ⓘ Blog | Cinematography. Cinematography is the art of motion-picture photography and filming either electronically by means of an image sensor, or chemically by means of ..



Film or movie, a series of still images that create the illusion of a moving image Filmmaking, the process of making a film Film industry, the technological and commercial institutions of filmmaking Cinematography, the science or art of motion-picture photography Movie theater also called a cinema, a building in which films are shown Cinema 2008 film or Bommalattam, a Tamil film directed by Bharathiraja


History of film

Although the start of the history of film is not clearly defined, the commercial, public screening of ten of Lumiere brothers short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected cinematographic motion pictures. There had been earlier cinematographic results and screenings but these lacked either the quality or the momentum that propelled the cinematographe Lumiere into a worldwide success. Soon film production companies and studios were established all over the world. The first decade of motion picture saw film (motion picture film saw) moving from a novelty to an established mass entertainment industry. The earliest films were in black and white, under a minute long, without recorded sound and consisted of a single shot from a steady camera. Conventions towards a general cinematic language developed over the years with the use of several shots mostly through editing, continuity between shots, camera movements, camera angle, field size long shot to extreme close-up and other cinematic methods all contributing specific roles in the narrative of films. Special effects became a feature in movies since the late 1890s, popularized by Georges Melies fantasy films. Many effects were impossible or impractical to perform in theater plays and thus added more magic to the experience of movies. Technical improvements added length reaching 60 minutes for a feature film in 1906, synchronized sound recording mainstream since the end of the 1920s, color mainstream since the 1930s and 3D mainstream in theaters since (The 1930s and mainstream 3D in theaters since the) first decade of the 21st century. Sound ended the necessity of interruptions of title cards, revolutionized the narrative possibilities for filmmakers, and became an integral part of moviemaking. Different film genres emerged and enjoyed variable degrees of success over time, with huge differences between for instance horror films mainstream since the 1890s, newsreels prevalent in U.S. cinemas between the 1910s and the late 1960-ies musicals mainstream since the (mainstream musicals since the) late 1920s and pornographic films experiencing (late 1920s pornographic films and experiencing) to Golden Age during the 1970s. The popularity of television seemed to form a threat to cinemas in the 1950s at least in the U.S. and other western countries, which resulted in attempts to make theatrical films more attractive with technological innovations. New widescreen formats enticed filmmakers to create more epic films and spectacles that looked better on a big screen than on television. 3D films experienced a short golden age from 1952 to 1954. Television also opened up a new market for filmmakers, introducing new possibilities that led to new genres, especially in serialized form. Since the 1950s video became a viable, cheaper alternative to film, with direct results, forming a more accessible moving image medium (forming a moving image more accessible medium) for many more artists and amateurs to experiment with. This led to the emergence of video art in the late 1960s and to much more home movies being did. Market By the 1980s home video had opened a big for films that already had their theatrical run, giving people easier access to titles of their choice in video rental shops. Direct-to-video niche markets usually offered below quality, cheap productions that were not deemed very suitable for the general audiences of television and theatrical releases. Improving over time, digital production methods became more and more popular during the 1990s, resulting in increasingly realistic visual effects and popular feature-length computer animations. Since the late 2000s streaming media platforms like YouTube (2000s media streaming platforms like YouTube) and means for anyone with access to internet and cameras a standard feature of smartphones to publication videos to the world. Also competing with the increasing popularity of video games and other forms of home entertainment, the industry once again started to make theatrical releases more attractive with new 3D technologies and epic fantasy and superhero films became a mainstay in cinemas.


National cinema

National cinema is a term sometimes used in film theory and film criticism to describe the films associated with a specific nation-state. Although there is little relatively written on theories of national cinema it has an irrefutably important role in globalization. Film provides a unique window to other cultures, particularly where the output of a nation or region is high. Countries like South Korea, Russia and Iran have over the years produced a large body of critically acclaimed films. Regardless of the stories or styles of filmmaking the medium inherently contains a dense wealth of information about people and places through which audiences gain knowledge. Like other film theory or film criticism terms e.g., "art film", the term "national cinema" is hard to define, and its meaning is debated by film scholars and critics. A film may be considered to be part of a "national cinema" based on a number of factors. Simply put, a "nations cinema" can be attributed to the country that provided the financing for the film, the language spoken in the film, the nationalities or dress of the characters, and the setting, music, or cultural elements present in the film. To define a national cinema, some scholars emphasize the structure of the film industry and the roles played by ".market forces, government support, and cultural transfers." More theoretically, national cinema can refer to a large group of films, or "a body of textuality. given historical weight through common intertextual symptoms, or coherencies". In Theorising National Cinema, Philip Rosen suggests national cinema is a conceptualization of: 1 Selected national films/texts themselves, the relationship between them, which be connected by a shared general symptom. 2 an understanding of the nation as an entity in synchronicity with its symptom. And 3 an understanding of past or traditional symptoms, also known as history or historiography, which contribute to current systems and symptoms. These symptoms of intertextuality could refer to style, medium, content, narrative, narrative structure, costume, Mise-en-scene, character, background, cinematography. It could refer to cultural background of those who make the movie and cultural background of those in the movie, of spectatorship, of spectacle.


Film studio

A film studio is a major entertainment company or motion picture company that has its own privately owned studio facility or facilities that are used to make films, which is handled by the production company. Most firms in the entertainment industry have never owned their own studios, but have rented space from other companies. There are also independently owned studio facilities, who have never produced a motion picture of their own because they are not entertainment companies or motion picture companies; they are companies who sell only studio space. The largest film studio in the world is Ramoji Film City, in Hyderabad, India.


Film festival

A film festival is an organized, extended presentation of films in one or more cinemas or screening venues, usually in a single city or region. Increasingly, film festivals show some films outdoors. Films may be of recent date and, depending upon the festivals focus, can include international and domestic releases. Some festivals focus on a specific film-maker or genre or subject matter. A number of film festivals specialise in short films of a defined maximum length. Film festivals are typically annual events. Some film historians, including Jerry Beck, do not consider film festivals official releases of film. The most prestigious film festivals in the world are generally considered to be Cannes, Berlin, and Venice. These festivals are sometimes called the "Big Three". The Toronto International Film Festival is North Americas most popular festival in terms of attendance; Time wrote it had "grown from its place as the most influential fall film festival to the most influential film festival, period". The Venice Film Festival is the oldest film festival in the world.


Film format

A film format is a technical definition of a set of standard characteristics regarding image capture on photographic film, for either stills or filmmaking. It can also apply to projected film, either slides or movies. The primary characteristic of a film format is its size and shape. In the case of motion picture film, the format may also include audio parameters though often not. Other characteristics usually include the film gauge, pulldown method, lens anamorphosis or lack thereof, and film gate or projector aperture dimensions, all of which need to be defined for photography as well as projection, as they may differ.




Cinematographers use a lens to focus reflected light from objects into a real image that is transferred to some image sensor or light-sensitive material inside a movie camera. These exposures are created sequentially and preserved for later processing and viewing as a motion picture. Capturing images with an electronic image sensor produces an electrical charge for each pixel in the image, which is electronically processed and stored in a video file for subsequent processing or display. Images captured with photographic emulsion result in a series of invisible latent images on the film stock, which are chemically "developed" into a visible image. The images on the film stock are projected for viewing the motion picture.

Cinematography finds uses in many fields of science and business as well as for entertainment purposes and mass communication.


1.1. History Precursors

In the 1830s, moving images were produced on revolving drums and disks, with independent invention by Simon von Stampfer stroboscope in Austria, Joseph Plateau phenakistoscope in Belgium, and William Horner zoetrope in Britain.

In 1845, Francis Ronalds invented the first successful camera able to make continuous recordings of the varying indications of meteorological and geomagnetic instruments over time. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century.

William Lincoln patented a device, in 1867, that showed animated pictures called the "wheel of life" or "zoopraxiscope". In it, moving drawings or photographs were watched through a slit.

On 19 June 1878, Eadweard Muybridge successfully photographed a horse named "Sallie Gardner" in fast motion using a series of 24 stereoscopic cameras. The cameras were arranged along a track parallel to the horses, and each camera shutter was controlled by a trip wire triggered by the horses hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one-thousandth of a second. At the end of the decade, Muybridge had adapted sequences of his photographs to a zoopraxiscope for short, primitive projected "movies," which were sensations on his lecture tours by 1879 or 1880.

Nine years later, in 1882, French scientist Etienne-Jules Marey invented a chronophotographic gun, which was capable of taking 12 consecutive frames a second, recording all the frames of the same picture.

The late nineteenth to the early twentieth century brought rise to the use of film not only for entertainment purposes but for scientific exploration as well. French biologist and filmmaker Jean Painleve lobbied heavily for the use of film in the scientific field, as the new medium was more efficient in capturing and documenting the behavior, movement, and environment of microorganisms, cells, and bacteria, than the naked eye. The introduction of film into scientific fields allowed for not only the viewing "new images and objects, such as cells and natural objects, but also the viewing of them in real time", whereas prior to the invention of moving pictures, scientists and doctors alike had to rely on hand-drawn sketches of human anatomy and its microorganisms. This posed a great inconvenience in the science and medical worlds. The development of film and increased usage of cameras allowed doctors and scientists to grasp a better understanding and knowledge of their projects.


1.2. History Film cinematography

The experimental film Roundhay Garden Scene, filmed by Louis Le Prince on October 14th, 1888 in Roundhay, Leeds, England, is the earliest surviving motion picture. This movie was shot on paper film.

W. K. L. Dickson, working under the direction of Thomas Alva Edison, was the first to design a successful apparatus, the Kinetograph, patented in 1891. This camera took a series of instantaneous photographs on standard Eastman Kodak photographic emulsion coated onto a transparent celluloid strip 35 mm wide. The results of this work were first shown in public in 1893, using the viewing apparatus also designed by Dickson, the Kinetoscope. Contained within a large box, only one person at a time looking into it through a peephole could view the movie.

In the following year, Charles Francis Jenkins and his projector, the Phantoscope, made a successful audience viewing while Louis and Auguste Lumiere perfected the Cinematographe, an apparatus that took, printed, and projected film, in Paris in December 1895. The Lumiere brothers were the first to present projected, moving, photographic, pictures to a paying audience of more than one person.

In 1896, movie theaters were open in France ; Italy ; Brussels; and London. The chronological improvements in the medium may be listed concisely. In 1896, Edison showed his improved Vitascope projector, the first commercially successful projector in the U.S. Cooper Hewitt invented mercury lamps which made it practical to shoot films indoors without sunlight in 1905. The first animated cartoon was produced in 1906. Credits began to appear at the beginning of motion pictures in 1911. The Bell and Howell 2709 movie camera invented in 1915 allowed directors to make close-ups without physically moving the camera. By the late 1920s, most of the movies produced were sound films. Wide screen formats were first experimented with in the 1950s. By the 1970s, most movies were color films. IMAX and other 70mm formats gained popularity. Wide distribution of films became commonplace, setting the ground for "blockbusters." Film cinematography dominated the motion picture industry from its inception until the 2010s when digital cinematography became dominant. Film cinematography is still used by some directors, especially in specific applications or out of fondness of the format.


1.3. History Black and white

From its birth in the 1880s, movies were predominantly monochrome. Contrary to popular belief, monochrome doesnt always mean black and white; it means a movie shot in a single tone or color. Since the cost of tinted film bases was substantially higher, most movies were produced in black and white monochrome. Even with the advent of early color experiments, the greater expense of color meant films were mostly made in black and white until the 1950s, when cheaper color processes were introduced, and in some years the percentage of films shot on color film surpassed 51%. By the 1960s, color became by far the dominant film stock. In the coming decades, the usage of color film greatly increased while monochrome films became scarce.


1.4. History Color

After the advent of motion pictures, a tremendous amount of energy was invested in the production of photography in natural color. The invention of the talking picture further increased the demand for the use of color photography. However, in comparison to other technological advances of the time, the arrival of color photography was a relatively slow process.

Early movies were not actually color movies since they were shot monochrome and hand-colored or machine-colored afterwards. Such movies are referred to as colored and not color. The earliest such example is the hand-tinted Annabelle Serpentine Dance in 1895 by Edison Manufacturing Company. Machine-based tinting later became popular. Tinting continued until the advent of natural color cinematography in the 1910s. Many black and white movies have been colorized recently using digital tinting. This includes footage shot from both world wars, sporting events and political propaganda.

In 1902, Edward Raymond Turner produced the first films with a natural color process rather than using colorization techniques. In 1908, kinemacolor was introduced. In the same year, the short film A Visit to the Seaside became the first natural color movie to be publicly presented.

In 1917, the earliest version of Technicolor was introduced. Kodachrome was introduced in 1935. Eastmancolor was introduced in 1950 and became the color standard for the rest of the century.

In the 2010s, color films were largely superseded by color digital cinematography.


1.5. History Digital cinematography

In digital cinematography, the movie is shot on digital media such as flash storage, as well as distributed through a digital medium such as a hard drive.

The basis for digital cameras are metal-oxide-semiconductor MOS image sensors. The first practical semiconductor image sensor was the charge-coupled device CCD, based on MOS capacitor technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor CMOS sensor, developed in the 1990s.

Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," utilizing its analog Sony HDVS professional video cameras. The effort met with very little success. However, this led to one of the earliest digitally shot feature movies, Julia and Julia 1987. In 1998, with the introduction of HDCAM recorders and 1920×1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography," began to gain traction.

Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace. In late 2013, Paramount became the first major studio to distribute movies to theaters in digital format, eliminating 35mm film entirely. Since then the demand of movies to be developed onto digital format rather than 35mm has increased drastically.

As digital technology improved, movie studios began increasingly shifting towards digital cinematography. Since the 2010s, digital cinematography has become the dominant form of cinematography after largely superseding film cinematography.


2.1. Aspects Cinema technique

The first film cameras were fastened directly to the head of a tripod or other support, with only the crudest kind of leveling devices provided, in the manner of the still-camera tripod heads of the period. The earliest film cameras were thus effectively fixed during the shot, and hence the first camera movements were the result of mounting a camera on a moving vehicle. The first known of these was a film shot by a Lumiere cameraman from the back platform of a train leaving Jerusalem in 1896, and by 1898, there were a number of films shot from moving trains. Although listed under the general heading of "panoramas" in the sales catalogues of the time, those films shot straight forward from in front of a railway engine were usually specifically referred to as "phantom rides".

In 1897, Robert W. Paul had the first real rotating camera head made to put on a tripod, so that he could follow the passing processions of Queen Victorias Diamond Jubilee in one uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated by a worm gear driven by turning a crank handle, and Paul put it on general sale the next year. Shots taken using such a "panning" head were also referred to as "panoramas" in the film catalogues of the first decade of the cinema. This eventually led to the creation of a panoramic photo as well.



2.2. Aspects Image sensor and film stock

Cinematography can begin with digital image sensor or rolls of film. Advancements in film emulsion and grain structure provided a wide range of available film stocks. The selection of a film stock is one of the first decisions made in preparing a typical film production.

Aside from the film gauge selection – 8 mm amateur, 16 mm semi-professional, 35 mm professional and 65 mm epic photography, rarely used except in special event venues – the cinematographer has a selection of stocks in reversal and negative formats along with a wide range of film speeds varying sensitivity to light from ISO 50 slow, least sensitive to light to 800 very fast, extremely sensitive to light and differing response to color low saturation, high saturation and contrast varying levels between pure black no exposure and pure white complete overexposure. Advancements and adjustments to nearly all gauges of film create the "super" formats wherein the area of the film used to capture a single frame of an image is expanded, although the physical gauge of the film remains the same. Super 8 mm, Super 16 mm, and Super 35 mm all utilize more of the overall film area for the image than their "regular" non-super counterparts. The larger the film gauge, the higher the overall image resolution clarity and technical quality. The techniques used by the film laboratory to process the film stock can also offer a considerable variance in the image produced. By controlling the temperature and varying the duration in which the film is soaked in the development chemicals, and by skipping certain chemical processes or partially skipping all of them, cinematographers can achieve very different looks from a single film stock in the laboratory. Some techniques that can be used are push processing, bleach bypass, and cross processing.

Most of modern cinema uses digital cinematography and has no film stocks, but the cameras themselves can be adjusted in ways that go far beyond the abilities of one particular film stock. They can provide varying degrees of color sensitivity, image contrast, light sensitivity and so on. One camera can achieve all the various looks of different emulsions. Digital image adjustments such as ISO and contrast are executed by estimating the same adjustments that would take place if actual film were in use, and are thus vulnerable to the cameras sensor designers perceptions of various film stocks and image adjustment parameters.


2.3. Aspects Filters

Filters, such as diffusion filters or color effect filters, are also widely used to enhance mood or dramatic effects. Most photographic filters are made up of two pieces of optical glass glued together with some form of image or light manipulation material between the glass. In the case of color filters, there is often a translucent color medium pressed between two planes of optical glass. Color filters work by blocking out certain color wavelengths of light from reaching the film. With color film, this works very intuitively wherein a blue filter will cut down on the passage of red, orange, and yellow light and create a blue tint on the film. In black-and-white photography, color filters are used somewhat counter-intuitively; for instance, a yellow filter, which cuts down on blue wavelengths of light, can be used to darken a daylight sky by eliminating blue light from hitting the film, thus greatly underexposing the mostly blue sky while not biasing most human flesh tone. Filters can be used in front of the lens or, in some cases, behind the lens for different effects.

Certain cinematographers, such as Christopher Doyle, are well known for their innovative use of filters; Doyle was a pioneer for increased usage of filters in movies and is highly respected throughout the cinema world.


2.4. Aspects Lens

Lenses can be attached to the camera to give a certain look, feel, or effect by focus, color, etc.

As does the human eye, the camera creates perspective and spatial relations with the rest of the world. However, unlike ones eye, a cinematographer can select different lenses for different purposes. Variation in focal length is one of the chief benefits. The focal length of the lens determines the angle of view and, therefore, the field of view. Cinematographers can choose from a range of wide-angle lenses, "normal" lenses and long focus lenses, as well as macro lenses and other special effect lens systems such as borescope lenses. Wide-angle lenses have short focal lengths and make spatial distances more obvious. A person in the distance is shown as much smaller while someone in the front will loom large. On the other hand, long focus lenses reduce such exaggerations, depicting far-off objects as seemingly close together and flattening perspective. The differences between the perspective rendering is actually not due to the focal length by itself, but by the distance between the subjects and the camera. Therefore, the use of different focal lengths in combination with different camera to subject distances creates these different rendering. Changing the focal length only while keeping the same camera position doesnt affect perspective but the camera angle of view only.

A zoom lens allows a camera operator to change his focal length within a shot or quickly between setups for shots. As prime lenses offer greater optical quality and are "faster" larger aperture openings, usable in less light than zoom lenses, they are often employed in professional cinematography over zoom lenses. Certain scenes or even types of filmmaking, however, may require the use of zooms for speed or ease of use, as well as shots involving a zoom move.

As in other photography, the control of the exposed image is done in the lens with the control of the diaphragm aperture. For proper selection, the cinematographer needs that all lenses be engraved with T-stop, not f-stop so that the eventual light loss due to the glass doesnt affect the exposure control when setting it using the usual meters. The choice of the aperture also affects image quality aberrations and depth of field.


2.5. Aspects Depth of field and focus

Focal length and diaphragm aperture affect the depth of field of a scene – that is, how much the background, mid-ground and foreground will be rendered in "acceptable focus" only one exact plane of the image is in precise focus on the film or video target. Depth of field not to be confused with depth of focus is determined by the aperture size and the focal distance. A large or deep depth of field is generated with a very small iris aperture and focusing on a point in the distance, whereas a shallow depth of field will be achieved with a large open iris aperture and focusing closer to the lens. Depth of field is also governed by the format size. If one considers the field of view and angle of view, the smaller the image is, the shorter the focal length should be, as to keep the same field of view. Then, the smaller the image is, the more depth of field is obtained, for the same field of view. Therefore, 70mm has less depth of field than 35mm for a given field of view, 16mm more than 35mm, and early video cameras, as well as most modern consumer level video cameras, even more depth of field than 16mm.

In Citizen Kane 1941, cinematographer Gregg Toland and director Orson Welles used tighter apertures to create every detail of the foreground and background of the sets in sharp focus. This practice is known as deep focus. Deep focus became a popular cinematographic device from the 1940s onwards in Hollywood. Today, the trend is for more shallow focus. To change the plane of focus from one object or character to another within a shot is commonly known as a rack focus.

Early in the transition to digital cinematography, the inability of digital video cameras to easily achieve shallow depth of field, due to their small image sensors, was initially an issue of frustration for film makers trying to emulate the look of 35mm film. Optical adapters were devised which accomplished this by mounting a larger format lens which projected its image, at the size of the larger format, on a ground glass screen preserving the depth of field. The adapter and lens then mounted on the small format video camera which in turn focused on the ground glass screen.

Digital SLR still cameras have sensor sizes similar to that of the 35mm film frame, and thus are able to produce images with similar depth of field. The advent of video functions in these cameras sparked a revolution in digital cinematography, with more and more film makers adopting still cameras for the purpose because of the film-like qualities of their images. More recently, more and more dedicated video cameras are being equipped with larger sensors capable of 35mm film-like depth of field.


2.6. Aspects Aspect ratio and framing

The aspect ratio of an image is the ratio of its width to its height. This can be expressed either as a ratio of 2 integers, such as 4:3, or in a decimal format, such as 1.33:1 or simply 1.33.

Different ratios provide different aesthetic effects. Standards for aspect ratio have varied significantly over time.

During the silent era, aspect ratios varied widely, from square 1:1, all the way up to the extreme widescreen 4:1 Polyvision. However, from the 1910s, silent motion pictures generally settled on the ratio of 4:3 1.33. The introduction of sound-on-film briefly narrowed the aspect ratio, to allow room for a sound stripe. In 1932, a new standard was introduced, the Academy ratio of 1.37, by means of thickening the frame line.

For years, mainstream cinematographers were limited to using the Academy ratio, but in the 1950s, thanks to the popularity of Cinerama, widescreen ratios were introduced in an effort to pull audiences back into the theater and away from their home television sets. These new widescreen formats provided cinematographers a wider frame within which to compose their images.

Many different proprietary photographic systems were invented and used in the 1950s to create widescreen movies, but one dominated film: the anamorphic process, which optically squeezes the image to photograph twice the horizontal area to the same size vertical as standard "spherical" lenses. The first commonly used anamorphic format was CinemaScope, which used a 2.35 aspect ratio, although it was originally 2.55. CinemaScope was used from 1953 to 1967, but due to technical flaws in the design and its ownership by Fox, several third-party companies, led by Panavisions technical improvements in the 1950s, dominated the anamorphic cine lens market. Changes to SMPTE projection standards altered the projected ratio from 2.35 to 2.39 in 1970, although this did not change anything regarding the photographic anamorphic standards; all changes in respect to the aspect ratio of anamorphic 35 mm photography are specific to camera or projector gate sizes, not the optical system. After the "widescreen wars" of the 1950s, the motion-picture industry settled into 1.85 as a standard for theatrical projection in the United States and the United Kingdom. This is a cropped version of 1.37. Europe and Asia opted for 1.66 at first, although 1.85 has largely permeated these markets in recent decades. Certain "epic" or adventure movies utilized the anamorphic 2.39 often incorrectly denoted 2.40

In the 1990s, with the advent of high-definition video, television engineers created the 1.78 16:9 ratio as a mathematical compromise between the theatrical standard of 1.85 and televisions 1.33, as it was not practical to produce a traditional CRT television tube with a width of 1.85. Until that change, nothing had ever been originated in 1.78. Today, this is a standard for high-definition video and for widescreen television.


2.7. Aspects Lighting

Light is necessary to create an image exposure on a frame of film or on a digital target CCD, etc. The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting contributes considerably to the emotional response an audience has watching a motion picture. The increased usage of filters can greatly impact the final image and affect the lighting.


2.8. Aspects Camera movement

See also camera car

Cinematography can not only depict a moving subject but can use a camera, which represents the audiences viewpoint or perspective, that moves during the course of filming. This movement plays a considerable role in the emotional language of film images and the audiences emotional reaction to the action. Techniques range from the most basic movements of panning horizontal shift in viewpoint from a fixed position; like turning your head side-to-side and tilting vertical shift in viewpoint from a fixed position; like tipping your head back to look at the sky or down to look at the ground to dollying placing the camera on a moving platform to move it closer or farther from the subject, tracking placing the camera on a moving platform to move it to the left or right, craning moving the camera in a vertical position; being able to lift it off the ground as well as swing it side-to-side from a fixed base position, and combinations of the above. Early cinematographers often faced problems that were not common to other graphic artists because of the element of motion.

Cameras have been mounted to nearly every imaginable form of transportation.

Most cameras can also be handheld, that is held in the hands of the camera operator who moves from one position to another while filming the action. Personal stabilizing platforms came into being in the late 1970s through the invention of Garrett Brown, which became known as the Steadicam. The Steadicam is a body harness and stabilization arm that connects to the camera, supporting the camera while isolating it from the operators body movements. After the Steadicam patent expired in the early 1990s, many other companies began manufacturing their concept of the personal camera stabilizer. This invention is much more common throughout the cinematic world today. From feature-length films to the evening news, more and more networks have begun to use a personal camera stabilizer.


3. Special effects

The first special effects in the cinema were created while the film was being shot. These came to be known as "in-camera" effects. Later, optical and digital effects were developed so that editors and visual effects artists could more tightly control the process by manipulating the film in post-production.

The 1896 movie The Execution of Mary Stuart shows an actor dressed as the queen placing her head on the execution block in front of a small group of bystanders in Elizabethan dress. The executioner brings his axe down, and the queens severed head drops onto the ground. This trick was worked by stopping the camera and replacing the actor with a dummy, then restarting the camera before the axe falls. The two pieces of film were then trimmed and cemented together so that the action appeared continuous when the film was shown, thus creating an overall illusion and successfully laying the foundation for special effects.

This film was among those exported to Europe with the first Kinetoscope machines in 1895 and was seen by Georges Melies, who was putting on magic shows in his Theatre Robert-Houdin in Paris at the time. He took up filmmaking in 1896, and after making imitations of other films from Edison, Lumiere, and Robert Paul, he made Escamotage dun dame chez Robert-Houdin The Vanishing Lady. This film shows a woman being made to vanish by using the same stop motion technique as the earlier Edison film. After this, Georges Melies made many single shot films using this trick over the next couple of years.


3.1. Special effects Double exposure

The other basic technique for trick cinematography involves double exposure of the film in the camera, which was first done by George Albert Smith in July 1898 in the UK. Smiths The Corsican Brothers 1898 was described in the catalogue of the Warwick Trading Company, which took up the distribution of Smiths films in 1900, thus:

"One of the twin brothers returns home from shooting in the Corsican mountains, and is visited by the ghost of the other twin. By extremely careful photography the ghost appears *quite transparent*. After indicating that he has been killed by a sword-thrust, and appealing for vengeance, he disappears. A vision then appears showing the fatal duel in the snow. To the Corsicans amazement, the duel and death of his brother are vividly depicted in the vision, and overcome by his feelings, he falls to the floor just as his mother enters the room."

The ghost effect was done by draping the set in black velvet after the main action had been shot, and then re-exposing the negative with the actor playing the ghost going through the actions at the appropriate part. Likewise, the vision, which appeared within a circular vignette or matte, was similarly superimposed over a black area in the backdrop to the scene, rather than over a part of the set with detail in it, so that nothing appeared through the image, which seemed quite solid. Smith used this technique again in Santa Claus 1898.

Georges Melies first used superimposition on a dark background in La Caverne maudite The Cave of the Demons made a couple of months later in 1898, and elaborated it with many superimpositions in the one shot in Un Homme de têtes The Four Troublesome Heads. He created further variations in subsequent films.


3.2. Special effects Frame rate selection

Motion picture images are presented to an audience at a constant speed. In the theater it is 24 frames per second, in NTSC US Television it is 30 frames per second 29.97 to be exact, in PAL Europe television it is 25 frames per second. This speed of presentation does not vary.

However, by varying the speed at which the image is captured, various effects can be created knowing that the faster or slower recorded image will be played at a constant speed. Giving the cinematographer even more freedom for creativity and expression to be made.

For instance, time-lapse photography is created by exposing an image at an extremely slow rate. If a cinematographer sets a camera to expose one frame every minute for four hours, and then that footage is projected at 24 frames per second, a four-hour event will take 10 seconds to present, and one can present the events of a whole day 24 hours in just one minute.

The inverse of this, if an image is captured at speeds above that at which they will be presented, the effect is to greatly slow down slow motion the image. If a cinematographer shoots a person diving into a pool at 96 frames per second, and that image is played back at 24 frames per second, the presentation will take 4 times as long as the actual event. Extreme slow motion, capturing many thousands of frames per second can present things normally invisible to the human eye, such as bullets in flight and shockwaves travelling through media, a potentially powerful cinematographical technique.

In motion pictures, the manipulation of time and space is a considerable contributing factor to the narrative storytelling tools. Film editing plays a much stronger role in this manipulation, but frame rate selection in the photography of the original action is also a contributing factor to altering time. For example, Charlie Chaplins Modern Times was shot at "silent speed" 18 fps but projected at "sound speed" 24 fps, which makes the slapstick action appear even more frenetic.

Speed ramping, or simply "ramping", is a process whereby the capture frame rate of the camera changes over time. For example, if in the course of 10 seconds of capture, the capture frame rate is adjusted from 60 frames per second to 24 frames per second, when played back at the standard movie rate of 24 frames per second, a unique time-manipulation effect is achieved. For example, someone pushing a door open and walking out into the street would appear to start off in slow-motion, but in a few seconds later within the same shot, the person would appear to walk in "realtime" normal speed. The opposite speed-ramping is done in The Matrix when Neo re-enters the Matrix for the first time to see the Oracle. As he comes out of the warehouse "load-point", the camera zooms into Neo at normal speed but as it gets closer to Neos face, time seems to slow down, foreshadowing the manipulation of time itself within the Matrix later in the movie.


3.3. Special effects Other special techniques

G. A. Smith initiated the technique of reverse motion and also improved the quality of self-motivating images. This he did by repeating the action a second time while filming it with an inverted camera and then joining the tail of the second negative to that of the first. The first films using this were Tipsy, Topsy, Turvy and The Awkward Sign Painter, the latter which showed a sign painter lettering a sign, and then the painting on the sign vanishing under the painters brush. The earliest surviving example of this technique is Smiths The House That Jack Built, made before September 1901. Here, a small boy is shown knocking down a castle just constructed by a little girl out of childrens building blocks. A title then appears, saying "Reversed", and the action is repeated in reverse so that the castle re-erects itself under his blows.

Cecil Hepworth improved upon this technique by printing the negative of the forwards motion backwards frame by frame, so that in the production of the print the original action was exactly reversed. Hepworth made The Bathers in 1900, in which bathers who have undressed and jumped into the water appear to spring backwards out of it, and have their clothes magically fly back onto their bodies.

The use of different camera speeds also appeared around 1900. Robert Pauls On a Runaway Motor Car through Piccadilly Circus 1899, had the camera turn so slowly that when the film was projected at the usual 16 frames per second, the scenery appeared to be passing at great speed. Cecil Hepworth used the opposite effect in The Indian Chief and the Seidlitz powder 1901, in which a naïve Red Indian eats a lot of the fizzy stomach medicine, causing his stomach to expand and then he then leaps around balloon-like. This was done by cranking the camera faster than the normal 16 frames per second giving the first "slow motion" effect.


4. Personnel

In descending order of seniority, the following staff is involved:

  • Second assistant camera, also called clapper loader
  • First assistant camera, also called focus puller
  • Camera operator, also called cameraman
  • Director of photography, also called cinematographer

In the film industry, the cinematographer is responsible for the technical aspects of the images, but works closely with the director to ensure that the artistic aesthetics are supporting the directors vision of the story being told. The cinematographers are the heads of the camera, grip and lighting crew on a set, and for this reason, they are often called directors of photography or DPs. The American Society of Cinematographers defines cinematography as a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event. Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in addition to other physical, organizational, managerial, interpretive. and image-manipulating techniques to effect one coherent process. In British tradition, if the DOP actually operates the camera him/herself they are called the cinematographer. On smaller productions, it is common for one person to perform all these functions alone. The career progression usually involves climbing up the ladder from seconding, firsting, eventually to operating the camera.

Directors of photography make many creative and interpretive decisions during the course of their work, from pre-production to post-production, all of which affect the overall feel and look of the motion picture. Many of these decisions are similar to what a photographer needs to note when taking a picture: the cinematographer controls the film choice itself from a range of available stocks with varying sensitivities to light and color, the selection of lens focal lengths, aperture exposure and focus. Cinematography, however, has a temporal aspect see persistence of vision, unlike still photography, which is purely a single still image. It is also bulkier and more strenuous to deal with movie cameras, and it involves a more complex array of choices. As such a cinematographer often needs to work co-operatively with more people than does a photographer, who could frequently function as a single person. As a result, the cinematographers job also includes personnel management and logistical organization. Given the in-depth knowledge, a cinematographer requires not only of his or her own craft but also that of other personnel, formal tuition in analogue or digital filmmaking can be advantageous.

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