How does a film come to look the way it does? And what influence does the look of a film have on our reaction to it? The role of cinematography, as both a science and an art, is often forgotten in the chatter about acting, directing, and budgets. The successful cinematographer must have a keen creative eye, as well as expert knowledge about the constantly expanding array of new camera, film, and lighting technologies. Without these skills at a director’s disposal, most movies quickly fade from memory. Cinematography focuses on the highlights of this art and provides the first comprehensive overview of how the field has rapidly evolved, from the early silent film era to the digital imagery of today. The essays in this volume introduce us to the visual conventions of the Hollywood style, explaining how these first arose and how they have subsequently been challenged by alternative aesthetics. In order to frame this fascinating history, the contributors employ a series of questions about technology (how did new technology shape cinematography?), authorship (can a cinematographer develop styles and themes over the course of a career?), and classicism (how should cinematographers use new technology in light of past practice?). Taking us from the hand-cranked cameras of the silent era to the digital devices used today, the collection of original essays explores how the art of cinematography has been influenced not only by technological advances, but also by trends in the movie industry, from the rise of big-budget blockbusters to the spread of indie films. The book also reveals the people behind the camera, profiling numerous acclaimed cinematographers from James Wong Howe to Roger Deakins. Lavishly illustrated with over 50 indelible images from landmark films, Cinematography offers a provocative behind-the-scenes look at the profession and a stirring celebration of the art form. Anyone who reads this history will come away with a fresh eye for what appears on the screen because of what happens behind it.
Filmmaking is an art, but, like so many art forms, there are basic underlying tools and techniques and a body theoretical knowledge that must be understood and mastered before artistic expression can flourish. This book is an invaluable resource for all aspiring DoPs. Practical Cinematography can be dipped into for quick reference - perhaps to answer a specific question or deal with practical problems relating to a shoot - or read from cover to cover. It discusses the principles of cinematography and the expertise which is unique to the Director of Photography (DoP). It deals with all the basic theory such as color temperature and sensitometry, and all the practical things a DoP needs to know, from the make-up of the crew to how to prepare an equipment list.
Seminar paper from the year 2009 in the subject Film Science, grade: 1,7, University of London, course: Latin American Cinema, language: English, abstract: Amores Perros (2000) is the first feature film of Mexican Filmmaker Alejandro Gonzalez Inarritu. Released in 2000 at the Cannes Film Festival, the movie won the Prize of the Critic's Week at Cannes. It was the first Mexican film after 25 years that entered an Oscar competition. By referring to specialist magazine Cine XS (Flores-Duran and Pedroza, 2000) Paul Julian Smith explains that 'Amores Perros is representative of a 'new trend' in Mexican cinema' (Smith, 2003, p. 25). The film not only won a lot of prizes at international film festivals, it was also very successful at the box offices. It earned $ 10 million in Mexico, $ 5 million in the US and $20 million worldwide (Smith, 2003, p. 13). 'The critical and commercial success of Gonzalez Inarritu's film comes at a time when the Mexican film industry appears to be going through its worst period since the early 1930s' (D'Lugo, 2003, p. 221). But what makes this film so successful? The brilliant narration, the strong soundtrack, the outstanding cinematography and special marketing strategies could be factors for its success. The cinematic and editing techniques used in this movie are very different from films of former Latin American filmmakers. In this essay, I would like to concentrate on the cinematography of Amores Perros and analyse how it creates meaning and supports the story and the characters. I will start with general information about the movie and sum up the plot very briefly. After that, I will begin the analysis of the cinematography and give some background information about the production. Firstly, I want to give some general information about the specific cinematographic techniques used in Amores Perros and then I would like to analyse several sequences more properly. The opening sequence will be analysed accurately, then I concentrate on several"
Cinematography is the first title in the Screencraft Series, a unique venture which aims to unravel for the first time the multi-layered language of film-making, by exploring the fusion of crafts which combine to create the most important art form of the 20th century. Although the cinematographer or director of photography rarely receives the kind of attention reserved for directors and actors, there is little doubt that this is the key technical role in the process of revealing a story through images. The cinematographers featured in this book encompass three generations of filmmaking and represent a diversity of film cultures. What they have in common is the contribution they have made to a universal cinema heritage and the fact that their work has helped to expand -- if not revolutionize -- the language of film. This book, featuring the world's finest cinematographers, will inspire practicing professionals, students, and movie buffs alike. This beautifully designed and illustrated book speaks in the voices of these cinematographers and through the powerful images they have created for the screen.The cinematographers featured in this book encompass three generations of filmmaking and represent a diversity of film cultures, from "African Queen" to "Delicatessen."Highly illustrated -- over 500 color pictures and 300 black and white photos -- and written entirely based on each cinematographer's own words from interviewsThis book, featuring the world's finest cinematographers, will inspire practicing professionals, students, and movie buffs alike.
This book examines the art and craft of motion picture photography through a veteran professional cinematographer's personal experiences on five major motion pictures, each selected to illustrate a particular series of challenges for the photographer. "Every Frame a Rembrandt" is an expression heard on sound stages and locations the world over. While in most cases the expression is used lightly and not infrequently with a certain amount of sarcasm, its true meaning speaks highly of most cinematographers' commitment to producing the best, most interesting, unusual and memorable images for the screen. Through the five films he selected for this book Laszlo is able to show the broad range of complexity in motion picture photography, from the relatively simple "point and shoot" in the typcal western to complex in-camera effects. In recounting his "war stories" Laszlo is able to show the day to day activities of a cinematographer before, during and after filming the project, discussing equipment, film stocks, testing, labs, unions, agents, budget requirements, and working with the director and producer. The five films discussed are Southern Comfort, The Warriors, Rambo: First Blood, Streets of Fire, and Innerspace. The book is illustrated throughout with production stills from Laszlo's extensive collection (12 in a color insert).
Film Genre, Tracking Shot, Shot Reverse Shot, Cinematographer, L Cut, Cutaway, Insert, Follow Focus, List of Film Formats, Panavision,
Author: Source Wikipedia
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 69. Chapters: Film genre, Tracking shot, Shot reverse shot, Cinematographer, L cut, Cutaway, Insert, Follow focus, List of film formats, Panavision, Black Magic Tim, Combat in film, Deep focus, Alfred John West, Camera magazine, JA Prestwich Industries, Video assist, Visions of Light, Long take, Shaky camera, Color gel, Focus puller, Match cut, Parabolic aluminized reflector light, Cinematic techniques, Electronovision, Dolly zoom, Kinopanorama, Home movies, Negative cutting, No Subtitles Necessary: Laszlo & Vilmos, Bipack, Steadicam, ASC CDL, Color correction, Clapper loader, Film gate, Panning, American Society of Cinematographers, Ciociaria in cinematography, Three-point lighting, Showscan, Short end, Eclair, Key light, Iso-elastic, Trunk shot, Cross-cutting, Armored Trunk Manufacturing Company, Camera operator, Original camera negative, High-key lighting, Available light, Axial cut, Cutting on action, Interpositive, Skypan, Cinematography Mailing List, Jib, Shallow focus, British Society of Cinematographers, ASC Technology Committee, Society of Operating Cameramen, Stereographer, Eyeline match, Flashing, Low-key lighting, Digital imaging technician, Re-can, Lumapanel, Camera shoulder support, Keller-Dorian cinematography, Racking focus, Stalker vision, Background light, Heligimbal, Behind the Camera, Filipino Society of Cinematographers, JVC HD100, Follow shot, Wickmania, International Cinematographers Guild, Buffer shot, Tilt, One-light, Whip pan, Unchained camera technique, Camera stabilizer, Eye-level camera angle.
Introduction to Cinematography offers a practical, stage-by-stage guide to the creative and technical foundations of cinematography. Building from a skills-based approach focused on professional practice, author Tania Hoser provides a step-by-step introduction for both cinematographers and camera assistants to the techniques, processes, and procedures of working with cameras, lenses, and light. She provides hands-on insight on negotiating with production constraints and understanding the essentials of the image workflow from shot to distribution, on projects of any scope and budget. Richly illustrated, the book incorporates exercises and sample scripts throughout, exploring color, speed, movement ‘blocking’ and pacing scenes. As with all areas, the principles and techniques of shaping and controlling light are applied to working with natural light, film lamps, and low budget alternatives. This makes Introduction to Cinematography the perfect newcomer’s guide to learning the skills of cinematography that enables seamless progression from exercises through to full feature shoots. Assessment rubrics provide a framework to measure progress as the reader’s ability to visually interpret scripts and realize the director’s vision develops. The book also teaches readers: To understand and develop the combination of skills and creativity involved in cinematography; Photographic principles and how they are applied to control focus exposure, motion blur, and image sharpness; To identify the roles and skills of each member of the camera department and how and when each are required during a shoot; The order and process of lighting on all scales of productions and the use and application of the four main types of lamps. How to use waveforms, false color, and zebras for monitoring and meters for guiding exposure choices; The principles of the color wheel, color palettes, and psychological effects of color choices; How to shoot for different types of fiction and nonfiction/documentary films and how to apply these skills to other genres of TV and film production; Strategies for both starting and progressing your career within cinematography and the camera department.
Performing Arts by Kris Malkiewicz,M. David Mullen
The Essential Guide to the Cameraman's Craft Since its initial publication in 1973, Cinematography has become the guidebook for filmmakers. Based on their combined fifty years in the film and television industry, authors Kris Malkiewicz and M. David Mullen lay clear and concise groundwork for basic film techniques, focusing squarely on the cameraman's craft. Readers will then learn step-by-step how to master more advanced techniques in postproduction, digital editing, and overall film production. This completely revised third edition, with more than 200 new illustrations, will provide a detailed look at: How expert camera operation can produce consistent, high-quality results How to choose film stocks for the appearance and style of the finished film How to measure light in studio and location shooting for the desired appearance How to coordinate visual and audio elements to produce high-quality sound tracks Whether the final product is a major motion picture, an independent film, or simply a home video, Cinematography can help any filmmaker translate his or her vision into a quality film.
y" is explored in this book. Ben de Leeuw, a freelance animator specializing in character animation and digital cinematography, examines the differences between virtual and real cinematography, as well as the benefits and deficits of the computer as a cinematic tool.
Successful animators- the ones who land the exciting jobs and who win the industry awards- must be more than simply a talented artist, a great filmmaker, or a skilled technologist. They need to be all three! For the first time, aspiring animators and those in the field looking to move up have a resource to help them develop this entire skill set with Exploring Digital Cinematography. Award-winning animator Jason Donati examines such key concepts as CG directing, lighting, and texturing from the three different perspectives of art, film, and technology. Beginning with a solid foundation of art and filmmaking knowledge, this groundbreaking book then translates key production techniques- including depth of field, camera blocking, and three-point lighting- into the 3D world. This unique approach bridges the gap between traditional live-action cinematography and cutting-edge 3D animation, giving readers all the skills they need to realize their full 3D animation potential. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
Literary Criticism by Виктор Шкловский,Richard Robert Sheldon
In this essay, a leading figure of the Russian Formalist movement of the 1910s and 1920s enunciates the function of the arts: what they are and, more importantly, what they are not. His views of the other arts lead him into speculations about cinematography, which was just emerging at the time of writing, 1923.
Don't waste valuable time and budget fixing your footage in post! Shoot the effects you want effectively and creatively the first time. This full-color step-by step guide to visual effects cinematography empowers you to plan out and execute visual effects shots on a budget, without falling into the common pitfall of using high-end computer graphics to "fix it in post. Learn how to effectively photograph foreground miniatures, matte paintings, green screen set ups, miniatures, crowd replication, explosions, and so much more to create elements that will composite together flawlessly. Filming the Fantastic focuses on the art and craft of visual effects using real case scenarios from a visual effects cameraman. These lessons from the front line will give you ideas and insight so you can translate your skills into any situation, no matter what camera or software package you are using and no matter if you are using film or digital technology. Learn how to film your fantastic visual effects with this book!
Roger Corman is an ambiguous artistic figure. On the one hand, he is notorious for shooting and producing his films quickly, cheaply and with blatant disregard for safety measures, which, together with his ability to issue a dozen new films every year and his impressive filmography, have earned him the titles of “shlockmeister” and “the King of the B’s” among film journalists. On the other hand, he became the youngest American director to be given a film retrospective at the prestigious Cinématèque Française in Paris, one of his directorial efforts – House of Usher – was selected for preservation in the National Film Registry by the Library of Congress, and the Academy of Motion Picture Arts and Sciences awarded him with an Academy Honorary Award “for his rich engendering of films and filmmakers.” This book investigates this duality and explores whether Corman is indeed a shlockmeister or an artist whose works are worthy of the highest cinema awards. The scope of analysis is limited to his directorial efforts “only” – still encompassing 50 features – excluding the 400 films he produced. The methodology adopted here is based on the auteur theory in its structuralist version by Geoffrey Nowell-Smith and Peter Wollen, and focuses on three areas of interest: work ethic – personal elements in the films, personal control over and commitment to the production process outside direction; themes – topics and concerns common for many of the films regardless of the genre; and style – recurring stylistic motifs and elements in the camerawork, editing, and framing.
High end digital cinematography can truly challenge the film camera in many of the technical, artistic and emotional aspects of what we think of as 'cinematography'. This book is a guide for practising and aspiring cinematographers and DOPs to digital cinematography essentials - from how to use the cameras to the rapidly emerging world of High Definition cinematography and 24p technology. This book covers the `on-the-set' knowledge you need to know - its emphasis lies in practical application, rather than descriptions of technologies, so that in this book you will find usable `tools' and information to help you get the job done. From `getting the look' to lighting styles and ratios, what is needed for different types of shoots and the technical preparation required, this is a complete reference to the knowledge and skills required to shoot high end digital films. The book also features a guide to the Sony DVW in-camera menus - showing how to set them up and how they work - a device to save you time and frustration on set. Paul Wheeler is a renowned cinematographer/director of photography and trainer, he runs courses on Digital Cinematography at the National Film & Television School and has lectured on the Royal College of Art's MA course and at The London International Film School. He has been twice nominated by BAFTA for a Best Cinematography award and also twice been the winner of the INDIE award for Best Digital Cinematography.
High definition is here to stay. HD changes the whole shooting and editing process in film and television production and this book is to satisfy your hunger for information. Whether you are a cinematographer, producer, or working in film/TV production, High Definition Cinematography, 2nd edition will demystitify the new technology, help you select the right cameras and equipment, and explain how high definition affects the shooting process and budgets. Filled with practical advice for tackling everyday decisions and choices, this is a necessity for you if you are using or considering using high definition technology.
Since its initial publication in 1973, Cinematography has become the standard guidebook on filmmaking techniques that emphasizes the cameraman's craft. Now completely revised and updated, it clearly and concisely covers what today's filmmaker needs to know about camera structure and operation, lenses, film stocks, filters, lighting and light measuring, and accessory equipment. In addition it provides up-to-date information on sound recording, editing, video transfer, studio and location shooting, production logistics, and modern techniques of picture manipulation with optical printers -- a subject rarely treated in such detail in existing film books. Building on the groundwork he lays, Kris Malkiewicz explores more advanced techniques of overall picture quality control -- how the filmmaker can translate the envisaged image to the screen through coordinating all aspects of cinematography. As Malkiewicz explains, whatever concept is desired, the filmmaker must be in full control of the technology in order to ensure success. Illustrated with more than 350 photographs and drawings, this new second edition of Cinematography will continue to prove invaluable to filmmakers, film students, and film teachers.
Carl Theodor Dreyer was a visionary director whose films were based less on his screenplays than on his preconceptions, his complete formal, aesthetic cinematic projections of the films he deputized actors, cinematographers, and crew to produce. Cinematography of Carl Theodor Dreyer examines the life and work of a brilliant director and visionary.