The Five C's of Cinematography by Joseph Mascelli
Contents
- 1 Camera Angles
- 2 Continuity
- 2.1 Introduction
- 2.2 Cinematic Time & Space
- 2.3 Filming the Action
- 2.4 Directional Continuity
- 2.4.1 Importance of Establishing Direction
- 2.4.2 Screen Direction
- 2.4.3 Use Neutral Shots
- 2.4.4 Action Axis
- 2.4.5 Entrances & Exits
- 2.4.6 Reaction Close-Up For Switching Screen Direction
- 2.4.7 Reversing Screen Direction
- 2.4.8 Map Direction
- 2.4.9 Location Interiors
- 2.4.10 Planned Screen Travel
- 2.4.11 Static Screen Direction
- 2.4.11.1 Matching the Look
- 2.4.11.2 Look on Both Sides of Lens
- 2.4.11.3 Neutral Look
- 2.4.11.4 Matching Look on Moving Players
- 2.4.11.5 Matching Looks on Master Scene Cut-In Shots
- 2.4.11.6 Matching Look with Single Player
- 2.4.11.7 Matching Looks on Speaker & Audience
- 2.4.11.8 Action Axies for Three Players
- 2.4.11.9 Matching Looks on Group Seated Around a Table
- 2.4.11.10 Repositioning Action Axis for Background Cheat
- 2.4.11.11 Matching Look on Stock Shots & Production Scenes
- 2.4.11.12 Reverse Shots
- 2.4.11.13 Conclusion
- 2.5 Bridging Time & Space
- 2.6 Transitional Devices
- 3 Cutting
- 3.1 Introduction
- 3.2 Types of Film Editing
- 3.3 Cross-Cutting
- 3.4 Cutting on Action
- 3.5 Cutting & Continuity
- 3.6 Cutting & Composition
- 3.7 Moving Shots & Static Shots
- 3.8 Timing Moving Shots
- 3.9 Loose Camera Shots
- 3.10 Protection Shots
- 3.11 Dissolves
- 3.12 Sound Editing Problems
- 3.13 Sound Flow
- 3.14 Editorial Requirements
- 3.15 Cameraman Can Learn From Film Editor
- 3.16 Conclusion
- 4 Close-ups
- 4.1 Introduction
- 4.2 Close-Up Size
- 4.3 Over-the-Shoulder Close-Ups
- 4.4 Types of Close-Ups
- 4.5 Close-Up Choice
- 4.6 Close-Up Look
- 4.7 Close-Up Camera angle & Image Size
- 4.8 Player MOvement Into & Out of Close-Ups
- 4.9 Close-Up Tempo
- 4.10 Close-Up Camera Set-Ups
- 4.11 Backgrounds for Close-Ups
- 4.12 Close-Up For Sequence Opener
- 4.13 Close-Ups for Transition
- 4.14 Conclusion
- 5 Composition
Camera Angles
Introduction
Scene, Shot, & Sequence
- Scene
- place or setting where the action is laid
- Shot
- Continuous view filmed by one camera without interruption
- Take
- Each individual attempt at a shot
- Sequence
- a series of scenes or shots complete in itself
Types of Camera Angles
- Objective
- Subjective
- Point of View
Objective Camera Angles
sideline viewpoint
Subjective Camera Angles
personal viewpoint, participating in action
Point-of-View Camera Angles
from a particular player's viewpoint, but not through their eyes (standing in action)
Components of a Camera Angle
- Subject Size
- Subject Angle
- Camera Height
Subject Size
- Extreme Long Shot (ELS)
- Long Shot (LS)
- Medium Shot (MS or MED)
- Two shot
- Close-Up (CU)
- Inserts
- Descriptive Shots
- Pan Shot
- Dolly Shot
- Crane/Boom Shot
- Follow or Tracking Shot
- Low Shot
- High Shot
- Reverse Shot
- Cut In Shot
- Cut Away Shot
- Reaction Shot
- Wide Angle/Telephoto/Zoom Shot
Subject Angle
3/Q view or flat or depth
Camera Height
Level Angle
High Angle
Low Angle
Angle plus Angle
Subject angle + Camera Height angle
Tilt or Dutch Angles
Employing Camera Angles
Area
Viewpoint
How to Select Area and Viewpoint
Depicting the Action
Change Camera Angle, Lens, or Both
Scene Requirements
Aesthetic Factors
Technical Factors
Psychological Factors
Dramatic Factors
Editorial Factors
Natural Factors
Physical Factors
Camera Angles on Signs & Printed Matter
Problematic Camera Angles
Conclusion
Continuity
Introduction
Cinematic Time & Space
Time & Space Continuity
Time Continuity
Space Continuity
Filming the Action
Types of Action
- Controlled
- Uncontrolled
Controlled Action
Uncontrolled Action
Filming Techniques
- Master Scene
- Triple Take
Master Scene Technique
How to Use Master Scene Technique
Advantages of Filming Master Scenes
Disadvantages of Filming Master Scenes
Triple-Take Tecnique
How To Use Triple-Take Technique
Advantages of Triple-Take Technique
Disadvantages of Triple-Take Technique
Master Scene vs Triple-Take Technique
Directional Continuity
Importance of Establishing Direction
Screen Direction
- Dynamic
- bodies in motion
- Static
- Bodies at rest
Dynamic Screen Direction
- Constant
- either left to right or right to left
- Contrasting
- both left to right and right to left
- Neutral
- towards or away from the camera
Use Neutral Shots
Action Axis
Action Axis on Curves
Action Axis on Corners
Action Axis through Doorways
Cheating the Action Axis
Entrances & Exits
Reaction Close-Up For Switching Screen Direction
Reversing Screen Direction
Map Direction
Location Interiors
Planned Screen Travel
Static Screen Direction
Matching the Look
Look on Both Sides of Lens
Neutral Look
Matching Look on Moving Players
Matching Looks on Master Scene Cut-In Shots
Matching Look with Single Player
Matching Looks on Speaker & Audience
Action Axies for Three Players
Matching Looks on Group Seated Around a Table
Repositioning Action Axis for Background Cheat
Matching Look on Stock Shots & Production Scenes
Reverse Shots
Conclusion
Bridging Time & Space
Transitional Devices
- Pictorial
- Sound
Pictorial Transitions
Fades
Dissolves
Wipes
Montage Transitions
How to use Pictorial Transitions
Sound Transitions
Appropriate Transitions
Conclusion
Cutting
Introduction
Types of Film Editing
Continuity Cutting
The storytelling is dependent upon matching consecutive scenes
Compilation Cutting
The storytelling is dependent upon the narration
Continuity & Compilation Cutting
Cross-Cutting
How to use Cross-Cutting
Cutting on Action
Cutting & Continuity
Cutting & Composition
Moving Shots & Static Shots
Timing Moving Shots
Loose Camera Shots
Protection Shots
Dissolves
Sound Editing Problems
Sound Flow
Editorial Requirements
Technical Requirements
Aesthetic Elements
Narrative Factors
Cameraman Can Learn From Film Editor
Conclusion
Close-ups
Introduction
Close-Up Size
- Medium Close-Up
- Chest to above head
- Head and Shoulder Close-Up
- Below shoulders to above head
- Head Close-Up
- head only
- Choker Close-up
- Below lips to above eyes
