Cinematography

Question 1

Focal Length

Answer 1

The distance from the center of the lens to the point where light rays converge to a point of focus.

Focal length of lens affects perspective relations in the image in terms of depth and scale of objects in the image.

Question 2

Wide Angle / Short Focal Length ( < 35mm)

Answer 2

–Distorts straight lines toward the edge of the image, making them bulge outward –Exaggerates depth

–Movement to or from the camera seems more rapid

–Greater depth of field than longer focal length lenses

Question 3

Normal / Middle Focal Length ( 35mm < 50mm)

Answer 3

• No noticeable perspective distortion
• Horizontal and vertical lines straight and perpendicular
• Parallel lines recede to a vanishing point

Question 4

Telephoto / Long Focal Length ( 75mm < 200mm)

Answer 4

• Space of the shot flattened
• Depth reduced and planes pushed together
• Movement to or from the camera seems prolonged

Question 5

Depth of Field

Answer 5

The range of distances or planes in front of the camera that can be photographed in sharp, clear focus.

Question 6

Deep Focus

Answer 6

•Use of lenses and lighting that keeps all planes, closest and farthest away, in sharp, clear focus.

Question 7

Shallow Focus

Answer 7

Focusing on one plane only.

Question 8

Rack Focus

Answer 8

•: Shifting focus from foreground to background or vice versa-by definition with shallow focus.

Question 9

Zoom Lens

Answer 9

• Changes focal length and therefore perspectival relations during a single shot.
• Magnifies or de-magnifies objects filmed and includes or excludes surrounding space so simulates camera movement.

Question 10

The Frame

Answer 10

It’s not a neutral border. It produces a certain vantage point on the action, and gives a particular point of view. The frame actively defines the image for us.

Question 11

Aspect Ratio

Answer 11

•The ratio of vertical dimension of frame in relation to horizontal dimension.

Question 12

Different Aspect Ratios

Answer 12

• 1930’s Academy ratio: 1:1.33
• 1950’s Cinemascope: 1:2.35
• New Academy ratio: 1:1.85
• Television 1:1.33

Question 13

Pan

Answer 13

Horizontal movement of the camera on a fixed vertical access

Question 14

Tilt

Answer 14

•Vertical movement of the camera on a fixed horizontal axis.

Question 15

Tracking / Dolly Shot

Answer 15

• Camera moves in any direction along the ground. It can be towards or away from the subject (tracking or dollying in or out) or alongside it as in a lateral tracking shot.

Question 16

Track In / Zoom Out

Answer 16

Camera moves forward while lens shifts from telephoto to wide angle

Question 17

Crane

Answer 17

•The camera leaves the ground and can move in any direction, as in a helicopter or airplane shot.

Question 18

Subjective Camera Movement

Answer 18

• Camera movement from the character’s perspective—moving POV shot.

Question 19

Reframing

Answer 19

• Slight camera movement as a character moves to sit down, stand up, or lean one way or another

Question 20

Dependent Camera Movement

Answer 20

• The camera follows a character’s motion. That, rather than the movement of the frame, is what we concentrate on.

Question 21

Independent Camera Movement

Answer 21

• Camera movement that is not based on character movement. Often more noticeable to us.

Question 22

Functions of Mobile Framing

Answer 22

• Moves onscreen space off and vice versa.
• Increases the spatial scope of the narrative.
• Can drastically change our perspective.
• Controls spatial changes without the discontinuity of editing.
• Can be used repeatedly as a motif in a film.

Question 23

Long Take

Answer 23

•A shot with an unusually long duration. A long take can be static or mobile.

Question 24

Sequence Shot

Answer 24

•When a director uses one shot to film an entire sequence.

Question 25

Off-screen Space

Answer 25

•It is signaled by glances and sound off-screen and by camera movement which turns onscreen space to off-screen and vice versa.

Question 26

Height of Frame

Answer 26

High, Low, & Eyelevel – most common

Question 27

**Distance: **Extreme Long Shot

Answer 27

• Used for landscapes, bird’s eye view of cities, shots in which a human figure is extremely small.

Question 28

**Distance: **Long Shot

Answer 28

•The background still dominates, but figures are visible. Common for establishing shots.

Question 29

**Distance: **Medium Long Shot

Answer 29

•Human figure from the knees up/balance of figure and surroundings. A very common shot distance. The “American Shot” as it’s known.

Question 30

**Distance: **Medium Shot

Answer 30

From the waist up.

Question 31

Distance: Medium Close-Up

Answer 31

From the chest up.

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Question 32

**Distance: **Close Up

Answer 32

Just the head, hand, object, or body part.

Question 33

**Distance: **Extreme Close-Up

Answer 33

Isolates a portion of the object, body part, or face.

Question 34

Invisible Style Framing

Answer 34

• Centers what is narratively important
• Camera distance establishes and re-establishes settings and character positions
• Isolates narratively important details

Question 35

Point of View Shots

Answer 35

Optical POV shot: when a shot’s framing cues us to take it as a character’s vision.