The Five C's of Cinematography - Motion Picture Filming Techniques
Cinematography - University of Washington · 2019-11-15 · The 5 C's of Cinematography • Camera...
Transcript of Cinematography - University of Washington · 2019-11-15 · The 5 C's of Cinematography • Camera...
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Cinematography
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What is Cinematography Connected to?
Everything in front of the Camera. (Everything the audience can see)
Cinematography
Editing + Music + Sound + VFX
“A close up makes a face, prop, or costume a landscape”
- Guillermo Del Toro
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The 5 C's of Cinematography• Camera Angles
How to show the audience what is happening and helps emotionally tell the story
• CompositionArrangement of the elements in the frame.
• ContinuityCreates the flow of the film. Situates ourselves in a location or break from it.
• Cutting/editingHow individual shots can be stitched together to form a collage/sequence that creates meaning, story, tempo and emotion.
• CharacterCamera has a role in your story
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Case Study | Kung Fu Panda Opening
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CAMERA ANGLES● Camera angle is the placement and rotation of the camera for a single shot.
● Everytime the camera perspective changes, that is a new shot. ● Multiple shots can be cut together to form a sequence.
● All shots can be placed into two categories, objective and subjective.
● Camera angles can establish a certain psychological effect.
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• Unbiased point of view• Just what the observer sees• Not part of the scene• Characters don't interact with camera
OBJECTIVE CAMERA
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SUBJECTIVE CAMERA• The point of view of an object or character• Is part of the scene• A truly subjective camera is a first person point of view
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• Mostly eye level with characters in the shot• Allows the viewer to feel part of the scene
Camera Altitude | CASUAL
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• Gives the viewer a sense of being dwarfed• Can establish power in a character
Camera Altitude | LOW ANGLE
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• Gives a sense of weakness to the character
Camera Altitude | HIGH-ANGLE
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• A slight tilt in the camera• Creates a sense of unbalance or tension
Camera Angle Modifier | CANTED/DUTCH ANGLE
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• Only one part of the character dominates the frame
Shot Types | CLOSE-UP SHOT
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• Can see the character from the waist up
Shot Types | MEDIUM SHOT
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• Can see the whole character from head to toes
Shot Types | LONG SHOT
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• The character is very far from the camera• Character is dwarfed by other elements in the scene
Shot Types | THE EXTREME LONG SHOT
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Camera Movement | TILT
● Looking up/down with the camera
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Camera Movement | Tilt
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Camera Movement | PAN
● Looking left/right with the camera
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Camera Movement | Pan
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Camera Movement | ZOOM (FAST)
● Changing the focal length of the lens
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Camera Movement | ZOOM (SLOW)
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● Focus○ Leads the eye to look at a part of the frame○ What is in/out of focus?
● LENS FOCAL LENGTH○ How Perspective is being shaped/warped○ 8mm-24mm (ultra wide angle lens/fisheye)○ 24-35 mm (wide angle)○ 35-85 mm (standard)○ 85 - 135mm (telephoto)○ and more!
The higher the focal length (in mm), the more compressed the perspective will be
THE CAMERA LENS
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- Notice how high the focal length is and how far the photographer is - the image is compressed.
- Notice how small the focal length is, but how close the photographer is. Feels like you’re looking at the person directly.
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Camera Movement | DOLLY
● Forward/Backwards Camera Movement
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Camera Movement | DOLLY
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Camera Movement | TRACKING
● The camera itself is moved left/right (parallel) to an object
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Camera Movement | TRACKING
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Camera Movement | CRANE
● The camera translates vertically up/down
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Camera Movement | CRANE
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Camera Movement | DOLLY/TILT
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Combined Angles with Movement | CANTED PAN
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Camera Placement | 180 DEGREE RULE
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Sequence Analysis | The Duel 180° Rule
HeroVillain
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HeroVillain
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HeroVillain
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HeroVillain
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HeroVillain
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Composition | THE RULE OF THIRDS
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Composition | ANGLES & LINES
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Composition | ANGLES & LINES
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Horizontal Lines create a sense of calm and peace.
Diagonal lines creates a sense of urgency, power, and energy
Vertical is somewhere in between
Composition | ANGLES & LINES
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• e.g: Low camera angles allow for cutting from inside close up to outside extreme long shot
• To be able to cut between spaces without bringing attention to the editing or story logic
Continuity | SPATIAL
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This Establishing Shot allows for a jump in time. Viewers can assume he followed the path to the inn.
Continuity | TEMPORAL
• Ability to have a big jump in time without questioning camera/story logic
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This Establishing Shot allows for a jump in time. Viewers can assume he followed the path to the inn.
Continuity | TEMPORAL
• Ability to have a big jump in time without questioning camera/story logic
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Character
● The camera is the lens for the audience to know what to pay attention to and how to feel.
● Camera is rarely neutral.● In animation, you want your camera to act like a real life person would
film it.