SINEMATOGRAFIPius Rino Pungkiawan, S.Sn. M.Sn.,

CINEMATOGRAPHY?"The art and technology of motion

image photography"

What is

KODAK Cinematography

CINEMATOGRAPHY(literally"Writing in movement") depends to a large extent on photography ("writing in light)

Film Art and Introduction

CINEMATOGRAPHY?Who is

Cinematography is more than just Photography; it is the process of taking ideas, words, actions, emotional subtext, tone and all other forms non verbal communication and rendering them in visual terms

Cinematography Theory and Practice

The Art of Cinematography

Memvisualkan keinginan sutradara

Mengkomposisikan adegan

Menciptakan "look" dan "mood"

Melukis scene dan aktor dengan cahaya

Menggambarkan bagaimana tiap shot dapat bersatu menyampaikan cerita

Technology of Cinematography

Cameras, lenses, filters

Lighting

Crew

special effects

CINEMATOGRAPHER?Who is

Is the person ultimately responsible for the quality of the photography and the cinematic look of the film. Also known as DP or Director of Photography and work closely with the Director

KODAK Cinematography

Director of Photography?Who is

Is the Person who Deliver for the director the kind of look and visual texture they are looking for and ensure that the Director and Editor have all the footage they need.

Cinematography Theory and Practice

BUILDING A VISUAL WORLD

Visual Element carry the story in this early scene from Blade Runner, but they also supply important visual cues about the subtext and tone of this narrative. This is the essence of visual storytelling : to convey meaning to the viewer in ways other than words - to add levels of meaning in addition to the dialog and action

THE VISUAL LANGUAGE OF CINEMATOGRAPHY

THE FRAME LIGHT AND COLOR

THE LENS MOVEMENT

TEXTURE ESTABLISHING

POV

THE FRAME

Director Tom Hooper Cinematographer Danny Cohen, A.S.C The King's Speech (2010)

Selecting the frame is the fundamental act of filmmaking; as filmmakers we must direct the audience’s attention: “look here, now look at this, now over here...” Choosing the frame is a matter of conveying the story, but it is also a question of composition, rhythm, and perspective. Blain Brown, A.S.C

THE FRAME

LIGHT AND COLOR

Director Ridley Scott Cinematographer Roger Deakins, A.S.C Blade Runner 2049 (2017)

Light and color are some of the most powerful tools in the cinematographer's arsenal. Lighting and controlling color are what takes up most of the director of photographer’s time on most sets and for good reason. They also have a special power that is shared only by a very few art forms such as music and dance: they have the ability to reach people at a gut, emotional level.

LIGHT AND COLOR

Blain Brown, A.S.C

THE LENS

Director Alejandro G. Iñárritu Cinematographer Emmanuel Lubezki, A.S.C The Revenant (2015)

Every lens has a "personality" a flavor and an inflection it adds to the image. There are many factors involved: contrast and sharpness, for example, but by far the most influential aspect of a lens is the focal length: how wide or long it is. A short focal length lens has a wide field of view, and a long focal length lens is like a telescope or binoculars; it has a narrow field of view.

THE LENS

Blain Brown, A.S.C

MOVEMENT

Director Darren Aronofsky Cinematographer Roger Deakins, A.S.C Black Swan (2010)

Movement is a powerful tool of filmaking ; in fact, movies are one of the few art forms that employ motion and time; dance obviously being another one of the view art forms that employ motion and time. Blain Brown, A.S.C

MOVEMENT

TEXTURE

Director Kathryn Bigelow Cinematographer Barry Ackroyd, A.S.C The Hurt Locker (2008)

In most cases — particularly in feature films, commercials, and certainly in music videos — we manipulate the image in some way, we add some visual texture to it; this is not to be confused with the surface texture of objects. There are many devices we use to accomplish this: changing the color and contrast of the picture, desaturating the color of the image, filters, fog and smoke ects, rain, using unusual film stocks, various printing techniques, and of course the whole range of image manipulation that can be accomplished with digital images on the computer — the list goes on and on. Blain Brown, A.S.C

TEXTURE

ESTABLISHING

Director Frank Darabont Cinematographer Roger Deakins, A.S.C The Shawshank Redemption (1994)

http://www.imdb.com/name/nm0001104/?ref_=ttfc_fc_dr1

Establishing is the ability of the camera to reveal or conceal information ; think of it as a visual equivalent of exposition, which in verbal storytelling means conveying important information or background to the audience. It is really at the heart of telling a story visually — letting the camera reveal information is usually a more cinematic way of getting information across to the audience than is dialog or a voice-over narrator. Blain Brown, A.S.C

ESTABLISHING

Point Of View

Director Roman Polanski Cinematographer John A. Alonzo Chinatown (1974)

Point-of-view (POV) is a key tool of visual storytelling. We use the term in many di erent ways on a film set, but the most often used meaning is to have the camera see something in much the same way as one of the characters would see it: to view the scene from that character’s point-of-view.

Point Of View

Blain Brown, A.S.C

Terima KasihPius Rino Pungkiawan, S.Sn. M.Sn.