Cinematography-Theory-And-Practice

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audience. That is its only reason for being; it is not a carved in stonedictum that exists independently. That means that if we can crossthe line without confusing the audience, then we’re still OK.Example — a courtroom. It’s layout is very clear and visuallystrong. At the front of the room is the bench, a large identifiableobject with the judge sitting at it. On one side is the jury, and facingthe judge are the counsel tables. It is familiar and understandable. Ina situation like this you have a great deal of leeway in crossing theline without creating confusion. Another example would be rockclimbers ascending a cliff. You can jump to the other side and no oneis going to misunderstand what happened.ReverseAnother case of crossing the line is when you deliberately go to theother side for a reason. Say two people are seated on a sofa and we doextensive coverage of them from in front of the sofa, the most logicalplace to shoot from (Figure 6.22). Clearly the line has been wellestablished. But now there is another important action. A new characterhas to enter through the door and have a conversation with thetwo people on the sofa. It always better to show a character enteringthe room rather than just having them enter frame, when we don’tknow where they came from.Second, we wouldn’t really know where the door is and that he isentering the same room. Since they have not seen the door before,for all the audience knows, we have gone to a completely new sceneand this man is entering another room somewhere. What we wouldreally like to do is put the camera in the back of the room behind thesofa, so we see them in the foreground and see him entering, but thatwould be crossing the line, so we can't do it, right?Yes, you can do it. It’s called a reverse, but you can’t just do it willynilly.You can’t do it on a close-up; that would be just crossing theline. The important thing is that we still see the two people in theforeground, but we see the new character and the door in the background.There is motivation for being on the other side; there is anunderstandable reason.Another factor in a successful reverse is how big a difference it is.Just crossing the line slightly would probably not work. It is whenyou definitively and unquestionably are on the other side of the linethat a reverse is understandable. The audience does have to do somemental reorientation, but given the proper clues they can do so easilyand it is not distracting to the viewers. Another way to cross the lineis to see the camera move to the other side of the line, as in a dollymove. Then there is no confusion.TURNAROUNDYou would never do the over-the-shoulder on one actor, then movethe camera to do the OTS on the other actor, then go back to thefirst for the close-up, and so on. This would be very inefficient andtime consuming. So naturally you do all the coverage on one side,then move the camera and reset the lighting. The term for this is thatyou shoot out one side before you move to the other side, which iscalled the turnaround. The group of OTS’s and close-ups that matchthe ones done on the first actor are called the answering shots. Everyshot you do in the first setup should have an answering shot. Afterwindow and door matching, the turnaround is the other major areawhere cheating is employed, such as in cases where some physicalobstacle precludes a good camera position for the turnaround, orperhaps the sun is at a bad angle, or maybe it’s a complex lightingsetup and there simply isn't time to relight for the answering shot.Figure 6.20. Cutting to a neutralangle such as a car coming directlytoward you can help transition fromone side of the line to the other.cinematic continuity85
Figure 6.21. Sometimes it is necessary to cheat a turnaround. If for some reason there is no time to set up and lighta real turnaround, or if the new background is somehow unuseable, then it is possible to cheat the shot by merelyspinning the actors around (middle two frames).However, if you only spin them, the camera ends up being over the “wrong” shoulder. Based on the shot in the topright frame, the answering shot should be over her right ear. In the middle frames, we see it is over her left ear. In thebottom two frames we see it done correctly: the actors are reversed in their postions, but the camera is shifted tocamera left so that it is now over the correct shoulder for the cheated shot.cinematography86
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cinematographytheory and practiceim
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cinematographytheory and practiceim
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contentsIntroductionThe Scope of th
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lighting sources 129The Tools of Li
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Video Exposure 198The Tools 199The
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optics & focus 269Physical Basis Of
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INTRODUCTIONTo a great extent the k
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writing with motion© 2012 Elsevier
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Figures 1.2 through 1.5. Visual ele
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a T-shirt, even though it hardly se
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factors involved: contrast and shar
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TextureThese days, we rarely shoot
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Figure 1.24. (top) This scene fromC
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Film is a dream — but whose?Bruce
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Figure 2.2. To convey the sense oft
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The Shots: Building Blocks of a Sce
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Figures 2.5 and 2.6. Ever the maste
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Close-upsClose-ups are one of the m
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Figure 2.15. (above) An atmospheric
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InsertsAn insert is an isolated, se
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Figure 2.23. A master shot fromRoni
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Overlapping or Triple-Take MethodTh
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Shooting the Freeform MethodHere’
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INVOLVING THE AUDIENCE: POVRecall t
Page 50 and 51: More subjectiveMore subjectiveMore
Page 52 and 53: visual language© 2012 Elsevier Inc
Page 54 and 55: Figure 3.3. (top) Balance plays a r
Page 56 and 57: Texture tors,texture gives
Page 58 and 59: Left/RightLargely a result of cultu
Page 60 and 61: FORCES OF VISUAL ORGANIZATIONAll of
Page 62 and 63: Figure 3.16. (top) The sinuous S an
Page 64 and 65: Open and Closed FrameAn open frame
Page 66 and 67: Figure 3.25. (above) The rule ofthi
Page 68 and 69: language of the lens© 2012 Elsevie
Page 70 and 71: Figure 4.3. The wide lens creates a
Page 72 and 73: shots and action sequences. The lim
Page 74 and 75: Manipulating PerspectiveThere are m
Page 76 and 77: Selective FocusThe characteristic o
Page 78 and 79: IMAGE CONTROL AT THE LENSSome techn
Page 80 and 81: Low AngleA low-angle shot can make
Page 82 and 83: visual storytelling© 2012 Elsevier
Page 84 and 85: penetrates the dusty darkness of ig
Page 86 and 87: Figure 5.6. The black-and-whitefilm
Page 88 and 89: Figure 5.11. (top) The Judge, themo
Page 90 and 91: Figure 5.21. (above) The momentbefo
Page 92 and 93: cinematic continuity© 2012 Elsevie
Page 94 and 95: As discussed in Shooting Methods, t
Page 96 and 97: over some of that move. To just ski
Page 98 and 99: Figure 6.14. The line established b
Page 102 and 103: Figure 6.22. In this scene of a cou
Page 104 and 105: Figure 6.25. The 20% rule and the30
Page 106 and 107: Prop Continuity in CoverageThe prin
Page 108 and 109: Look Establishes New LineIn a relat
Page 110 and 111: INTRODUCTIONSWhen you are bringing
Page 112 and 113: Figures 6.45. (top) A dramatic ands
Page 114 and 115: As discussed in Shooting Methods, s
Page 116 and 117: Figure 6.51 (top). In 2001: A Space
Page 118 and 119: lighting basics© 2012 Elsevier Inc
Page 120 and 121: to a neutral card. This would likel
Page 122 and 123: Figure 7.5. (top) Lighting can crea
Page 124 and 125: Soft light: Light from a large sour
Page 126 and 127: Figure 7.11. (top) Flat front light
Page 128 and 129: — from very light, almost translu
Page 130 and 131: Figure 7.18. Blown out windows ands
Page 132 and 133: Ambient Plus Accentsevery corner of
Page 134 and 135: Available Light WindowsWindow light
Page 136 and 137: Carrying a LampOften we want the la
Page 138 and 139: Figure 7.31. (top) If the practical
Page 140 and 141: danger here is your background: sin
Page 142 and 143: Figure 7.36. (top) Direct sunlight
Page 144 and 145: lighting sources© 2012 Elsevier In
Page 146 and 147: BallastsAll HMIs require a ballast,
Page 148 and 149: Figure 8.6. Larry Mole Parker ofMol
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the holder. Contamination will incr
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TennersThe 10K tungsten Fresnel com
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go from a very wide beam to a very
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Figure 8.21. (top) Barger Baglights
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Cycs, Strips, Nooks and BroadsWhen
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Figure 8.28. (above) A Mini Musco i
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HD cinematography© 2012 Elsevier I
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10075HighlightsFigure 9.2. An analo
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DIGITAL VIDEODigital video exists i
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Lossy and Lossless CompressionA los
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Figure 9.7. (top) SMPTE 75% colorba
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104° Red61° Magenta167° Yellow0
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Video Noise and GrainMotion picture
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Figure 9.15. Component outputson th
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Figure 9.17. Blue-only color barssh
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Figure 9.21. (above) The Chromadu M
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The Decision MatrixHere’s an orga
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Figure 9.24. (top) The timecodepane
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TAPELESS PRODUCTIONOne advantage (i
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Cineon and DPX FilesOriginally crea
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Figure 9.30. (top) A gradient grays
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Figure 9.35. (top) Shot on thecamer
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CONTROLLING THE HD IMAGECertain bas
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exposure© 2012 Elsevier Inc. All r
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close down the iris to a small open
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The Bottom LineHere’s the key poi
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one whole f/stop, we double the qua
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the lower the light level the film
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Figure 10.14. The Hurter andDriffie
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Figure 10.16. Differences betweena
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The total brightness range of the s
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ABCDEFFigure 10.20. Exposure on fil
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more critical in video than in film
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“blinding white,” and so on. We
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Zones in a SceneExamine a typical s
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meter. The two readings should be t
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ViewfinderMirror(closed section)Ope
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camera movement© 2012 Elsevier Inc
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Figure 11.2. A Chapman Lenny Armrig
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Figure 11.3. A very simple pipe dol
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Circle Track MovesWhen ordering a d
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Dutch HeadDutch angle is when the c
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front wheels are locked in and func
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Crane/Jib ArmA crane is any camera
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CAR SHOTSCar shots have always been
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SteadicamThe Steadicam revolutioniz
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color© 2012 Elsevier Inc. All righ
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Functions of the EyeThere are many
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creates white. The human eye has re
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Red/Blue Axis(Color Temperature)Neu
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Figure 12.19. Strong monochromaticc
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Figure 12.21. This shot from FightC
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STRATEGIES FOR DEALING WITH EXISTIN
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Table 12.5. Gels can be used to cor
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Figure 13.1. (previous page) CCE,a
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Push processing tends to increase c
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Skip BleachSkip-Bleach bleach
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Other Image Control TechniquesCross
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Figure 13.4. The distinctive lookof
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Output0255255255InputInput3D LUTsti
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Figure 13.10. (left) The image with
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Figure 13.18. (top, near right) The
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Figure 13.22. (top) An 85B.Figure 1
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Table 13.5. Effects of filters in b
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Figure 13.27. (top) Scene with nofi
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Figure 13.31. The distinctive looki
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Figure 14.1. (previous page)Extreme
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Figure 14.4. Refraction.FOCUSFocus
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Figure 14.6. How iris openingaffect
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Figure 14.8. Deep focus (extremedep
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Lens focus set at infinityHyperfoca
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Figure 14.11. (top) In both of thes
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Figure 14.15. A split diopter gives
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Figure 14.16. (top) A snorkle syste
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photographed by the video camera se
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Figure 15.1. (previous page) A typi
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Figure 15.3. DP Tom Denove usinga s
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Figure 15.5. (top) Attaching a filt
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Figure 15.8. (top) Types of toemark
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Figure 15.12. Timecode slating with
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Figure 15.14. SteadiCam or handheld
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Figure 15.16. When shooting out int
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Figure 15.18. Chief Lighting Techni
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Figure 15.20. A common slatingmista
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Figure 15.22. (top) A 40 foot light
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Figure 16.1. (previous page) A comp
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wave form of the power supply by sq
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SHOOTING PROCESS PHOTOGRAPHYGreensc
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Figure 16.3. (top) A large bluescre
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Figure 16.8. A very large bluescree
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completely independent of the frame
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Figure 16.9. The Photo-Sonics 4B,ca
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Figure 16.11. Without smoke andrain
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Figure 16.14. (above) The Thundervo
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consuming process. Also, a licensed
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Figure 16.18. The lighting effectsh
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Figure 16.19. A sun path chart fora
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Figure 16.20. A grayscale and color
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Figure 16.22. Framing chart forvide
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Figure 17.1. (previous page) AnImax
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Figure 17.9. A 2.20:1 widescreenasp
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Widescreen 1.85:1Cinemascope 2.35:1
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Figure 17.17. A graphic comparisono
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ibliographyAdams, Ansel. The Negati
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Best boy electric (second electric)
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Color temperature, 231, 235-237, 25
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Dolly left/right, 218Domino, 115Doo
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4K HMI units, 134400 Blows, The, 96
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Interframe compression, 153, 173Int
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diopters, 283-284exposure compensat
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Photopic (daytime) vision, 228-229P
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Sides, 304Signal, video, 160-162Sil
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Umbrellas, camera, 324Unbalanced fr
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Also by Blain Brownand available fr
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