Intro Lecture/ cinematography /spring 08 NO OFFICE HOURS TODAY Begin talking about cinematography Watch CK filmic devices -in papers for films studies and if you make films or tv, you will need to know the language of describing shots, when you write papers and take examines, you need to identify the basic visual language of film using the exact terminology. For the next few weeks, I will be adding to your vocab and in sections you will trying this vocab out. sometimes, low camera angle = dominating, character with too much power, looming over us, aggressive high angle on subject = dominated, someone oppressed, or threatened. mistake people often make: this is always the case. Just not so. READ 192 in B&amp;T But there is no set formula No easy decoder machine No dictionary. <a href="/keyword/film-art/" >film art</a> as book is careful to use examples from specific films and often tells us how stylistic choices only make sense in the context of the film s pattern, earlier shots, in relation to all the other formal elements of the film. The Insider Motifs that repeat charge and recharge the device with meaning but device s meaning can only get revealed by the end of the film Every context is different. 1. PHOTOGRAPHIC Range of Tonalites Stocks Tinting, toning, coloring, hand coloring, and scratching (digital =Grading now) filters Speed of motion Slow-mo Freeze frame Ramping Time lapse flower blooms, bud pushes through soil HighSpeed bullet shattering glass, crash into water Perspective Focal length Wide angle (less than 35mm) Normal (35-50) Telephoto (75-250) Zoom allows varying lengths within one take Depth of Field range of focus you can have deep space w/o wide depth of field (toland = most famous cinematography== both!... it s called deep focus! Faster film, shorter focal length lens (not wide angle, but getting closer to that end of the spectrum), more intense lighting Special Effects Process Work (Composit shots) 2 types: 1. Projection Process a. rear projection- actors shot in front of a projected image b. front projection camera shoots live action through a reflection of a projected image 2. Matte Work *with CGI and other aspects of digital cinema, not only can image effects look more like camera-shot elements of M-E-S. But more broadly, we might saw that the traditional distinctions between what s m-e-s and cinematography are breaking down. *Closer to a animation-live action composite or hybrid. 2. FRAMING Dimensions and shape Could be any shape. Aspect ratios 1:33:1 Academy (and standard TV) 1:85:1 today 2.35:1 cinemascope/panovision Masks and Iris effects Multiple-frame imagery, split screen Onscreen/Offscreen 6 zones of offscreen space Angle, Level, Height, and Distance of Framing Angel: Straight on, high, low Level: or levelness. Parallel to horizon, CANTED Height: closeness to ground Distance body used as standard measure1 ELS human barely visible LS human featured, but background dominates MLS knees up MS waist up CU- just head, hands, feet, small object ECU isolated detail (eye or lips) and magnified, POV optical Subjective shot 2 Rare framings sudden a shot not used happens, NOTE these. Mobile framing most happen during production First two the camera does not move to a new position, stays planted Pan= camera body pivots right or left, like a head turning Tilt=camera body pivots up or down, These camera s position changes in space Dolly shot, tracking Crane camera moves above ground level, on a massive armiture ***Various Movements often combined in one shot. Hand held (jerky, DOC combat footage, in the crowd, embodied ) stea...