Elements of Cinematography. How Motion-Pictures Work.
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Transcript of Elements of Cinematography. How Motion-Pictures Work.
Elements of Cinematography
How Motion-Pictures Work
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The film rate for motion-picture films is 24 FPS (frames per second).
The film rate for video is 30 FPS.
A 1 minute video consists of 1800 individual frames (30 FPS x 60 sec).
Time Stamp / Code: 01:25:45:05
The above Time Code reads: 1 hour, 25 minutes, 45 seconds, and 5 frames.
If we are working in 30 FPS, the final segment of the time code will never read more than “:29”.
In filmmaking, a Shot is a continuous group of frames.
By combining shots, we create a Scene.
A Sequence is a collection of related shots and scenes.
Types of Camera Shots
Wide / Long Shot
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A wide (or long) shot shows the entire character from head to toe. Gives a sense of scale and a sense of place.
Often used as an “establishing shot.”
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
Medium Shot
A medium shot generally shows the characters upper body while still including elements of the setting.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Close-up Shot
A close-up shot shows only the characters face and / or shoulders.Subtle expression should be clear.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Other Shots
Extreme Wide
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Medium Wide / Long Extreme Close-up
Types of Camera Angles
Eye Level
An Eye Level camera angle feels “natural” and is the most commonly used.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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High Angle
High Angle shot - the camera is placed above eye level, looking downward.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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High Angle
High Angle shot - the camera is placed above eye level, looking downward.Can make the character look small, childish, weak, or confused.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Low Angle
Low Angle shot - the camera is placed bellow eye level, looking upward.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Low Angle
Low Angle shot - the camera is placed bellow eye level, looking upward.Can make the character look large, strong, noble, or intimidating.
Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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Bird’s-Eye View
Bird’s Eye Shot - the camera is placed above looking directly down.
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Bird’s-Eye View
Bird’s Eye Shot - the camera is placed above looking directly down.Can be used as an to emphasize insignificance or a feeling of voyeurism.
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Canted / Oblique / Dutch Angle
Canted Angle - is composed by tilting the camera to one side.
Image from “Battlefield Earth.”
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Canted / Oblique / Dutch Angle
Canted Angle - is composed by tilting the camera to one side.Can emphasize uneasiness or tension in the subject.
Image from “Battlefield Earth.”
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Types of Camera Movements
Image from “The Art of 3-D Computer Animation and Imaging,” by Isaac Kerlow.
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Basic Composition
Rule of Thirds
The Rule of Thirds divides the frame into thirds vertically and horizontally. Where these divisions intersect are aesthetically pleasing spots
to place subjects.
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Image from “The Art of Technique: An Aesthetic Approach to Film and Video Production,” by John Douglass and Glenn Harnden.
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180 Degree Rule
When planning a sequence of shots for a scene (or when using multiple cameras), the cameras should stay on the same side of the line of action.
A line of action is an invisible line between two characters who are interacting.
Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli
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180 Degree Rule
By using cameras 2 and 3, the audience stays on one side of the line of action. This results in clear continuity.
Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli
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180 Degree Rule
If cameras 2 and 4 are used, the audience crosses the line of action. This breaks continuity and the result is confusing and disorienting.
Image from “The Five C’s of Cinematography,” by Joseph V. Mascelli
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