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Cinematography BTEC MEDIA

BTEC Cinematgraphy

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Page 1: BTEC Cinematgraphy

CinematographyBTEC MEDIA

Page 2: BTEC Cinematgraphy

Aims

• To be able to identify all the different elements of cinematography used in Film and Television production in a range of still images and film trailers.

• To shoot a range of different shot types to be both aesthetically pleasing and create meaning and emotional response.

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What is Cinematography?

• It is the culmination of various elements to create emotional response, give information and create meaning. Those elements are:

• Shot size• Angle & Height• Camera Movement• Aspect ratio• Lens type• Focus & Depth of Field• Exposure• Shutter Speed

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• For additional information and training go to our YouTube channel for video tutorials, interviews and film scenes.

• http://www.youtube.com/smcbtecmedia

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The Rule of thirds

• The very first and one of the most important elements to learn is The Rule of Thirds.

• This will help your shots look more pleasing to the eye, balanced and professional.

• All film and television productions use this rule, so from now on you will too!

• See the Cinematography playlist on our YouTube for more examples

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Tutorial Videos

• http://www.youtube.com/watch?v=tsgEzEJ_fd4&list=PL1DC73CD8E3769D91&index=31&feature=plpp_video

• http://www.youtube.com/watch?v=fSSOZxLnNyc&feature=related

• http://www.youtube.com/watch?v=FsFXtI1hG34&list=PL1DC73CD8E3769D91&index=30&feature=plpp_video

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Dark Knight Rises Trailer

• http://www.youtube.com/watch?v=ASQqjK47c04

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Cinematography

• Cinematography deals with all aspects of framing and composition. It can be broken down into three categories:

• Shot size• Shot angle• Camera movement

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Shot Size

• The following shot sizes cover the whole shooting range. Each one carries its own meaning and is used for different purposes.

• Extreme long shot (ELS)• Long Shot (LS)• Medium Shot (MS)• Close Up (CU)• Extreme Close Up (ECU)

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Extreme long shot

• A wide shot that shows a very wide angle, where actors are usually small dots.

• These shots are commonly used to introduce a location. The viewer is able to get an overview of where he is, what is where.

• Emotionally, the viewer is distant. He's a spectator. Just watching what happens.

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Long Shot• The angle is wide, your actor is

full in frame, from his feet to his head.

• These shots are commonly used to introduce an actor/object, but still leave details aside. The viewer sees more of the actors/objects and has an overview of them. The location becomes less important, the actor becomes more important.

• Emotionally, this is a bit closer, but the viewer is still a spectator that gets an overview.

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Medium Shot• This closer shot shows your

actors from waist or chest upwards. This is commonly used for all kind of character situations.

• You get closer to the actor/object, and the viewer gets more and more drawn into the action/emotion of what's happening.

• Emotionally, you get more attached.

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Close Up• This focuses on a detail, a face, an

object. This is commonly used to draw the attention to something very important.

• The one ring, the fist of the angry boy, the eyes of the loving woman, the wound of the hurt soldier etc.

• Emotionally, this is very close. This can be both pleasant or unpleasant, but as a viewer, you're forced to watch a specific detail.

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Extreme Close Up

• This is the closest you can get. Focus on an eye, a mouth, an ear etc.

• This is so close, it's very uncommon for the human eye and therefore should be used only in a short sequence where a detail is either very small or you want to attach your audience very close to a character or emotional reaction.

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Shot size

• The following extract uses all the shots in the size range.

• Note how the camera starts with wide shots to establish location and moves closer as the scene becomes more dramatic.

• Select three key shots and be ready to discuss how they worked to serve the scene.

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Raiders of the Lost Ark (1981)

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Shot angle

• Shot size places us closer to or further away from subjects, affecting our emotional response.

• Shot angles create power relationships between characters and objects within the film as well as between the characters and the audience.

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High Angle

• Makes subject look inferior/weak/vulnerable

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Low Angle

• Gives subjects a feeling of power

and authority

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Canted Angle

• These angles are achieved when the camera is tilted so that the frame tilts to the left or right.

• This is an unnatural and unconventional angle and is used to suggest unbalance, danger or disorientation. The angle also creates a stronger more dynamic composition.

• This angle helps the audience to experience the same emotions as the characters as we are also disorientated.

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Evil Dead II: Dead by Dawn (1986)

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Camera Movement

• Meanings and emotion response can also be manipulated by the way in which the camera moves. We will study the following:

• Tracking• Steadycam• Handheld• Pan• Tilt

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Tracking

• “Tracking” shots get their name due to the fact that a camera is placed onto mini train tracks to produce a very smooth moving shot.

• The camera can then be moved forwards and backwards, left and right or in circular motions.

• This is a very useful technique for putting the audience into the shoes of character as we move with them within a scene. This helps the audience to share experiences, and identify with characters.

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Paths of Glory (1954)

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Handheld

• This is when the camera is removed from a tripod or crane and is literally handheld by the operator.

• This creates an unstable and bumpy shot.• Handheld is a useful device for creating

realism and recreating the experience of being on the scene.

• It also injects instability and an adrenaline into a scene.

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Pulp Fiction (1994)

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Cloverfield (2008)

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Steadycam

• The Steadycam was invented in the late 1970’s. The camera operator wears a spring mounted harness which the camera is attached to.

• The harness smoothes out the bumpiness of a handheld shot and gives a super smooth shot with the camera appearing to float.

• Therefore, steadycams provide the smoothness and stability of a tracking shot, but the freedom of movement of a handheld shot.

• The Shining (1980) was shot almost entirely with a steadycam to allow ease of movement through the Overlook Hotel.

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The Shining (1980)

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Steadycam

• There are many connotations of a steadycam shot.• The smoothness and fluidity can be used to suggest

ease of movement of characters in a scene.• The freedom to effortlessly move in and out of

places and turn suddenly has been utilised in films such as Halloween (1975)

• Its fluid quality can also be used to suggest dreams and fantasies.

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Unbreakable (1999)

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Point of View Shots (POV)

• A point of view shot is any shot which is through the eyes of a character.

• This is the most personal type of shot in terms of identifying with a character as we experience the scene through them.

• POV shots can also make the audience feel helpless as we can only see a small part of a scene and are only given the same information as the protagonist.

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They Live (1988)

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Halloween (1975)

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Wide Angle/Fish eye Lens

• Wide angle and fish eye lenses are characterised by exaggerated linear distortion.

• In other words the effect is like looking into a mirrored glass ball.

• This gives an extremely distorted, unnatural and unrealistic shot.

• This lens is most commonly used to give a distorted point of view of an unbalanced character.

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Wide Angle/Fish eye Lens

• In Requiem for a Dream (1999), a middle aged woman takes diet pills to loose weight to appear on a T.V. show.

• The pills cause hallucinations and a fisheye lens has been used to help convey her disjointed/fragmented/nighmarish perception of the world.

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Requiem for a Dream (1999)

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Requiem for a Dream (1999)

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Pull Focus

• This is when a certain part of the shot is brought into focus.

• This technique is used to draw the viewers attention to an object or character within the frame and to give significance.

• Pull focus is also useful for isolating certain parts of the frame, or characters, to separate them from the rest of the scene.

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Ratcatcher (1999)