Cinematography-Theory-And-Practice

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Figure 3.3. (top) Balance plays a rolein this film noir frame.Figure 3.4. (bottom) Visual rhythmwith an ironic twist in this shot fromStanley Kubrick’s Killer’s Kiss, his firstfeature.Design PrinciplesCertain basic principles pertain to all types of visual design, whetherin film, photography, painting, or drawing. These principles workinteractively in various combinations to add depth, movement, andvisual force to the elements of the frame.Unitycontained and complete. This is true even if it is a deliberately chaoticor unorganized composition. In Figure 3.2, this climactic finalshot from The Big Combo uses frame-within-a-frame composition totell the story visually: having defeated the bad guys, the hero andfemme fatal emerge from the darkness into the light of morning.visual language39
Figure 3.5. Lighting, perspective,choice of lens, and camera positioncombine to give this Gregg Tolandshot tremendous depth and threedimensionalityin The Long VoyageHome.Balancesition.Every element in a visual composition has a visual weight.These may be organized into a balanced or unbalanced composition.The visual weight of an object is primarily determined by its size butis also affected by its position in the frame, its color, movement, andthe subject matter itself.Visual TensionThe interplay of balanced and unbalanced elements and their placementin the frame can create visual tension, which is important inany composition that seeks to avoid boring complacency.Rhythm-very subtle way as in Figures 3.4, a frame from Killer’s Kiss.ProportionClassical Greek philosophy expressed the idea that mathematics wasthe controlling force of the universe and that it was expressed invisual forces in the Golden Mean. The Golden Mean is just one wayof looking at proportion and size relationships in general.ContrastWe know a thing by its opposite. Contrast is a function of the light/dark value, the color and texture of the objects in the frame and thelighting. It is an important visual component in defining depth, spatialrelationships, and of course carries considerable emotional andstorytelling weight as well.cinematography40
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cinematographytheory and practiceim
Page 4 and 5: cinematographytheory and practiceim
Page 6 and 7: contentsIntroductionThe Scope of th
Page 8 and 9: lighting sources 129The Tools of Li
Page 10 and 11: Video Exposure 198The Tools 199The
Page 12 and 13: optics & focus 269Physical Basis Of
Page 14 and 15: INTRODUCTIONTo a great extent the k
Page 16 and 17: writing with motion© 2012 Elsevier
Page 18 and 19: Figures 1.2 through 1.5. Visual ele
Page 20 and 21: a T-shirt, even though it hardly se
Page 22 and 23: factors involved: contrast and shar
Page 24 and 25: TextureThese days, we rarely shoot
Page 26 and 27: Figure 1.24. (top) This scene fromC
Page 28 and 29: Film is a dream — but whose?Bruce
Page 30 and 31: Figure 2.2. To convey the sense oft
Page 32 and 33: The Shots: Building Blocks of a Sce
Page 34 and 35: Figures 2.5 and 2.6. Ever the maste
Page 36 and 37: Close-upsClose-ups are one of the m
Page 38 and 39: Figure 2.15. (above) An atmospheric
Page 40 and 41: InsertsAn insert is an isolated, se
Page 42 and 43: Figure 2.23. A master shot fromRoni
Page 44 and 45: Overlapping or Triple-Take MethodTh
Page 46 and 47: Shooting the Freeform MethodHere’
Page 48 and 49: INVOLVING THE AUDIENCE: POVRecall t
Page 50 and 51: More subjectiveMore subjectiveMore
Page 52 and 53: visual language© 2012 Elsevier Inc
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 100 and 101: audience. That is its only reason f
Page 102 and 103: Figure 6.22. In this scene of a cou
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Figure 6.25. The 20% rule and the30
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Prop Continuity in CoverageThe prin
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Look Establishes New LineIn a relat
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INTRODUCTIONSWhen you are bringing
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Figures 6.45. (top) A dramatic ands
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As discussed in Shooting Methods, s
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Figure 6.51 (top). In 2001: A Space
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lighting basics© 2012 Elsevier Inc
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to a neutral card. This would likel
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Figure 7.5. (top) Lighting can crea
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Soft light: Light from a large sour
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Figure 7.11. (top) Flat front light
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— from very light, almost translu
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Figure 7.18. Blown out windows ands
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Ambient Plus Accentsevery corner of
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Available Light WindowsWindow light
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Carrying a LampOften we want the la
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Figure 7.31. (top) If the practical
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danger here is your background: sin
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Figure 7.36. (top) Direct sunlight
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lighting sources© 2012 Elsevier In
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BallastsAll HMIs require a ballast,
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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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