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Film Studies > Cinematography > Flashcards

Cinematography Flashcards

1
Q

What is cinematography

A

In cinema we only know the world as it is shown to us thru filmed images and accompanying sound.

The filming of these images is cinematography, Motion-picture photography, literally ‘ movement-writing’

Although film images seem like a window on the world they are carefully constructed and manipulated

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2
Q

What it is vision, photography, film

A

Vision- light rays reflected from an object hit retina and stimulates our perception of that objects image in the mind

Photography-literally ‘light writing’ mimics vision, puts light patterns onto film
——but, vision is continuous, and photography freezes a single moment

Movies - connect single moments in organized frames per second to create ILLUSION of movement

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3
Q

Definition of ‘Apparent Motion’

A

Is the psychological process that explains our perception of movement when watching films, in which the brain actively responds to visual stimuli of a rapid sequence of still images exactly as it would in a real situation.

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4
Q

Magic lantern

A
  • one of the earliest technologies to project images
  • in the 1600s, known as 17th century
  • used a lens and alight source to project an image from a glass painted slide
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5
Q

Phantasmagoriaq

A

-elaborate spectacles in 18th century eg projecting ghosts and skeletons on columns of smoke

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6
Q

1820s -1880s invention of photography and the prehistory of cinema

Cinema: a photographic recording of reality and the animation of images

-were central to the 19th century (1800s)

A
  • 1839 Daguerre announced first still photograph
  • by 1880s Marey (France) and Muybridge (British but living in US) studying human and animal motion using CHRONOPHOTOGRAPHY —which is a series of still images that record bit by bit, or incremental movement, like 20 photos of a horse as it moves over a jump
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7
Q

Zoopraxiscope

A

Used by Muybridge

  • is a rotating glass disk
  • introduced 1879
  • enabled moving images to be projected for the first time
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8
Q

1890s-1920s Emergence and Refinement of Cinematography

What is the official birth date of the movies

A

December 28, 1895
—Lumiere brothers debuted their Cinematographe, adevice which combined camera and projector at the Grand Cafe in Paris
—showed 10 shorts including the one of workers leaving the factory

—the brothers successfully combined two elements:

  1. The ability to re or a sequence of images on a flexible transparent medium
  2. The capacity to project the sequence
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9
Q

The first movies consisted of a single moving image

A

Lumiere’s ‘Niagara Falls’ (1897)is just the fall sand bystanders but the compositional juxtaposing the powerful natural phenomenon with the people is superb

—-its th3 composition of the film infuses it with beauty do energy

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10
Q

In the US W.K.L. Dickson working for Thomas Edison developed a Motion Picture camera patented as the Kinetograph in 1891

A
  • early Edison films were shot in the Black Maria studio in New Jersey
    —film were watched not as a group but alone by looking into a Kinetoscope or ‘peep show’ machine,
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11
Q

What is film stock

A

A length of unexposed film consisting of a flexible backing or base such as celluloid and a light sensitive emulsion
—-the standard nitrate base film was highly flammable resulting in the loss of a lot of earl film
—-cellulose acetate Film stocks or SAFETY FILM were adopted but did not replace nitrate until the 1950s

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12
Q

What is the name of the primary manufacturer of film stock

A

Eastman Kodak

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13
Q

Width of film stock, or film gauge

A
  • standardized in 1909 at 35mm for industry
  • by 1920s 16mm was used for portable cameras/amateurs and the higher Rez 70mm was experimented with for spectacular effects
  • but 35 mm remained until challenged by digital formats
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14
Q

Film rate in 1920s

A

-changed from 16 to 24 frames per second which offered more clarity and definition to the moving images

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15
Q

Silent film era + Panachromatic stock

A

—innovation in lighting
—innovation in mechanics to move the camera, and varying the scale of shots

Panachromatic stock - responded to a full spectrum of colours by rendering them as shades of gray
—-became standard for black and white movies eg DW Griffith, Fritz Lang etc.(Metropolis 1927)
——Metropolis—pinnacle of visual creativity

—the Art was spectacular but the introduction of sound hurt the art because of bulkiness and limitations on outdoor and mobile shooting.

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16
Q

1930s- 1940s developments in colour, wide-angle and small gauge cinematography

  1. Sound and colour including definition of technicolor
A

-SOUND - now an optical track directly on film
-COLOUR- by 1930s evolved from hand painted frames or tinted sequences of film to coloured stock to TECHNICOLOR : colour processing that uses 3 strips of film to transfer red, green, blue directly onto a single image using a dye transfer process to create a full spectrum of colour
—-promised realism but initially thought artificial like Wizard of Oz

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17
Q

30s and 40s camera lenses

Camera lens - piece of curved glass that focuses light rays in order to form an image on a film

Definitions of lenses incl depth of field

A

-able to use different FOCAL LENGTHS( distance from the centre of the lens to the point where light rays meet in sharp focus) to alter perspective relations of an image

WIDE ANGLE: short focal length
TELEPHOTO: long focal length of at least 75mm capable of magnifying and flattening distant objects
ZOOM LENS: variable focal length
DEPTH of FIELD: range/distance before and behind the main focus of a shot within which objects remain relatively sharp and clear

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18
Q

Wide angle lens

-deep focus

A

-Developed 30s and 40s
- lens with short focal length typically less than 35mm allows exploration of a depth of field that can simultaneously show foreground and background objects or events in focus
—Cinematographer Greg Toland DEEP FOCUS (refined thru wide angle) cinematography in ‘Citizen Kane 1941’

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19
Q

Handheld cameras 30s and 40s

A
  • widely used WW2 newsreels
  • carried rather than tripod
  • small gauge production expanded 8mm film developed 1932, addition colour and sound to 16 mm format (educational films)
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20
Q

1950s-60s Widescreens 3-D and New Colour Processes

Widescreen processes

A

Widescreen Processes: widened ASPECT RATIO ( width to height ratio of film frame as it appears on screen)
—-movie screen changed from square to rectangular
—-done in part to distinguish TV from movie

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21
Q

Widescreen Processes continues

Anamorphic lens
Move to keep people going to movies instead of watching TV

A

-1950s CinemaScope used an ANAMORPHIC Lens (compresses the horizontal axis of a lens onto a strip of 35 mm film and a projector lens which ‘unsqueezes’ image to produce widescreen image
—other films used 70mm film gauge
-spectacles like 3D help fight back against TV
-colour becomes the norm

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22
Q

1960’s courting the youth market

-aggressive experimentation to distort/ fall attention to the image by using:

A

Filter: glass or gels placed in front of lens to create various affects
Flare: a spot or flash of white light created by directing strong light directly at the lens
Telephoto: lens with focal length of at least 75mm and capable of magnifying /flattening distant objects
Zooming: rapidly changing focal length of camera to move image closer/farther away

Amateurs become filmmakers: Super 8 introduced 1965 - better picture quality/easier to work with than 8mm

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23
Q

1970s-1980s cinematography and Exhibition in the age of the blockbuster

A

Camera Movement: became more flexible with STEADICAM: can film a continuous and steady shot (‘the Shining’ 1980)

-special effects technology wondrous images Jaws/Star Wars

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24
Q

IMAX -large format film system projected horizontally rather than vertically to produce a frame approximately 10 times larger than the standard 35mm frame

A
  • 1970s
  • the higher resolution was displayed in special venues featuring giant screens and stepped seating
  • today digital version of imax that makes special venues unnecessary
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25
Q

Video -1970s

A
  • used in documentaries and by artists
  • video captures and displays moving images electronically
  • while inferior at the time its cheapness and easiness made it appealing
  • camcorders and VCRs
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26
Q

1990s to present: digital era

  • rather than being recorded on film or magnetic tape digital images are captured as binary code
  • do not require processing
  • less costly
  • allows for manipulation and exact reproduction of the image at any stage of the process
A
  • were adopted for different phases of production/postproduction at different rates
  • non-linear production improves efficiency
  • digital editing

DIGITAL CINEMATOGRAPHY: shooting with a camera that records and stores visual information electronically as digital code
—-took until the 2000s to become a viable alternative to 35 mm in terms of image quality within the industry

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27
Q

Advantages of digital images

A
  • lightweight and mobile
  • can be more intimate than 35mm with its large cameras and lights
  • captures immediacy
  • much better than video
  • not restricted by length of a reel ( linger takes)
  • enhanced creativity
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28
Q

Disadvantages of digital

A

-images are recorded and displayed in pixels
-cinematographer could predict how stock reacts to light but digital requires familiarity with the camera
-became more popular after improvements to frame rate, resolution, light sensitivity
-cinematographer Boyle first to win Oscar ‘Slumdog Millionaire’
‘Tangerine’ 2015 feature shot on iPhone 6

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29
Q

Debate between which is better, film or digital

A

Improvements in technology made shooting in hi def video 4K Rez as good as 35 mm by 2009
By 2018 only 24 Hollywood films were shot in whole or part on traditional film

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30
Q

Who shoots with traditional film

A

Industry auteurs like Christopher Nolan, Paul Thomas Anderson, Quentin Tarantino
—‘purists’
-exploring enhanced formats like 70mm

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31
Q

Even works shot on film are typically completed using digital technology which has revolutionized postproduction and changed the role of cinematographer

Cinematographer = director of photography or D.P. Used to only be involved in production but that has changed

A

Because of the Digital Intermediate (DI) which is a digital scan of the edited film
—cinematographer and visual effects supervisor collaborate to maximize aesthetic potential
—-colour grading, other elements, like use of sepia in ‘O Brother Where Art Thou’

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32
Q

Women

A
  • new kinds of equipment and shifts in production norms give opportunity where there used to be little
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33
Q

Economy - exhibiting movies is cheaper digitally

A

Avatar 2009 second era of 3D spectaculars theatres began to convert from 35 mm to digital
- by 2012 digital projection from a hard drive called a DCP (Digital Cinema Package) which is a collection of digital files that store and convey audio, image and data streams

34
Q

Elements of cinematography

The shot

A
  • is the visual heart of cinema
  • is a continuous point of view ( or what was at first a continuously exposed piece of film) between 2 edits
  • the camera may move anywhere but the film does not cut
  • is a stylistic choice
35
Q

Takes, master shots, coverage

A

Takes: director/cinematographer film multiple takes of each shot from different camera set ups to have choices when editing
Master shot: the set up which films the whole thing
Closer shots of characters as they speak their lines, react etc
Coverage: gives editor enough footage to shape the scene in different ways ( framing/depth/colour/movement)

36
Q

Point of View - the position from which a person, event, object is seen or filmed

Subjective point of view: re-creates the perspective of a character as seen thru the camera

Objective point of view: eg an establishing shot, does nor challenge interpretation in the sense of an an inanimate camera taking on feelings, emotions life

A

Ascends point of view can be discontinuous
Eg Carrie the arrangement of points of seems illogical until you realize its telling you why she is about to unleash her telekinetic powers

37
Q

Four Attributes of the shot

A

-framing, depth of field, colour, and movement

38
Q

Framing
-the distance, angle,and height of the camera determine the portion of the filmed subject which appears within the frame

A

Mobile frame
- when the camera moves or the borders of the image are altered by a change in the focal length of the camera ( movement rather than framing)of the shot)

39
Q

Framing

  • 3 dimensions of film image(height and width of the frame + apparent depth of image)

Determines what we see ( and contributes to how we can interpret what we see)

A

Every frame, 24 per second, is worthy of study
- in the 20s experimentation with 3 screens side by side
—CANTED framing is not level, camera tilted to one side ( to indicate that’s things are not always what they seem)

40
Q

Aspect Ratio

Composition: width to height ratio as it appears on the screen/monitor

A

Academy Ratio is 1.37: 1
—adopted early as industry standard in 1932 and used by most films until the introduction of widescreen ratios in the 50s.
—dimensions are similar to those of early TV screens and are rendered as 4:3 in digital formats
—almost square, draws associations with window/picture frame
Widescreen Ratio ranges from 1.66:1 to CinemaScope 2.35:1
—-1.85:1 is widely used and corresponds to digital aspect of 16:9 (widescreen TV, computer screens)

41
Q

Aspect ratios shape our experience to align with themes and actions of the film

A

Eg Rebel Without A Cause 1955 drama of teenage frustration, alienation restlessness and fear
—elongated horizontal CinemaScope frame contrasts youth in a knife fight with sprawling city behind

42
Q

Filmmakers chose aspect ratio

A

To emphasize theme, create a vision etc
Eg Kubrick’s ‘Full Metal Jacket’ 1987 uses academy rather than widescreen to reinforce society witnessing Vietnam thru a box like TV

43
Q

Challenges for movies on TV or recorded to tape/disc

A

Usually reformatted through the PAN-AND-SCAN process in which a computer-controlled scanner determines the most important action in the image and the crops the peripheral action and space or presents original frame as 2 separate images
-always means loss of elements of picture
LETTERBOX format wider aspect ratio films lose the top and bottom

44
Q

Masks: if proportion is affected by aspect ratio, a frame can also be reshaped by masks

A
  • attached to camera or lights to cut off portions of the frame so part of the image is blocked and the eye is directed to the subject of the shot
  • mask may open only a corner of the frame, create a circular effect or just leave a strip in the centre
45
Q

Iris shot

A
  • corners of the frame are masked in black, usually circular form
  • can iris in or iris out ( gradually obscures whole image to focus on this one aspect
46
Q

Composition
-composition is the arrangement of pictorial elements within the frame

Onscreen space: visible within the frame

Offscreen space: implied space or world that exists outside the film frame

A

Onscreen space is composed so that the position, scale, and balance of objects within the frame direct our attention and affect our attitude toward what is being represented

—May create interest in foreground or background
—draw the eye into image thru depth cues
—make use of static vertical and horizontal lines or dynamic diagonals
—-symmetry asymmetry

47
Q

More composition/ framing

A

-rule of thirds

Lead room: the space in front and in the direction of being filmed balances the viewers tendency to look at that space

48
Q

Offscreen space

A

-usually less important
- sometimes has important information that will be revealed later
-sometimes dramatic tension - a character sees/engages with someone something offscreen
—horror genre

49
Q

Framing : camera distance

A

-distance of the camera from its subject, determine scale of the shot, signals point of view, and affects viewer understanding and emotions

50
Q

Close Ups (CU)and extreme close ups (ECU)

A

Closeups framing that show details of a person/object such as a face or hands, indicating characters thoughts/feelings or the significance of an object
—-CUs of female stars signal glamour or emotion

Extreme close ups are tighter than a close up singling something out
—-ECUs are used for dramatic direction of viewers attention or striking compositional element

51
Q

Long shots (LS) and extreme long shots (ELS)

A
  • long shots put considerable distance between camera and scene, object, person so that the object/person is recognizable but is defined by the large space/background
  • extreme long shots are ones in which the space dominates and dwarfs people and objects.
  • often both are used
  • give context
  • show distant action objects
  • might reinforce theme, eg isolation
52
Q

Medium shots - middle ground framing from the waist up

Medium Long Shot slightly increases distance between the camera and the subject or 3/4 ( from the knees up)

A

—often used in westerns when the cowboys weapons are an important part of mise en scene

53
Q

Medium close ups Showa persons head and shoulders

Note: genre often plays a role in close vs long shots, and where and why people/objects are placed in the frame

A

Often used in romance and melodrama

- captures facial expressions

54
Q

Camera height

A

Can also vary for the purpose of composition or to evoke a characters perspective

55
Q

Camera Angles ( high,low, overhead)

A

-shots are taken from many angles and are often correlated to camera height

High: directed downward on a person/scene
Low: from a position lower that the subject
Overhead: depicts the action from way abo, like from a crane or helicopter
Horizontal -faces likely in 3/4 (knees up) view rather than in profile

56
Q

Point-of-view shots (POV)

Shots change angle depending on point of view of a character like standing or sitting

AND…

A

They mimic a characters optical POV (what they are seeing) and are often preceded or filled by a shot showing the character looking,
—-Hitchcock Rear Window 1954 POV of protagonist in wheelchair —-emphasis on what he sees through camera angle and distance

-camera angles can indicate psychological moral or political meaning (eg the oppressors are shot above).

57
Q

Depth of Field - how you choose to focus can create perceive and meaning

Deep Focus: multiple planes (surface areas) in thot are all in focus simultaneously

A

William Wyler ‘The Best Years of Our Lives’ 1946 cinematographer Greg Toland
—how deep focus can create relationships within a single image using foreground/background all in focus and the characters front/back all happy

—also uses Shallow Focus : only one piece of frame focussed

58
Q

Rack focus or pulled focus

A

-a rapid change in focus from one object to another, eg first object woman, then focus quickly on man approaching behind her

  • can emphasize depth of field
  • can avoid making cuts
  • can also convey subjective effect (like a person becoming disoriented)
59
Q

Contrast and Colour

  • affects our experience and understanding of a film shot
  • even black and white films use contrast and gradations to create atmosphere or emphasize certain motifs (patterns)
A
  • use of light and dark imagery/ chiaroscuro
  • good vs evil, safe vs scared
  • can infuse implied references to historical periods or former periods in film history, then flip to colour
60
Q

Colour: hue, value, intensity

A

Hue: eg primary secondary etc.

Value: brightness or dullness of a hue.
—-locations, set decoration, makeup, costume, enhanced by gels, filters, colour can be used to sharpen mute or balance the effects of the scene during shooting
—different colour elicit different emotions from viewers
—depending on genre or desired effect, a film may create mood by use a monochromatic colour scheme, or add tension through sharp contrasting co.our

61
Q

Colour is a key element in composition

A
  • technicolor heightened emotional effect

- after colour was no longer a novelty, or new, it was used for both realistic and expressive purposes

62
Q

Choices on whether to use stock or digital,or what type of stock to use, are important to creating the palette of a film and the colour effects

Colour timing
Colour correction
Colour Grading

A
  • digital cameras capture ref green blue separately and much more capable of shooting in low light
  • film stock can vary in speed (which is a measure of the stocks sensitivity to light) and the way it registers colour
  • COLOUR TIMING-is manipulation of exposure and choices in printing—-affects colour of a film
  • COLOUR CORRECTION- in digital processing refers to adjusting the accuracy and consistency of footage ( eg colour and white balance)
  • COLOUR GRADING- altering image after capture either digitally or photochemically
63
Q

Movement

  • as our eyes move or as we move, so too can the camera
  • Reframing
A

REFRAMING - the process of moving the frame from one position to another within a single continuous shot
Eg Citizen Kane’s flashback to the protagonists childhood

64
Q

Pans and Tilts

A

-camera mount remains stationary in both
Pan - short for panorama is a left or right rotation of the camera producing a horizontal movement onscreen
—mimics a character turning his head
—360 degree pan = complete rotation
Tilts-are less common, going up and down and creating a vertical movement onscreen
——often someone looking up

65
Q

Tracking shots - a shot that changes the position of the point of view by moving forward, backwards or around the subject, usually on tracks that have been constructed in advance

Dolly shots: a shot in which the camera is moved on a wheeled dolly that follows a determined course

A

-elaborate camera shots requiring elaborate planning

Following shots: when the camera is following a person or an object, specifically.

Sometimes in tracking shots the cameras are on cranes helicopters etc so they can follow the action

66
Q

Handheld and STEADICAM shots

A
  • the camera is carried by the operator
  • handheld shots are often unsteady frequently used by reporters and documentaries to create an unsteady frame suggesting an individual point of view
    ====fostering immediacy in filmmaking
  • used in features as well
67
Q

STEADICAM

A
  • achieves the stability of a tripod, the fluidity of a tracking shot, and the flexibility of a handheld camera
  • is a stabilizing mount
68
Q

Zooms

A

-occurs not when a camera is moved but when adjustments are made to the lens during filming that magnify portions of the image
Zoom in - selecting an object character in the background and magnifying/reframing it often in close up while the camera remains stationary
-image tends to flatten
Zoom out - objects which appear close are distanced and reframed as small figures
-usually a focal length of 75 mm or higher

69
Q

From Special effects to Visual Effects

Mechanical Effects and Optical Effects

Matte shot

A

Mechanical effects: also known as practical effects are produced on set with props, costume make up, pyrotechnics ( fire and explosions) weather effects and scaled models

Optical Effects: produced in camera or with an optical printer
—include common visual transitions like dissolve, fade-out, wipes, or process shots that combine figures and backgrounds thru the use of matte shots ( a process shot that joins 2 pieces of film one of the person action, the other of a digitally produced background)

70
Q

Optical effects also include basic manipulation of the camera , including slow motion or fast motion ( filming at either slower or faster speeds and exhibiting at standard speed.

Examples of optical effects produced in camera include: forced perspective, colour filters, dolly zoom ( definitions below)

A

Forced perspective: position in the camera to create illusions of scale

Colour Filters: devices are fitted to camera lens to change the tones of the image

Dolly Zoom ( eg Hitchcock’s Vertigo) the camera is moved to keep the object the same size

71
Q

Another optical effect is a PROCESS SHOT where 2 or more images are combined into a single shot

A
  • they use masks to leave part of the film unexposed. A second image is them filmed on that portion of the film and the 2 ate combined on post production
    —might be used to add background of an action scene
72
Q

Rear projection

A
  • a projected image is positioned behind a screen in which the actors perform; used widely before computer compositing ( layering pixels from multiple videos)
73
Q

Visual Effects (VFX)

A

Special effects created in postproduction thru digital imaging

  • because of computer generated imagery = overlap of cinematography, animation visual effects began to overlap more and more
  • combinations of in camera effects and CGI
74
Q

Performance-capture technology

A

Lord of the Rings
- generating computer models from data gathered from actor Andy Serkis’s phyical performance and physical expressions and incorporating them into the character of Gollum,

75
Q

Thinking about cinematography

Jean -Luc Godard ‘truth 24 frames per second’

A

Films interpret and represent, always someone’s interpretation of truth

  • a film can both show the visual truth of the subject matter realistically and reliably, and also represent - to colour the truth with shades of meaning.
76
Q

Image of representation

A

-reflects our belief that film communicates details of the world realistically, even while showing us unrealistic situations
Cinema may document either subjective images ( which reflect the point of view of a person experiencing the events) or objective images (which assume more accuracy/truth)

77
Q

The image also ‘re-presents’ reality

A

Image of representation
The filmmaker and her team controls the impression all pieces of the film give about the subject matter, how they choose to represent reality

78
Q

Presentation vs representation

Using Harry Potter to explain

A

-are 2 primary imagistic values
-are interconnected
Eg when Harry speaks parseltongue the cinematography shows the fear and confusion of the other kids. Is it an objective presentation?? Or, is it an interpretive representation making the viewer think their might be something about Harry we need to be nervous of

79
Q

Traditions of images

-either as presence or text

A

IMAGE OF PRESENCE(called conventions of presence)
-an image we identify with, have an emotional response to, and experience as if we were there
-also might be a physical experience (top is f a mountain) to mental (blurry confused image after taking drugs
IMAGE OF TEXTUALITY
- the image demanded emotional and analytical distancing from the image
-the image is a creation constructed to be interpreted
-the image is a text with symbols to decipher
-film may play with a few textual images that force the viewer from presence ‘being there’, to analysis text

80
Q

Viewers should recognize in films the dominance of either presence or textual images

A

Eg Eat Pray Love 2010: exotic locations filled with luscious food for a romance genre= presence

Eg. Zentropa 1991 about a group of Nazis: the audience has to figure out images made with special effects and mixed media= textuality

81
Q

Bonnie and Clyde 1967

A

When released people didn’t like it because they thought it was a film of presence which happened to glamorize 1930s violence

-but it was really a film of textuality which was an ironic commentary of violence in the 60s.

82
Q

Once upon a time in Hollywood 2019
Quentin Tarantino
FILM of TEXTUALITY

—A film which plays and experiments withof cinematography
—A fictional ‘once upon a time… story who lived next door to the true story of the murders of Tate/LaBianca by Charles Manson and his followers

A

Begins with a red ske so you know there will be blood

Plays with cinematography throughout from shooting on Kodak 35 mm stock, anamorphic lenses

Full of themes and social commentary

Film Studies (4 decks)

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