-eye level Eye-to-eye level Objective angle used for interviews or dialogue settings Objective angle used for interviews or dialogue settings

16 High Angle Camera is placed above, looking down on subject Camera is placed above, looking down on subject Gives the appearance of weakness or subservience. Gives the appearance of weakness or subservience.

17 Low Angle Camera is placed below, looking up at subject Camera is placed below, looking up at subject Gives the appearance of strength and dominance. Gives the appearance of strength and dominance.

18 Dutch Angle Adjusting the frame to a 45–degree slant Adjusting the frame to a 45–degree slant Used to add interest to the shot. Used to add interest to the shot. Creates potential chaos. Creates potential chaos.

19 Point-of-View (POV) Shooting from a characters point-of- view (POV). Shooting from a characters point-of- view (POV). An angle in which the camera shows what would be visible from a particular subject's position. An angle in which the camera shows what would be visible from a particular subject's position.

20 Over the Shoulder (OTS) Shooting from a characters point-of- view (POV). Shooting from a characters point-of- view (POV). Using part of a subjects shoulder to shoot a tight medium shot of another subject. Using part of a subjects shoulder to shoot a tight medium shot of another subject.

21 The Elements of Cinematography Camera S-A-Movements

22 Pan Sweeping the camera horizontally, left or right. If hand-held: Feet planted. Feet planted. Hips rotate. Hips rotate. Slow and smooth. Slow and smooth.

23 Tilt Angling the camera vertically, up or down. If hand-held: Feet planted. Feet planted. Movement slow and smooth. Movement slow and smooth. Details characters Details characters stature or costume.

24 Zoom In/Out Camera Lens moves in and out. Creates subject size changes and focal points. T Telephoto: zooms in – making subject larger with background being eliminated. T Telephoto: zooms in – making subject larger with background being eliminated. W Wide-angle: zooms out – W Wide-angle: zooms out – making subject smaller with more background included.

25 Physical Movements Physically moving the position of the Camera and/or Tripod from side-to-side. Physically moving the position of the Camera and/or Tripod from side-to-side. Called Dolly, Truck or Traveling/Onride movements. Called Dolly, Truck or Traveling/Onride movements.

26 Physical Movements (cont.) Dollies are often used in point-of-view shots to give the audience the impression of approaching someone or something with the character. Dollies are often used in point-of-view shots to give the audience the impression of approaching someone or something with the character. Although they look very similar at first glance, when zooming in on an object, by simply enlarging part of a frame, the object seems to be propelling itself towards the camera. Although they look very similar at first glance, when zooming in on an object, by simply enlarging part of a frame, the object seems to be propelling itself towards the camera. Cool Effect: Combine the zoom in/out and the dolly in/out at same rate of speed for a animated movement to subject/object. Cool Effect: Combine the zoom in/out and the dolly in/out at same rate of speed for a animated movement to subject/object.

27 Camera Movements (cont.) Tracking shots are conventionally used to follow movements across a frame, often moving parallel to characters, and can help to involve the audience in characters actions and discussions. Tracking shots are conventionally used to follow movements across a frame, often moving parallel to characters, and can help to involve the audience in characters actions and discussions. Both camera and subject should travel same rate of speed for best effect. Both camera and subject should travel same rate of speed for best effect. Cool Effect: Have the subject turn the opposite direction of the camerapersons track. Cool Effect: Have the subject turn the opposite direction of the camerapersons track. Use behind the subject the least it gets boring quickly. Use behind the subject the least it gets boring quickly.

28 Dolly Camera and/or Tripod moves toward and away from the subject/object. Camera and/or Tripod moves toward and away from the subject/object. Dolly in or Dolly out

29 Truck Camera and/or Tripod moves left or right from the subject/object. Camera and/or Tripod moves left or right from the subject/object. Truck left or Truck right

30 Pedestal Movement Camera and/or tripod Camera and/or tripod moves up or down along the height of the subject/object. Different than a tilt effect, without the angling. Different than a tilt effect, without the angling.

31 Rack Focus Utilizing the manual focus to blur and focus between two stationary subjects/objects. Utilizing the manual focus to blur and focus between two stationary subjects/objects. Creates interest for character dialogues. Creates interest for character dialogues.

32 Hand–Held Not using the tripod. Not using the tripod. Creates a less stable effect. Creates a less stable effect. Can give a reality to the footage. Can give a reality to the footage. Avoid too much bumpiness or you will make the audience sick. Blair Witch or Cloverfield footage gets old real fast. Avoid too much bumpiness or you will make the audience sick. Blair Witch or Cloverfield footage gets old real fast.

33 Subject or Character Movement Mise-En-Scène: Movement within the scene. Character/Subject Movement: Camera does not move – just the character(s)

34 Mise-En-Scène Putting on stage Putting on stage Letting the characters move into, within and out of the frame of the camera. Letting the characters move into, within and out of the frame of the camera. Used primarily in action sequences. Used primarily in action sequences. Camera remains still. Camera remains still.

35 Character/Subject Movement: Toward the camera: Scare tactic to shock the audience. Away from the camera: Creates closure to the scene

36 FIN Thats it – The End


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