cinematography Flashcards
misen-en-scene is never by it self
photographing misen-en-scene
not only what it is but how it is presented in the filming
how is important as much as a what
how to communicate meaning through cinematography
tonalities
speed of motion
pespective
tonal control:contrast
ratio of dark to light in an image
high cntrast (big difference)
low constast(small differences)
used sometimes : tense,scary
used sometimes to demostrate : washed out,dreaming,vintage
speed of motion
rates calculated in frames per second (FPS)
24FPS-standards
film camera=flip book
perspective
depth of field and planes
planes
foreground(closer to us)
midground
background(futher for us)
how deep does our vision focus on a plane
depth of field
-deep focus(all planes are focused )
-shallow focus/selective
depth of field
what information is given to us
cinematography is not a proper miso-sene
contrast
comparative difference between the darkest and lightest
areas of the frame.
why is contrast important?
Contrasts in the image help filmmakers to guide the viewer’s eye to
important parts of the frame and to give the shot an emotionally expressive
quality—somber, cheerful, or whatever.
we control tonality with exposure
exposure: Exposure regulates how much light passes through the camera lens.
too dark (unexpose)
too light(overexposed)
The speed of the motion presented onscreen depends on two factors:
1.the rate at which the film was shot
- the rate of projection
If the movement is to look accurate on the screen, the rate of shooting should correspond to the rate of projection.
fast-motion
16-18
if exposed fewer frames per second then the projection it gives the effect of being speed up
slow motion
48-64
more frames per second slower the shot becomes
ramping
Varying the frame rate during shooting
perspective
The lens of a photographic camera does roughly what your eye does.
Located at a specific point, it gathers light from the scene and transmits that
light onto the flat surface of the film or video chip to form an image that
represents size, depth, and other dimensions of the scene.
the focal length
the distance from the center of
the lens to the point where light rays converge to a point of focus on the film
(this changes sizes,proportion and depths )
We can distinguish three general sorts of lenses, based on their focal lengths
and the ways they present perspective.
1.The short-focal-length (wide-angle) lens
2.The middle-focal-length (normal) lens
The short-focal-length (wide-angle) lens
-less then 35mm
-It’s called that because it takes in
a relatively wide field of view.
-lens exaggerates depth, making figures in the foreground seem unnaturally large and those in the distance seem quite far away
- The middle-focal-length (normal) lens
50mm
This lens seeks to avoid
noticeable perspective distortion.
Foreground
and background should seem neither stretched apart (as with the wideangle lens) nor squashed together (as with the telephoto lens)
- The long-focal-length (telephoto) lens
Long lenses take in a narrower angle of
vision than wide-angle or normal lenses do. As you’d expect, the effect
of movement with a long lens is the opposite of what happens with the
wide angle. A person moving toward the camera takes more time to
cover what seems to be a small distance.
100mm
zoom lenghth
to enlarge
some part of a shot.
combines:wide-angle, medium, and telephoto options
depth of field: a range of distances within which
objects can be photographed in sharp focus, given a certain exposure setting.(focus)
selective/shallow focus(just some or one subject)
deep focus(everything is focus)
racking focus
change focus while filming
special effect
the most unrealistic is superimposition
real projection
project footage of a setting onto a screen, then
film actors in front of it.(like of a view)
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
aspect ratios
The ratio of frame width to frame height
academic ratio
aspecto ratio -1.37:1
now
aspecto ratio 1.85:1
masks
The rectangular frame hasn’t prevented
some filmmakers from embedding other image shapes in it.
over either the camera’s or the printer’s lens to
block the passage of light.
A moving circular mask that opens to reveal or closes to conceal a scene is called an iris.
camera angles
straigh on angle
high angle
low angle
level
a camera can be more or less parallel to the hairazon
if the camera is tipped to one side it is Canted
distance between thye camera and the subjects
extreme long shot
human figure is tiny ,bird eye view
long shot
character standing up right take most of the frame
displayes whole body
medium long shot
from the knee up
medium shot
is from the waist up
medium close up
from the chest up
close up
the subject ocuppays most of the frame
extreme close up
anything closer then a close up
camera moviment
frame to be mobile/be able to change
pam
the camera as a whole dosnt move
but the camera moves left or right
tilt
the cameras’s body dosnt move
but it pivets up and down
tracking shots
the whole cameras move side to side or diagnoly or in and out
crane shot
the body of the camera move up and down
dolly
heavy cart where u put your camera, is very have and uses tracks
handheld camera
someone is holding the camera - pretty unstable
can give a pov sensation
or anxiety
mobile framing
gives us more information about this world
reframing
If a
character moves in relation to another character, often the frame will slightly
pan or tilt to adjust to the movement
rythim of camera movment
By choosing the duration and speed of camera movements, the
filmmaker can pace our understanding of the plot action.
