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
- 5.1 Introduction
- 5.2 Still vs Motion Picture Composition
- 5.3 Good Camera Work Begins With Composition
- 5.4 Compositional Rules
- 5.5 Compositional Language
- 5.6 Balance
- 5.7 Types of Balance
- 5.8 Unity
- 5.9 Do's and Don'ts
- 5.10 One Center of Interest
- 5.11 Eye Scan
- 5.12 Image Placement
- 5.13 Image Size
- 5.14 Integrate Composition & Camera Angles
- 5.15 Perspective
- 5.16 Backgrounds
- 5.17 Frames
- 5.18 Dynamic Composition
- 5.19 Suspenseful Composition
- 5.20 Catalog Pictures
- 5.21 Compositional Variety
- 5.22 Compose in Depth
- 5.23 Simplicity
- 5.24 Conclusion
Camera Angles
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
