Cinematography-Cinematic Techniques

Film Appreciation 270A

Chapter 5
The Cinematic Film
What makes the film medium unique:
Continuous Motion
Cinematic Rhythm
Communicate directly through images and sound
Creates the illusion of depth
Cinematic Points of View
Objective Point of View
Camera as a Window
Employs a static camera
Concentrates on the actors and action without drawing attention to the
camera.
Suggests an emotional distance between the camera and subject.
The camera does not comment or interpret the action but merely records it,
letting it unfold.
Cinematic Points of View
Objective Lens:
The Quiet Man by John Ford
Cinematic Points of View
Subjective Point of View
Places us inside the action of the film
Elaborate camera angles and movement to give the audience
the characters point of view.
Leads the viewer into the scene.
Detailed editing and a viewpoint close to the action.
Cinematic Points of View
Subjective Lens
Cinematic Points of View
Indirect-Subjective POV
Not a direct POV but does bring the viewer close to the action.
Viewer as third party
Closer but not direct POV
Cinematic Points of View
Indirect-Subjective Lens
Elements of Cinematic Composition
Nestor Almendros A cinematographer must know these principles but must then forget
them, or at least not consciously think about them all the time.
Vertical Lines:
Strength, authority, dignity
Diagonal Lines:
Action, dynamic movement
Curved Lines:
Fluidity, sensuality
Compositions that suggest movement evoke feelings of exaltation,
euphoria, and joy.
Hammock Sequence from
The Battleship Potempkin
by Serge Eisenstein
Cinematic Composition
Focus on the Most Significant Object
Size and closeness of the Object
Sharpness of Focus
Arrangement of People and Props
Blocking and Staging
Quiet Man scene at Train station as an example.
Foreground Framing
Related to rack focus.
Lighting and Color
High contrast of illumination or color to reinforce viewer attention.
Cinematic Composition
Movement
Panning/Tilting
Because the eye often places a blink between one object and another a pan can allow
a greater emphasis to an object because of the time it takes for the camera to place it
in full view.
A pan must have dramatic purpose otherwise it will appear contrived.
Tilting elevates the lens without elevating the camera (moves the camera on a vertical
plane up and down).
Combinations of Pan and Tilt approximate the normal human way of looking at things.
Cinematic Composition
Dolly/Crane
Trucking or moving the camera with a dolly, changes the physical
position of the camera along a track.
A crane movement elevates the camera up or down in position different
than tilting the camera from a fixed position.
Cinematic Composition
Combination Dolly/Crane shot
Creating the Illusion of Depth
Deep Space (Deep Focus)
Using a fixed frame
Allow characters to move perpendicular/diagonally to the lens
Avoid flat balanced positioning
Creating the Illusion of Depth
VP and the Viewers Eye
When a vanishing point is on screen or nearly on screen the
viewers attention will usually be drawn to that point.
Creating the Illusion of Depth
Textural Diffusion
Objects with less definition appear to be further away.
Movement as a Depth Cue
Three ways to indicate depth:
The object moves in front of the camera
The camera moves relative to the object.
Or a combination of the two.
Creating the Illusion of Depth
Citizen Kane by Orson Wells
Creating the Illusion of Depth
Movement of the Subject
Movement of the Camera
Apparent movement (Zoom Lens)
Because the camera position doesnt change during zooming there is no
change in perspective.
Does not create the illusion of depth as effectively as dollying the camera.
Can prove effective in certain applications
Vertigo by Alfred Hitchcock
Good Fellas by Martin Scorcesse
Creating the Illusion of Depth
Creating the Illusion of Depth
Rack Focus Changing Focal Planes
Working with Depth of Field to control viewer attention
Cinematic Techniques
These basic techniques are utilized by cinematographers
world wide to control and manipulate the viewers attention
and perspective.
They prove to be effective tools to reinforce the
communicative process for the contemporary filmmaker.
Glossary of Terms
Objective Point of View
Subjective Point of View
Indirect-Subjective Point of View
Establishing Shot
Wide Shot/Long Shot
Close-Up Shot
Extreme Close-Up Shot
Over the Shoulder Shot
High Angle
Eye-Line Shot
Low Angle
Extreme High/Low Angle
Medium Shot
Two-Shot
Focus
Lens
Rack Focus
Dolly
Crane
Pan
Tilt
Foreground Framing
Zoom Lens
Fixed Frame Movement