Introduction to Film
Cinematography
Cinematography
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Cinematography:
"writing in movement”
Everything that has to
do with cameras and
lenses, with film/film
stock (and its digital
equivalents), exposure
and processing of
film/digital images.
Cinematography
Mise-en-scene
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What is filmed
 Set Design
 Color
 Lighting
 Actor’s
Performances
 Diegetic Sound
Cinematography
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How it is filmed
 Framing
 Aspect Ratio
 Film Stock
 Camera Elements
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Camera
Camera
Camera
Camera
Exposure
Angle
Movement
Position
Lens
Cinematography
Other Issues
 Digital Cinematography
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Visual Special Effects
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Often done in post-production (esp. digital effects).
Lighting
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Computer Generated Imagery (CGI) has brought
changes in Cinematography, which was traditionally
based on chemical/photographic images and effects.
Since it is part of “what is filmed,” it is often seen as
part of a film’s mise-en-scene. However, the
cinematographer has significant input into lighting
decisions.
Framing
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As with lighting, framing involves the director and
cinematographer.
Framing
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Angle, level, and
distance of framing
each shot
Offscreen space
versus onsceen
space
Framing
Extreme Wide Shot
Very Wide Shot
Framing
Wide Shot
Mid Shot
Framing
Medium Close Up
Close Up
Framing
Extreme Close Up
Cut-In
Camera Angle

The angle between
the camera and the
subject.
Straight-on (Eye-level) angle
High-angle
Low-angle
Low-angle
Bird’s Eye
Point of View
The Lady in the Lake
1947 Detective film
Shot entirely from main character's point of view
Slanted or Canted angle (Dutch tilt)
Slanted or Canted angle (Dutch tilt)
Slanted or Canted angle (Dutch tilt)
Height of Camera
Tokyo Story (1953) Yasujiro Ozu
Aspect Ratio
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Ratio of screen width to height
Classical Hollywood ratio (1.33:1)
Widescreen ratios (1.85:1, 2.35:1)
Video conversion
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Pan-and-scan
Letterbox
Aspect Ratio
Rules of the Game, Jean Renoir, 1939
1.33:1 (4 to 3)
Aliens, James Cameron, 1986
1.85:1
Rebel Without A Cause, Nicholas Ray, 1955
2.35:1 (Cinemascope)
Aspect Ratio
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Converting from film to TV.
2.2 to 1
Pan & Scan; 1.33 to 1
Film Stock
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Selection enables cinematographer
to control:
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Color reproduction
Light sensitivity
Contrast levels
Sharpness
Grain and resolution
Singin’ in the Rain
Technicolor Film Stock
Film Stock
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Other Types
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Kodachrome
Kinemacolor
Cinecolor
35mm
70mm
IMAX
Film stock
deteriorates
over time
Camera Lens

Focal Length
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The distance from the
center of the lens to the
point at which the light
rays meet in sharp
focus.
This length determines
perspective relations and
depth cues on the flat
screen surface.
Normal lens: 35-50mm
Camera Lens

Wide Angle
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Short focal length (35 mm or
less) which produces a wider
angle of view
Effect: distorting straight lines,
exaggerating depth
Camera Lens
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Telephoto Lens
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Lens with a long focal length
(75mm or more).
Effect: collapse depth cues by
enlarging distant planes and
making them seem close to the
foreground planes.
Camera Lens
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Zoom lens
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Lens with a focal length that can
be changed during a shot.
Shift to telephoto range
magnifies the image and flattens
the space
Shift to wide-angle increases
depth cues and demagnifies the
background.
Depth of Field
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The range of distance within
which objects can be
photographed and remain in
sharp focus.
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Short focal length has greater
depth of field.
Long focal length reduces depth
of field.
Camera Movement
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Pan
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Tilt
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Rotates horizontally, side to side
Vertical pivot, up and down
Dolly, tracking, or traveling shots
Crane (and boom or jib) shots
Hand-held and steadicam shots
Camera Movement
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Dolly, Tracking,
Traveling shots:
all basically the
same.
“Tracking shot”
came from the
“tracks” that
dollies moved on.
Traveling shot is
generally
reserved for
movements taken
from a vehicle.
Camera Movement
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Boom/jib shots
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Camera mounted on counterweighted boom;
some booms can also telescope in or out.
Can use for combinations of pans & tilts,
horizontal, vertical or diagonal moves.
Crane shots
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Shots look the same as boom shot, but often
motorized or with hydraulics for movement.
Camera Movement
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Hand-held shots
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Can pan or tilt or track
Hand-held movement is obviously
“unsteady”--which is how we know
it’s a hand-held shot.
Steadicam
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A device which dampens
unsteadiness, producing a relatively
smooth movement, even when
walking or running.
Steadicam first used in Rocky (1976)
Cinematography
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Putting it all together with story
boarding.
Example: The Lord of the Rings