the shot: cinematography

Cinematography• The director works with the

cinematographer or “director of photography” (DP) to control what is filmed and how it is filmed.

• Cinematographic qualities include the photographic aspects of the shot, the framing of the shot, and the duration of the shot.

The Photographic Image: Tonalities

• Whatever a director does to film, the result affects the pattern of light on the film itself.

• Contrast is affected by film stock.• Developing procedures can alter color and

contrast.• Exposure can manipulate color and

contrast, as well as achieve special effects.• The result can guide the viewer’s eye to

important elements.

Painting with Pixels: Manipulating the Look and Feel of a Film

The Photographic Image: Speed of Motion

• Slow motion may mean a dream or fantasy, convey power, or express a lyrical quality.

• Fast motion is an attention-grabber.• Digital postproduction allows for

smooth and easy motion change.

Sherlock Holmes (2009), dir. Guy Ritchie

The Photographic Image: Perspective

• Lenses change scale and depth depending on focal length.

• They can distort images, flatten space, and exaggerate depth.

• Zoom lenses manipulate focal length and transform perspective in one shot.

Focal Length

The Photographic Image: Depth of Field and Focus

• Focal length affects depth of field.• Depth of field effects are common in

digital video.• Selective focus and racking focus can

direct the audience’s attention.

Depth of Field

Deep depth of field in Playtime (1967), dir. Jacques Tati

Shallow depth of field in Dear Frankie (2004), dir. Shona Auerbach

Frame Dimensions and Shape• Defines the image and creates a

vantage point, directing the viewer’s attention.

• Aspect ratio has changed over time.

Aspect Ratio

Angle, Level, Height, Distance of Framing

• Particular use of these elements often has a narrative function.

• They also frequently have a stylistic function as well, adding visual interest and creating meaning.

Angles

Distance

The Mobile Frame

• Panning, tilting, tracking, and craning increase information about the space and objects shown.

• Often the camera is a substitute for the viewer, creating subjectivity.

Functions of Frame Mobility1. Mobile frame and space: can be used

to direct the viewer’s attention and create different conceptions of space.

2. Mobile frame and time: a moving camera uses more time, and thus creates expectation.

3. Patterns of movements can become motifs.

Duration of the Image: The Long Take

• Does not condense time.• Can create parallels and contrasts

between scenes and can have its own development of beginning, middle, and end.

• Can present a complex pattern of events moving toward a goal.

Long take from Goodfellas (1990), dir. Martin Scorsese