Elements of Cinematography

The Basics of Cinematography

Hello everyone and welcome to the online version of this class. Your homework for our first week back is to watch all of the lectures below. Your video assignment has been updated and will be posted soon if you’ve already started working on the original assignment I gave you, you are welcome to continue with that if you are able.

You should be able to view these in little chunks on your computer or mobile device. I’ve tested this and it works on my iPhone but, please email me immediately if it’s not working for you. Unfortunately, I can’t post these to YouTube as the videos contain a whole bunch of copywriten clips.

At the bottom of this page, I will go over a few recommendations if you plan to shoot your video using your phone.

Also, because of the stupid setup, I choose to use to show my face at the beginning of each video my lipsynch might be off. This will only be for the parts with me on screen the films themselves should be fine.

Please keep in mind its been many years since I’ve given this lecture and while I’ve updated the quality of the videos to HD where possible most of the examples are at least 10 years old. Sorry.

Focus

In the video above we watch a clip from the beginning of Terry Gilliam’s Brazil. Notice how your focus starts on the form and shifts from person to person as the form makes it’s way to the manager of the office. Take particular note of how sound, color, and motion are used to direct your eye.

Contrast

In this section, we view Terrence Malick’s Days in Heaven. The majority of this film was shot during magic hour which only occurs for about 45 minutes right before the sunsets. The results in a low contrast image where color is the main thing that allows us to discern shapes. It then switches to a night shot lit by the fire where the contrast between light and dark is very strong.

Line and Shape

Here, the incredibly strong contrast gives the film a graphic feel. Actors and props are reduced to shapes and silhouettes. Keep in mind how different shapes interact and the difference between positive in negative space when composing your scenes.

Space

In The Royal Tenenbaums, Wes Anderson uses Space to visually represent the distance between Royal and his children after he tells them he is getting a divorce. In Peter Greenaway’s A Zed & Two Noughts Space is expressed through many different scenes, pay special attention to how he has different things happening in both the fore, mid and background.

Value

Value refers to how light or dark an object is. Here we see how the director of Griff The Invisible uses color to make his main actor disappear and how this wouldn’t be as effective if in black in white.

Color – part 1

In The Conformist, we look to see how switching from a muted color palette in one scene to a more vibrant one in another can change the mood of the viewer.

Color – part 2

Here we see how using color helps the viewer differentiate between different cars in Speed Racer.

Movement

Finally, we analyze how movement allows you to change focus from character to character in Paul Thomas Anderson’s Boogie Nights.

Shooting with your phone

If you plan to use your phone I would highly recommend ordering a mini tripod with a phone holder. This will allow you to better compose your shots without fussing with making sure you hold the camera still it also allows you to be in the video yourself if you choose. I will provide some Amazon links below if you have Prime (I think you can get a free trial as a student) it should show up in a day or two so I’d recommend ordering as soon as possible.

Phone Tripod links

Other phone camera apps

Also, if your phone is really frustrating you with its lack of control you might want to purchase a better camera app. Below is a link to some apps recently reviewed, they have a big old list of comparisons for you to make your best choice. Once again, you don’t need these apps but if you want some more control over your camera these will help.