o the process of capturing moving images on film (or digitally) o everything that has to do with cameras and lenses, with film/film stock (or digital), exposure and processing of film/digital images o Cinematographer = Director of Photography (DP)

o Mise en Scene refers to “what is filmed” o Cinematography refers to “how it is filmed” o Some elements – like lighting, can be both

o Framing and Composition o shot types o camera angles o depth o camera movement o aspect ratio o lighting* o Camera and exposure choices, film stock and lenses*

o extreme long (ELS) o long (LS) o medium (MS) o close-up (CU) o extreme close-up (ECU)

Extreme Long Shot aka: used when/for: setting the scene – the what/where

Long Shot used when/for: also estb, but for characters, etc.

Medium Long Shot and Medium Shot used when/for: most common; dialog…

Close-Up used when/for: show detail and emotion; dramatic effect

Extreme Close-Up used when/for: looking at small detail; intense and/or evoke anxiety

Over the shoulder shot used when/for: establish position of each person; feeling of looking at person from the other's pov; common for conversations

Point of View Shot (subjective shot) used when/for: as if seeing through the character

 eye-level (straight angle)  high angle  low angle  dutch angle/tilt

Eye-Level (straight angle) used when/for: most natural; majority of shots; attitude toward subject is neutral (used early in films)

High Angle Used when/for: shows weakness, vulnerability, less authority

Low Angle used when/for: subject appears larger than life; importance…

Dutch Tilt used when/for: world is not right/out of balance…

o Challenge: how to give the illusion of depth o deep-focus composition o rule of thirds

 Framing can become a director’s signature - using the natural framing occurring in objects Quentin Tarantino – from below/trunk shotsfrom below/trunk shots - or direction and perspective Wes Anderson – from abovefrom above Stanley Kubrick – one-point perspectiveone-point perspective

 Pan  Tilt  Dolly/tracking shots  Crane/“boom”/jib shots  Hand-held and steadicam shots

o Pan – camera rotates horizontally, side to side o Tilt – camera vertically pivots/rotates up and down o In pans & tilts, camera does not change position, it pivots or rotates o Usually tripod mounted o example example

o Dolly/tracking shots o Crane/“boom”/jib shots o Hand-held and Steadicam shots  The camera is mobile

o Dolly/tracking shot: camera fixed to wheeled support o dolly in: o frequently used when a character realizes something/comes to a decision o dolly out: o used for slow disclosure o True Detective True Detective o Spike Lee - dolly Spike Lee - dolly o Children of Men Children of Men

o Boom/jib shots: Camera mounted on counterweighted boom o some telescope in or out o can use for pans & tilts o Crane shots: similar look to boom shot o but motorized/hydraulics for movement o typically long or extremely long shots and long takes

o Crane and boom shots… o Opening of Touch of Evil Opening of Touch of Evil o Opening of The Player Opening of The Player

o Hand-held and Steadicam shots o can pan, tilt, or track o Hand-held o movement is obviously “unsteady”--which is how we know it’s a hand-held shot o Steadicam o a patented device dampens unsteadiness, producing a relatively smooth movement, even when walking or running o Steadicam first used in Rocky (1976)

Steadicam Handheld

 The Zoom camera doesn’t move, but frame changes as the lens focal length is changed zoom in or out/magnification

 Left (tracking): Camera moves Relation of back/foreground changes distortion at edges  Right (zoom): Camera stationary Change of focal length Relation of back/foreground (flattening) Zooming tends to be less natural  Ex ex ex Exex

o And there are endless combinations… o Jaws, etc. (1:20) Jaws, etc

Rules of the Game, Jean Renoir, :1 Aliens, James Cameron, :1 Rebel Without A Cause, Nicholas Ray, :1 (Cinemascope)