Five C's of Cinematography

wow, 3 posts in 2 days.

Five C's of Cinematography by Joseph Mascelli. I found this one more useful then Film Direction Shot by Shot by Steven Katz

1. Camera Angles
The camera is the audiences' eyes. If filmed subjectively as if the viewer were actually there experiencing it their interest, involvement, and engagement are increased, and it is easier for the audience to identify with the characters. Easy set up is have the actor look at something, then cut to what they're looking at. If an actor looks at the camera it surprises the viewer, as if they were caught evesdropping, can bring the viewer more into the picture if it is a regular occurance, or is an interview or advertisement. For a subjective close-up you can get right up in the actor's face, 3/4's or straight on, as long as they look slightly to the side of the camera at most (and keeping with correct eye direction) Lady in The Lake was filmed entirely as if the camera were the main character. Get as many angles of an object visible as possible so it doesn't appear flat, always go for as much depth as possible (3/4 angles=good). Use angle's psychologically, looking up at authority figures, looking down on weakness. Type of shot for different uses, long shot for establishing, close up for details. Think progressively, each shot gets closer, or more tilted, etc. Don't forget about contrasting angles and types of shot for variety. "Employ long shots to show players in relation to background, and to allow them space to move from one place to another, as the action progresses. Use medium shots, particularly two-shots, to show important inter-action between players. Utilize close-ups to emphasize a particular action, or to isolate a player or action by removing all else from view." "Choice of camera angle may be decided by analyzing the purpose of the shot, and the effect wanted on the viewer. Should teh audience be shocked at slum conditions depicted ... sold on a new product,... angered by a corrupt political situation...awed by a display of atomic weapons...look with disdain upon a despicable character...be inspired by a religious message"

2. Continuity
It's safest to do master scenes (film the whole damn thing from long shot, then refilm all of it in closer ups) because best way to make sure the editor has enough to work with to cover any mistakes. But it gets boring, so it's good to also plan some alternate stuff sometimes as well. But there's only so much shooting budget. Easiest way to film triple take is to overlap action at the begin and end of a scene, so can cut anywhere to come in and to go out. "By establishing and re-establishing with long shots, depicting the heart of the action in medium shots, emphasizing the important portions with close-ups; good continuity will be achieved. Closer shots will automatically suggest themselves whenever the action becomes concentrated in a smaller area. Moving in closer satisfies the audience's curiosity for a more intimate look." Know your line of action, use straight on shots to change directions if needed. Make sure actor's looks match line of action. Group shots, group the players so you can have groups looking back and forth while maintaining line of action. Reverse shots, best if there is a landmark (staircase, desk, people sitting) so that viewer's can keep track because they're are seeing it's front or back, works best like anything with a motivation (player's look) and also helpful to have an establishing shot first, and if the reverse is an over the shoulder shot. Anything may change during a shot (camera movement, player movement) Nothing should be changed between shots. If coming from a long shot and cutting to a closer in one, it's useful to film the closeup from a new angle, because if the head is slightly different or something it feels similar to a jump cut, so a whole new angle nullifies that.
If camera is panning with subject, keeping them centered, you can't cut to another similar, without the subject clearing the screen, and entering the new one (it'll feel like a jump cut). Entrances and exits should be shot clean (as in film before subjects on screen, and keep filming until they're completely gone) When in doubt an entrance and exit should be filmed. The camera should be started before subject enters the frame and cut after they've left. Or the camera's movement can be motivated by the subject (still camera, subject walks in, camera starts following to keep subject centered, camera comes to a rest subject continues to walk off screen).

3. Cutting
The editor strives to impart visual variety to the picture by skillful shot selection, arrangement, and timing. Cut-away's should be part of the initial set up shots, so that when the character's all react and look off, the audience won't be surprised when we cut to the far corner of the room where they noted a guy was sitting alone in the corner in the establishing shot. Cutting to a neutral or a close-up is a way to switch the path of action smoothly. Cutting is brilliant for keeping continuity interesting by telescoping time and space, cutting out the boring connecting part that doesn't matter to the story (I stood up and walked over to the cabinet, you don't need to see every step) Cut in closeups should be made on all lengthy actions so editor can choose to shorten them (or lengthen). Always start and end a close-up clean so that editor can cut on action of player entering or exiting. Changing both camera angle and image size will aid in smooth cutting.
Cross-cutting, juxtaposing separate events (like opposing armies, or Mr. Incredible snooping in computers with Mrs. Incredible talking to Edna) is used to heighten interest, provide conflict (marching towards each other), heighten suspense (gunman in shadows, important person speachifying), make comparisons, and to depict contrast.
If tempo of camera movement is maintained, you can usually intercut moving shots. Continuous player movement can be carried across both static and moving shots. But static and moving shots of still objects can't be interconnected.
Camera movement: a moving shot must be used in its entirety (or a continuous chunk) because it is almost impossible to cut during a camera movement (dolly, pan, zoom, etc). Screen length of a moving shot is based on the camera, of a static shot is based on the subject action. A static shot can be cut up if it needs to be. Straight cuts are always faster because they get straight to the point, with a moving shot an editor may be forced to leave in useless time because can't cut out of it (panning along a conveyor belt you're stuck for the whole thing, if you have a static shot of getting on, then you can cut right to the getting off.) So camera moves can slow the screen action. Unless a moving shot is dramatically motivated, it's stronger to shoot static shots because the editor can shape the screen energy better. A trick with moving shots is moving in sync to music. A loose camera is distracting on closeups, better to have the camera locked and the player sit down into it, then to have the camera distractingly try to frame the player after they've sat down.
"Each shot should make a point. All scenes should be linked together so that their combined effect, rather then their individual contents, produces the desired audience reactions. Film editors have a motto: "Make them laugh or make them cry, but make them care!" The cameraman should be most focused on what the audience is most interested in.

4. Close-Ups
"The close-up may transport the viewer into the scene; eliminate all non-essentials, for the moment; and isolate whatever significant incident should receive narrative emphasis...They should be reserved for vital spots in the story, so that their intended visual impact upon the audience is assured." Over the shoulder close-ups provide a transition from an objective view to a p.o.v. close-up that will follow. Alternately an objective close-up can lead to a p.o.v. one, but it's not quite as smooth. The foreground character's nose shouldn't show, because that's enough of the face that they start competing for attention, and it feels like a badly done profile dialogue shot. P.O.V. shots are basically the camera taking the place of an actor to look at the partner (but the partner never looks directly back into the lens), involving the audience the most directly in the scene. Close-up backgrounds should not be distracting. Can always use close-ups to hide information, like opening a sequence with a closeup so audience doesn't know that this doctor type person sounding so reasonable is actually in jail.
Close-ups should be used to: play up narrative highlights (important dialogue or reactions), isolate significant subject matter (eliminating non essential information), magnify small scale action, distract the audience (changing screen direction, or cutting out time) or substitute for hidden action (like watching the dials on a machine who's inner workings aren't visible).
"Close-ups provide dramatic punch; point up story highlights; depict related action; comment on principal action; magnify the unseen; provide transitions; emphasize narrative by isolation of subject, and elimination of unwanted matter; or distract the audience to cover jump9cuts. Close-ups should be made to count. The stronger the motive for using a close-up, the more the close-up can help make the story-telling truly effective!"

5. Composition
All the basic rules of still image composition. Try and only have 1 center of interest, group if possible. Movement will usually suck attention, disguising a bad composition. Try and compose with the key positions of the movement in mind. Composition and camera movement should harmonize (don't pan horizontally across a row of tall vertical pillars) (a skier zigzagging down hill motivates a similar more gentle tracking with the camera). Keep in mind where the viewers eyes are, and where that lands the eyes in the next shot.