The Five C's of Cinematography by Joseph Mascelli

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Contents

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

Extreme Close-Ups

Over-the-Shoulder Close-Ups

Types of Close-Ups

Cut-In

How to use Cut-In Close-ups
Establish Cut-In Close-Ups

Cut-Away

How to use Cut-Away Close-Ups
Do NOT Establish Cut-Away Close-Ups

Close-Up Choice

Close-Up Look

Close-Up Camera angle & Image Size

Player MOvement Into & Out of Close-Ups

Close-Up Tempo

Close-Up Camera Set-Ups

Backgrounds for Close-Ups

Close-Up For Sequence Opener

Close-Ups for Transition

Conclusion

Composition

Introduction

Still vs Motion Picture Composition

Good Camera Work Begins With Composition

Compositional Rules

Compositional Language

Lines

Forms

Masses

Movements

Balance

Types of Balance

Formal Balance

symmetrical

Informal Balance

asymmetrical balance

Informal Balance with Odd Numbers

Gravity influences Balance

Unity

Do's and Don'ts

One Center of Interest

Positioning Center of Interest

Attracting or Switching Center of Interest

Position Movement Action & Sound
Lighting, Tonal Value & Colors
Selective Focusing

Eye Scan

Image Placement

Image Size

Integrate Composition & Camera Angles

Perspective

Linear Perspective

Aerial Perspective

How to increase perspective effects

Backgrounds

Frames

Frame Requirements

Distinct Frame Separation Necessary

Partial Frames

Frame Focus

Frame Movement

Frames Can Aid Storytelling

Dynamic Composition

Suspenseful Composition

Catalog Pictures

Compositional Variety

Compose in Depth

Simplicity

Conclusion

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