The Five C's of Cinematography by Joseph Mascelli
Contents
- 1 Camera Angles
- 2 Continuity
- 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
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
