TECHNICAL ASPECTS

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TECHNICAL ASPECTS

• CINEMATOGRAPHY, PART I

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CINEMATOGRAPHY

• Cinematography focus not on what is filmed, but
  how it is filmed a type of "writing in light"
  (Turner)
• Some factors involved
• I.  Film types
• II.  Photographic image
• III. Camera angles framing
• IV. Photographic special effects

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I. FILM TYPES

• A.  Film stock
• 1.  Unexposed unprocessed film.
• 2. Filmmakers choose stock providing an
  appropriate look.
• 3. Film speed (ASA)--slow needs more light fast
  better for low light action, etc.

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FILM TYPES, CONT.

• B.  Film Gauge (width)
• 1. Most common types
• a. 35 mm--feature films
• b.  16 mm--documentary films
• c.  70 mm--more for spectacles
• d.   IMAX--70 mm. running sideways
• 2. Sharpness increases with width of gauge
• 3. Anamorphic process--Films shot in one
  gauge, but projected in another image squeezed
  up (see chp. 1)

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FILM TYPES, CONT.

• C.  Aspect ratios (see pp. 37-38)--1st number is
  width, 2nd is height
• 1.  Square--1.171
• 2.  Traditional/Standard--1.331 (prior to
  1950s most TV screens, also "full frame"
  videos)
• 3.   Widescreen--1.851 (most U.S. films)
• 4.  70 mm widescreen--2.2.1 (twice as wide as
  tall projected at 2.1)
• 5.  "Scope" (Cinemascope) or anamorphic
  wide-screen--2.41 or more (used for spectacles
  lose a lot if transferred to full frame video)

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FILM TYPES, CONT.

• D. Scanned prints
• 1.   Pan scan (Full Frame)--reduces image for
  TV screen w/o anamorphic process.
• a. Adds edits where there werent any.
• b. Cuts out part of the image.
• c. A message notes This film has been formatted
  to fit your television screen.
• 2.  Widescreen ("letterboxing)--shows image
  similar to what shown in theatre, sometimes
  processed to fit widescreen digital TVs. 

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FILM TYPES, CONT.

• E. Tonalities (see chapter 1)
• 1.  Black white film vs. color film stock
• a. Sometimes mixed in same film
• b.  Can add or subtract color via handpainting or
  computers.
• 2.  Muted (desaturated) vs. Vivid (saturated)
  color tones
• 3. High vs. low contrast

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FILM TYPES, CONT.

• F.  Speed of motion
• 1. Fast-motion (undercranking)
• a. The fewer frames per second, the greater the
  acceleration of action.
• b. Includes high-speed action.
• c.  Also used in comedy fantasy films.

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FILM TYPES, CONT.

• 2. Slow-motion (overcranking)
• a. The more frames per second, the slower the
  screen action will appear.
• b. Usually suggests a dream or fantasy. 
• c. Also used in some action films for emphasis.

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FILM TYPES, CONT.

• 3.  Time-lapse photography (see Glossary, p. 691)
• a. Filming subject one frame at a time at
  regularly spaced intervals.
• b. When projected at normal speed image is
  highly accelerated, even blurred.
• c. Helps collapse time.
• d. Also used for effect.

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FILM TYPES, CONT.

• 4. Stop-motion animation (see chp. 9)
• a. Photographing a scene using a stop start
  action, w/objects or persons.
• b. Can create a pixillated (jerky) effect.
• c. Can have sudden appearance disappearance of
  objects, persons, etc.

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II. Photographic image

• A. Perspective relationsfocal length of lens (p.
  79 p. 88)
• 1.  Short lens, short focal length
  (Wide-angle)--shows more of image than normal
  lens more deep focus.
• 2. Fish-eye lens--creates curvature of objects,
  esp. near edges.
• 3. Wide-angle effect/distortion--an unnatural
  effect where near objects seem overly large
  menacing sides are stretched out and movement
  to from the camera is accelerated.

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PHOTOGRAPHIC IMAGE, CONT.

• 3. Middle lens, middle focal length ("Normal
  lens)
• a. Most closely approximates eye perceptions.
• b. Used for majority of shots in a film.
• 4. Long lens, long focal length (Telephoto)
• a. Used for distance.
• b. Makes subjects appear closer together.
• c. More shallow focus.
• d. Movements to from camera slowed.

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PHOTOGRAPHIC IMAGE, CONT.

• 5.  Variable or Zoom lens
• 6. Forced perspective--use camera focal length,
  distance, angle to help create "special
  effects (usually with the set)
• B. Depth of field focus
• 1.  Deep (everything in focus)
• 2.  Shallow (only one part in focus, usually
  foreground)
• 3.  Rack-focus (begin on foreground, then shift
  to background or vice-versa)