The Five C's of Cinematography by Joseph Mascelli

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Contents

Camera Angles

Continuity

Cutting

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