4 - Cinematography Flashcards
-Contrast
Contrast refers to the comparative difference between the darkest and lightest areas of the frame
-Different film stocks
A crucial way to alter the tonalities in the image is through exposure. Exposure regulates how much light passes through the camera lens were suited for filming news events in actual conditions. Others gave a richer, wider contrast range
-Exposure
A crucial way to alter the tonalities in the image is through exposure. Exposure regulates how much light passes through the camera lens
-Tinting/Toning
Tinting is accomplished by dipping the already developed film into a bath of dye. The dark areas remain black and gray, while the lighter areas pick up the colo
Toning worked in an opposite fashion. The dye was added during the developing of the positive print. As a result, darker areas are colored, while the lighter portions of the frame remain white or only faintly colored
-Hand-coloring
Hand colored film
-Fast motion cinematography
As the silent films indicate, if a film is exposed at fewer frames per second than the projection rate, the screen action will look speeded up. This is the fastmotion effect sometimes seen in comedies
-Slow motion cinematography
The more frames per second shot, the slower the screen action will appear. The resulting slow-motion effect is used notably in Dziga Vertov’s Man with a Movie Camera to render sports events in detail, a function that continues to be important today.
-Ramping
sometimes filmmakers choose to call our attention to changes in the speed of capturing the action. The technique, which varies the frame rate during shooting, is called ramping.
-Time-lapse cinematography
sometimes filmmakers choose to call our attention to changes in the speed of capturing the action. The technique, which varies the frame rate during shooting, is called ramping.
-Focal length
he main area of choice involves the focal length of the lens. In technical terms, the focal length is the distance from the center of the lens to the point where light rays converge to a point of focus on the film. The focal length alters the size and proportions of the things we see, as well as how much depth we perceive in the image.
-Wide-angle lens
In 35mm-gauge cinematography, a lens of less than 35mm in focal length is considered a wide-angle lens. It’s called that because it takes in a relatively wide field of view. But in capturing the wider field, these lenses tend to distort straight lines lying near the edges of the frame, bulging them outwardLess obviously, a short focal-length lens exaggerates depth, making figures in the foreground seem bigger and those in the distance seem farther away
-Medium lens
A common length for a medium lens, in 35mm and high-end digital cinematography, is 50mm (5.31). This lens seeks to avoid noticeable perspective distortion. With a medium lens, horizontal and vertical lines are rendered as straight and perpendicular. (Compare the bulging effect of the wide-angle lens.) Parallel lines should recede to distant vanishing point
-Telephoto lens
Wide-angle lenses stretch space along the frame edges, but longer lenses flatten the space along the camera axis. Cues for depth and volume are reduced. The planes seem squashed together, much as when you look through a telescope or binoculars (5.32). (For this reason, long lenses are also called telephoto lenses.) Long lenses take in a narrower angle of vision than wide-angle or normal lenses do.
-Zoom lens
In taking snapshots you’ve probably used a zoom lens to enlarge some part of a shot. You may not have noticed that the lens changes focal length as well as framing, but that’s what a zoom is—a lens designed to provide variable focal leng
-Retro/Dolly zoom
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-Depth of field
Every lens has a specific depth of field: a range of distances within which objects can be photographed in sharp focus, given a certain exposure setting
-Selective focus
He or she may opt for what is usually called selective focus—choosing to focus on only one plane and letting the other planes blur.
-Deep focus
In Hollywood during the 1940s, partly because of the influence of Citizen Kane, filmmakers began using lenses of shorter focal length, along with more sensitive film stock and higher light levels, to yield a greater depth of field (5.48). This practice came to be called deep focus
-Racking/Pulling focus
Just as a zoom lens lets the filmmaker change focal length while filming, focus can be altered within a shot by racking focus, or pulling focus. This is commonly used to switch our attention between foreground and background (5.52–5.53), making one plane blurred and another sharp.
-Superimposition
The most unrealistic sort is superimposition. Here images are laid over one another, creating multiple perspectives within the frame.
-Rear projection
One solution was to simply project footage of a setting onto a screen, then film actors in front of it. The whole ensemble could then be filmed from the front (5.55). This was called, logically enough, rear projection (or process work), and it was very widely used
-Front projection
A later modification, front projection, used angled mirrors to summon up more realisticlooking backgrounds.
-Matte work
A matte is a portion of the setting photographed on a strip of film, usually with a part of the frame empty. Through laboratory printing, the matte is joined with another strip of film containing the actors. It was common to have expert artists paint an image of the setting, and the painting was then filmed, leaving a blank space in the frame. The footage was combined with footage of action, filmed to fit the blank area. Several long shots in The Wizard of Oz exemplify classic matte painting (Fig. 2.20).
-Aspect ratios
The ratio of frame width to frame height is called the aspect ratio. For example, an image that is twice as wide as it is high is said to be in a 2:1 ratio.
