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cinematography

1.Responsibilities of the Cinematographer

2.History of Cinematography

3.Digital Concepts

4.Composition and Framing

5.Camera Movement

6.Exposure: F-stop, Shutter, ISO

7.Optics, Lens Aesthetics, and Depth of Field

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2
3
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5
6
7
8
9

Gary Adcock

GARY ADCOCK & THOMAS FLETCHER
Imager

(Actual Size)
ISO

Latitude
Manufacturer

Published
Spec

Frame Rates
Pixel Resolution of

Recorded Media
Recorded Bit Depth

Format & Time
(Highest Internal Record @ 24 fps)

Data
(Per Min)

Weight
(Body Only)

Power
Draw Highlighted Positives

Notable
Credits

ARRI ALEXA LF

800
Base

14+
Stops

ARRIRAW
LFOG|LF16.9|LF2.39
.75-90|.75-90|.75-150

ProRes
LFOG|LF16:9|LF2.39
.75-60|.75-60|.75-100

ARRIRAW & ProRes
LFOG – 4448×3096

LF16:9 – 3840×2160
LF2:39 – 4448×1856

ProRes Only
LF16:9 2K 2048×1152
LF16:9 HD 1920×1080

12 Bit Log ARRIRAW:
LFOG 2TB SXR CD: 64 min

LF16:9 2TB SXR CD: 107 min
LF2.39 2TB SXR CD: 108 min

12 bit Log C ProRes 4444:
LFOG/2TB SXR CD: 64 min

LF16:9/2TB SXR CD: 107 min
LF2.39/2TB SXR CD: 108 min

ARRIRAW:
LFOG 30 GB

LF16:9 18.2 GB
LF2.39 18.1 GB

ProRes:
LFOG 15.4 GB
LF16:9 9.2 GB
LF2.39 9.1 GB

17.2 lbs.

7.8 kg

135W
RAW

w/EVF &
Wireless

Video

85W
RAW

Body Only

Immersive large format aesthetic.

ALEXA image: wide latitude,
great skin tones, low noise

Fast & efficient ProRes.
Uncompressed & unencrypted ARRIRAW

HDR recording & monitoring.
150 fps, built-in wireless video.

Netflix approved

Ford v Ferrari
Dune

Terminator:
Dark Fate

The Eternals
The Undoing

Killing Eve
She’s Gotta Have It

$98,200
(price

includes
other

accessories
such as EVF
& Wireless

System)

ARRI ALEXA SXT

800
Base
14+
Stops

ARRIRAW | ProRes_
.75-120 |.75-120 16:9
.75-96 | .75-96 6:5

.75-96 | .75-60 4:3
.75-90 |.75 60 OG

OG 3424 x 2202
6:5 2578x 2160
4:3 2880 x 2160

16:9 3200 x 1800

12 Bit Log ARRIRAW
OG 512GB XR CD – 29 min
4:3 512GB XR CD -36 min

16:9 512GB XR CD – 39 min
OG 2TB SXR CD – 117 min
4:3 2TB SXR CD -142 min

16:9 2TB SXR CD – 157 min

ARAW| P. Res
16.6 | 8.1 OG
13.8 | 6.7 4:3
12.5|6.2 16:9

14.3 lbs.

6.5 kg

125W
RAW

w/EVF &
Wireless Vid

90W
RAW

Body Only

True Anamorphic 4:3 imager
Wide latitude ideal for HDR

Proven reliability & post efficiency
ProRes as Log C, 709, With LUTs

3 independent MON OUTs
I/O as BT.709, BT.2020, Arri Log C

Optional built-in wireless video

Game of Thrones
Aladdin

It 2
Us

John Wick 3
Glass

The Wandering Earth

$85,320
(price

includes
other
accessories
such as EVF
& Wireless

System)

Ranger Body

RED MONSTRO (Sensor)

800
Base

17+
Stops

w/
HDRx

1-60fps 7&8K
1-75fps 6K
1-96fps 5K

1-120fps 4K
FPS increases when

shooting 2.4:1

8K 8192 x 4320
7K 7168 x 3780
6K 6144 x 3240
5K 5120 x 2700
4K 4096 x 2160
2K 2048 x 1080

16 bit
REDCODE 8KFF 5:1

512Mag -31 min
1TB SSD – 63 min

(HDRx Cuts Time in Half)

8K FF 5:1
15.5 GB

6K FF 3:1
14.6 GB

7.5lbs
3.4kg
Ranger

3.3 lbs.
1.5 kg

DSMC

65W
Body Only

Ranger

60W
Body Only

DSMC

RANGER ergonomic unibody design,
24V pwr and fully integrated I/O ports
DSMC2 version offers a more flexible,
lightweight, fully modular form factor

Lowest Data Rate for 8K recording

Netflix Approved

Army of the Dead
Midway
Ratched

6 Underground
The Laundromat

Stranger Things S3
Peaky Blinders S5

$79,500
Ranger

$54,500
DSMC2

ARRI ALEXA Mini LF

800
Base
14+
Stops

ARRIRAW
LFOG|LF16.9
.75-40|.75-60

ProRes
LFOG|LF16:9|LF2.39
.75-40|.75-60|.75-60

ARRIRAW & ProRes
LFOG – 4448×3096
LF16:9 – 3840×2160
LF2:39 – 4448×1856
ProRes Only
LF16:9 2K 2048×1152
LF16:9 HD 1920×1080

12 Bit Log ARRIRAW:
LFOG 1TB Codex CD: 32 min

LF16:9 1TB Codex CD: 53 min
LF2.39 1TB Codex CD: 54 min

12 bit Log C ProRes 4444:
LFOG/1TB Codex CD: 72 min

LF16:9/1TB Codex CD: 121 min
LF2.39/1TB Codex CD: 120 min

ARRIRAW:
LFOG 29.8 GB

LF16:9 17.9 GB
LF2.39 17.9 GB

ProRes:
LFOG 13.2 GB
LF16:9 7.9 GB
LF2.39 8.0 GB

5.7 lbs.

2.6 kg

65W
RAW
w/EVF

Small & lightweight
Immersive large format aesthetic

ALEXA image: wide latitude,
great skin tones, low noise

Fast & efficient ProRes
Uncompressed & unencrypted ARRIRAW

HDR recording & monitoring
Netflix approved

1917
Away

Infinite
The Eternals

Aether
The Mandalorian

Ted Lasso

$58,760
Body Only

ARRI ALEXA Mini

800
Base
14+
Stops

OG – .75-30
ARRIRAW 16:9

.75-48 fps
4:3 ProRes .75-50

16:9 .75-200
6:5 ProRes.75-150
8:9 ProRes.75-150

OG 3424 x 2202
4:3 – 2880 x 2160

UHD 16:9 3840 x 2160
16:9 2048 x 1152
16:9 1920 x 1080

12 Bit Log ARRIRAW

ProRes4444XQ UHD
512GB CFast – 38 min

Records Classic ALEXA formats

ARRIRAW
16.6 GB

ProRes
8.7 GB

5 lbs.

2.3 kg

45W
Body Only

75W
with
Acc

Super Lightweight Carbon Body
ALEXA Sensor Latitude and

HDR image quality
Integrated Lens Motor Control

Motorized ND filters
Exchangeable Lens Mounts

Perfect for Gimbals & Multicopters

Hobbs & Shaw
John Wick 3
Rocketman
Spiderman:

Far from Home
This is Us

$45,720
Body Only

Sony Venice

Dual
500
&

2500
Base

15+
Stops

6K
3:2 | 1.85 | 2.39
60 721 901

4K
4:3 | 17:9 | 2.39:1
75 110 120

FF 6048 x 4032
6K 17:9 6054 x 3192
4K 6:5 4096 x 3432
4K 4:3 4096 x 3024

4K 4096 x 2160
UHD 3840 x 2160
HD 1920 x 1080

16 Bit
XOCN ST 6K 3:2

1TB AXS SSD – 69 Min

14 GB
6K 3:2

5 GB
4K 17:9

8.5 lbs.

3.9 kg

85W
System

60W
Body
Only

6K Full Frame Sensor
Dual Base ISO Operation

PL Mount & Professional E-mount
8 Step Internal motorized Optical ND

Filter System
Sensor extension option – Rialto

Netflix Approved

Avatar Sequels
Top Gun: Maverick
Bad Boys for Life
Dead to Me (S1)

Snowfall (S3)
Empire (S6)

The Boys (S1)

$42,000
Body Only

$11,822
Rialto

Extension
Module

Panasonic VariCam (3 Models)

Dual
800
&

5000
Base

14+
Stops

PURE & V35
1-120 fps VRaw &
AVC-Intra 4K422

VARICAM LT
AVC-Intra 4K422
1-30 & 1-60 (Ext)

4K 4096 x 2160
UHD 3840 x 2160
2K 2048 x 1080
HD 1920 x 1080

VARICAM LT
AVC-I 422-4K , ProRes HD

512GB Express P2 Card
180 min -AVC-I 422-4K
124 min – ProRes HD

LT
4:2:2
2.3GB

PURE
12.2 lbs.

V35
11.4 lbs.

LT
6 lbs.

PURE
105W

V35 99W
LT 47W

Exceptional Low Light Performance
Clean Signal @ 5000 ASA

LT RAW via Atomos Shogun Inferno &
Convergent Design Odyssey 7Q & 7Q+

Netflix Approved

Crazy Rich Asians
Deadliest Catch

The Enemy Within
Comedians in Cars

Getting Coffee

Pure
$48,000

V35
$43,000

LT
$9,995

Thomas Fletcher2019 CAMERA COMPARISON CHART – YEAR END UPDATE
List Price

Camera Only
(US Dollars)

Sorted by

CMOS
43.5mmØ

36.2 x 24.1mm

CMOS
44.7mm Ø

36.7 × 25.5mm

CMOS
33.6mm Ø

28.3 × 18.2mm

CMOS
27.8mm Ø

24.6 x 12.9mm

CMOS
33.6mm Ø
28.3 × 18.2mm

CMOS
46.3mm Ø

41.0 x 21.6mm

CMOS
44.7mm Ø
36.7 × 25.5mm

1Future Update 2Select Shots Camera must be available for sale and rent | Please report any discrepancies to cameracomparisonchart@gmail.com 2019 Camera Comparison Chart v37

https://www.linkedin.com/in/gadcock/

https://www.linkedin.com/in/tfletch1225

https://www.red.com/red-ranger

https://www.arri.com/camera/alexa_mini

https://www.arri.com/largeformat/

https://info.panasonic.com/varicam-LT.html

https://www.arri.com/camera/alexa/cameras/camera_details/alexa-sxt-w/

https://pro.sony/ue_US/products/digital-cinema-cameras/venice?intad=latest:venice:2

https://www.arri.com/largeformat/

Soraya Burtnett

Thomas Fletcher
GARY ADCOCK & THOMAS FLETCHER
Imager
(Actual Size)
ISO
Latitude
Manufacturer
Published
Spec
Frame Rates
Pixel Resolution of
Recorded Media
Recorded Bit Depth
Format & Time
(Highest Internal Record @ 24 fps)
Data
(Per Min)
Weight
(Body Only)
Power
Draw Highlighted Positives
Notable
Credits
ARRI AMIRA
800
Base
14+
Stops
.75-60 fps – UHD
.75-48fps – ARRIRAW
.75-200fps- ProRes
3840 x 2160
3200 x 1800
2048 x 1152
1920 x 1080
12 Bit Log ARRIRAW
512GB CFast – 50 min
ProRes 4:4:4 XQ UHD
512GB CFast – 38 min
2.8K RAW
10GB
ProRes UHD
13.4GB
9.2 lbs.
4.1 kg
50W
Body Only
ARRIRAW up 48fps w/ SUP and License
Lightweight Comfortable Handheld
4K UHD & 3.2K Record Options
Powerful In-Camera Color Grading
200 fps Slow Motion
Chicago PD
NFL Films
NBA Entertainment
Sea of Shadows
$35,000
DSMC2
Body
Shown
RED HELIUM (Sensor)
800
Base
16.5+
Stops
w
HDRx
1-60fps 7&8K
1-75fps 6K
1-96fps 5K
1-120fps 4K
FPS increased
when shooting 2.4:1
8192 x 4320
7168 x 3780
6144 x 3240
5120 x 2700
4096 x 2160
2048 x 1080
16 Bit
REDCODE – 8K FF @ 5:1
512GB SSD – 31 min
1TB SSD – 63 min
(HDRx Cuts Time in Half)
8K FF 5:1
15.5 GB
7.5 Lbs.
3.4 Kg
Ranger
3.3 lbs.
1.5 kg
DSMC2
65W
Ranger
Body Only
60W
DSMC2
Body Only
RANGER ergonomic unibody design,
24V pwr and fully integrated I/O ports
DSMC2 version offers a more flexible,
lightweight, fully modular form factor
Netflix Approved
The 2 Popes
Russian Doll
GLOW S3
Narcos: Mexico S2
Mindhunter
$29,950
Ranger
$24,500
DSMC2
Ranger
Body
Shown
RED GEMINI (Sensor)
Dual
800
3200
Base
16.5+
Stops
w
HDRx
1-75fps 5K
1-120fps 4K DCI
1-240fps 2K
FPS increased
when shooting 2.4:1
5120 × 2700
4096 × 2160
3072 × 1620
2048 × 1080
16 Bit
REDCODE – 5K FF @ 2:1
512GB SSD – 44 min
1TB SSD – 87 min
(HDRx Cuts Time in Half)
5K FF 2:1
15.1 GB
7.5 lbs.
3.4 Kg
Ranger
3.3 lbs.
1.5 kg
DSMC2
65W
Ranger
Body Only
60W
DSMC2
Body Only
RANGER ergonomic unibody design,
24V pwr and fully integrated I/O ports
DSMC2 version offers a more flexible,
lightweight, fully modular form factor
Netflix Approved
Sneaky Pete S3
Jessica Jones S3
Seal Team S3
Rambo V: Last
Blood
$24,950
Ranger
$19,500
DSMC2
Canon C500 Mark II
800
Base
15+
Stops
CRaw Lite 12bit
6K, 4K, UHD
24-60
XF-AVC 10bit
4K, UHD, 2K, 1080
24-60
5952×3140 (RO)
4096×2160
3840×2160
2048×1080
1920×1080
12bit -10bit CRawLite
5952×3140 (RO)
4096×2160
3840×2160
256GB Cfast Express – 30 min
4K Raw
1GB
3.8 lbs.
1.77 kg
TBD
5.9K 12bit In camera raw
Sensor level stabilization
User interchangeable mount system
4K anamorphic support
Expansion Modules
Canon Autofocus Available
Too New
for Credits
$15,999
Body Only
Sony PXW-FX9
Dual
800
4000
Base
15+
Stops
XAVC-I 10bit 422
UHD 24-60
1080 24-120
MPEG HD422
1080
24-60
3840×2160
1920×1080
10 Bit 4:2:2
XAVC-I HD, UHD
XQD 240GB = 101 min
4K
XAVC
2.4GB
4.4 lbs.
2.0 kg
35W
Fast Hybrid AF & Face Recognition AF
4-128 Stop Electronic ND
Sony SLog3 and S-Cinetone color
Genlock, TC i/O USB
16 bit RAW output via extension unit1
Super 35 and LF Modes
Too New of
for Credits
$10,998
Canon EOS C300 Mark II
800
Base
15
Stops
1-120 fps @ 2K/HD
1-30 fps @
4K/UHD
4096 x 2160
3840 x 2160
2048 x 1080
1920 x 1080
12/10 Bit RGB
XF-AVC-Intra 4:4:4
128GB CFast – 75 min
10 Bit YCC 4:2:2
XF-AVC Intra
128GB CFast – 40 min
2K
1.7 GB
4K
3.1 GB
4.4 lbs.
2.9 kg
(PL
Version)
21.2W
Canon Log 3 HDR Exposure Latitude
Exceptional Sensitivity
Canon RAW via external recorder
2, 4 & 6 Stop ND Filters
Netflix Approved
Free Solo
RBG
Minding the Gap
Hale Country
Of Father and Sons
$11,999
Panasonic EVA-1
800
2500
14
Stops
1-30 @ 5.7K
External RAW
1-60 @ 4K/UHD
1-240 @ 2K/HD
5720×3016
External RAW
4096 x 2160
3840 x 2160
2K 1080p 720p
All-I 400
MOV 10bit 4:2:2
128GB – 40 min
HEVC H.265 4K 60P
H.264/MP4/AVCHD
4K
3.2 GB
2.6 lbs.
1.2 kg
19W
Dual Native ISO
5.7K/4K/2K RAW out to ext. recorder
V-Log/V-Gamut, HLG mode – Live HDR
Affordable SD card media
Netflix approved
Deadliest Catch
LA’s Finest
The Enemy Within 2
The Heights S2
$6,495
Blackmagic URSA Mini Pro G2
800
Base
15
Stops
Full Sensor
12-120fps 4.6K &4K
Windowed
12-150 4K DCI & 3K
UHD & 2K 1-150fps
12-300fps 2K &HD
BRaw & ProRes
4.6K 4608 x 2592
4.6K 2.40 4608 x 1920
4K 16:9 4096 x 2304
4K DCI 4096 x 2160
UHD, 3K ANA. 2K & HD
12 bit (non-linear)
Blackmagic RAW
CFast 2.0 512 GB
4.6K BM RAW Q0 -30 min
4.6K RAW 3:1 – 56 min
4.6K ProRes XQ – 28 min
17.6 GB
4K BM RAW
Q0
6.36 GB
4.6K ProRes
5 lbs.
2.3 kg
44W
Great skin tones
Wide dynamic range for HDR
Internal Blackmagic RAW or ProRes
recording to CFast 2.0 or SD Cards
Intl. ND Filters: 2, 4, 6 stops w/ IR cut
Netflix Approved
Lucifer 2
Let’s Play 2 Pearl Jam
The Resident 2
Stand!
Marvelous Mrs.
Maisel 2
$5,995
35mm Film
500
Base
15-16
Stops
1-150 fps
Arri 435
1-60 fps
Sync Sound Body
6K 4K 2K
Uncompressed
(via Scanner)
16 Bit (Linear)
10 Bit (Log)
3P 14m48s 1000′
4P 11m06s 1000′
N/A
25 lbs.
11.3 kg
400′ Load
55W
ARRICAM
4:4:4 Color Sampling
Established Workflow
Widest Available Latitude
Proven Archival Value
Netflix Approved
The Irishman
West Side Story
Succession
Staten Island
Walking Dead 16mm
.77 ₵
per foot
List Price
Camera Only
(US Dollars)
Sorted by
Gary Adcock 2019 CAMERA COMPARISON CHART – YEAR END UPDATE
CMOS
29.1mm Ø
25.3 x 14.2mm
CMOS
29.8mm Ø
26.4 x 13.8mm
CMOS
33.8mm Ø
29.9 × 15.8mm
CELLULOID
31.1mm Ø
24.9 x 18.1mm
CMOS
35.6mm Ø
30.7 × 18mm
CMOS
29.8mm Ø
24.6 x 13mm
CMOS
27.2mm Ø
23.8 × 13.4mm
CMOS
43.1mm Ø
38.1 × 20.1mm
CMOS
40.4mmØ
35.7 x 18.9mm
1Future Update 2Select Shots Camera must be available for sale and rent | Please report any discrepancies to cameracomparisonchart@gmail.com 2019 Camera Comparison Chart v37

https://www.linkedin.com/in/tfletch1225

https://www.linkedin.com/in/gadcock

https://pro.sony/en_LT/products/handheld-camcorders/pxw-fs7m2

https://www.arri.com/camera/amira

https://www.usa.canon.com/internet/portal/us/home/products/details/cameras/cinema-eos/eos-c300-mark-ii

https://www.red.com/DSMC2-BRAIN?quantity=1&sensor=2

https://www.kodak.com/US/en/motion/Products/Production/default.htm

https://na.panasonic.com/us/audio-video-solutions/broadcast-cinema-pro-video/cinema-cameras/au-eva1-57k-super-35-handheld

https://www.red.com/RED-RANGER-GEMINI?quantity=1?rangerpower=1

https://www.blackmagicdesign.com/products/blackmagicursaminipro

https://www.usa.canon.com/internet/portal/us/home/products/details/cameras/cinema-eos/cinema-eos-c500-mark-ii

Sheet1

Role of the Cinematographer
& Department Organization

FTV 122E: Digital Cinematography
Professor Sélène

What is the Role of the
Cinematographer?

Role of the Cinematographer

• Collaborate on the overall Look of the film

Role of the Cinematographer

• Collaborate on the overall Look of the film

• Pre-production Planning

• Work with the director to come up with final shot list and floor plans
• Provide guidance in all technical aspects of production
• Location scout and make recommendations to production designer for dressing and

painting sets based on the vision for the “look” of the film, and requirements for
lighting and camera movement.

• Organize camera, electrical, and grip crew
• Shoot tests

Role of the Cinematographer
• Collaborate on the overall Look of the film
• Pre-production Planning

• Principle Photography

• Execute the vision for the “look” of the film, while helping to keep production on
budget and on schedule

• Supervise all lighting on set
• Watch dailies with director and key collaborators to judge how effectively the “look” is

working

Role of the Cinematographer
• Collaborate on the overall Look of the film
• Pre-production Planning
• Principle Photography

• Post Production

• Shoot any additional photography (“pick-ups”) if necessary
• Supervise blending of visual effects shots with live-action footage
• Supervise color grading – color timing or DI
• Approve final print in collaboration with director and producer

Role of the Cinematographer

• The cinematographer, or Director of Photography (DP), is Head of Two
Departments

Role of the Cinematographer

• The cinematographer, or Director of Photography (DP), is Head of Two
Departments

•

Camera Department

• Lighting Department (Grip & Electric, or G&E)

Camera Department

• Who are the members of the Camera Department?

Director of Photography
HEAD OF CAMERA DEPT

Camera Operator 1st AC

2nd AC
Digital Imaging

Technician (DIT)

Loader
(Film)

Camera
Utility3

rd AC

G&E Department

• Who are the members of the Grip & Electric Department?

Director of Photography
HEAD OF G&E

GAFFER KEY GRIP

Best Boy Electric Best Boy Grip

Electrician

Dolly GripRigging Crew

GripElectricianElectrician GripGrip

• BLOCK
• LIGHT
• REHEARSE
• TWEAK
• SHOOT

Camera Dynamics
Methods for Moving the Camera

What is the narrative / emotional impact of your choice of
camera movement?

● The movement itself, the style, trajectory, pacing and timing in relation to
the action all contribute to the mood and feel of the shot: they add a
subtext and an emotional content independent of the shot.

● Camera placement is a key decision in storytelling, it determines what the
audience sees and from what perspective. What the audience does not see
can be as important as what they do see. And then what the movement
reveals, can add another emotional overlay.

Camera Movement

●

Pan / Tilt

● Tracking (e.g. on Dolly)

●

Zoom

●

Handheld

●

Steadicam

● Crane

● Mounted on vehicle (rolling shots)

Pan / Tilt

● Pan/tilt = turning on axis (like turning head)

● Camera stationary (on tripod)

● Pan – camera looks left/right

● Tilt – camera looks up/down

● Tilting is different from “booming” (or “pedding”)

Tracking

● Tracking = camera actually moves

● Moving shot terminology
● Alongside and parallel to subject

● Leading
● Following
● Counter-move
● Reveal
● Circles – using circular track

Zoom

● Zoom vs. Tracking = zooms change focal length, and depth of field. With zoom your
basic POV stays the same, but with dolly, the camera moves in relation to your subject
(background moves behind the subject), adding a sense of motion.

● Zoom changes the perspective from wide angle (deep focus) to long lens (compressed
background, smaller field of view), or vice versa, and changes the depth of field.

Zolly

Jaws: https://www.youtube.com/watch?v=rW23RsUTb2Y Goodfellas: https://www.youtube.com/watch?v=MWRncNMEhLw

● Zolly – dolly in while zooming out, or visa versa. The image size stays the same, but
there is a dramatic change of perspective and background – feeling of disorientation.
Examples: Jaws, Goodfellas

Handheld

● Qualities of Handheld shots

● Subtle push-in / pull-out

● Dirtier, more frenetic

● Sense of immediacy and energy (Saving Private Ryan was shot 90% handheld)

● Often the right choice for a true POV shot.

● Suggests a documentary approach, implies that “you are there,” and “this is really

happening,” verité.

● Can convey a sense of honesty, immediacy and simplicity that makes it popular in

many commercials.

Steadicam
● Allows moves where dolly would be

difficult or impossible – stairs, rough
ground, sand.

● Floaty movements, dreamy
● Can almost be an additional character

in the scene.

Steadicam

● Operator Garrett Brown invented it in the
1980s, first used on The Shining (Kubrick, 1980)

Tree of Life (Malick, 2011)

Steadicam movement contributes to the tone of this film’s philosophical and existential rumination on the
meaning of family and childhood.

Camera Support & Movement

● Tripod (“sticks”) – pan / tilt

● Dolly / Slider – tracking, push in/out – combining wide w/tighter shot, focusing
the viewer’s attention even more effectively than just cutting into the scene.

● Handheld rig, Easy-rig

● Jib / Crane

● Steadicam

● Other camera stabilizers – e.g. Glidecam, Movi, Ronin DJI

● Drone

History

● Introduction of Sound – The “Talkies”

● Singing In The Rain (Kelly and Donen, 1952) –
illustrates some of the early problems with
introduction of the Talkies

I Am Cuba (Soy Cuba) (Kalatozov, 1964)

● Four vignettes about the lives
of the Cuban people set
during the pre-revolutionary
era.

● Movement – Camera on pulleys –
what camera moves from/to, what
is revealed has meaning

Jules and Jim (Truffaut, 1962)

● As cameras became
smaller and mic
placement advanced,
liberated the camera to
move again.

SnorriCam
A special device that mounts the camera
directly on the actor’s body. Most often used
to show a character in an altered state

SnorriCam is named after two Icelandic
filmmakers, Einar Snorri and Eidur Snorri (no
relation).

Popularized by Darren Aronofsky, especially
through his early movies Pi (1998)
and Requiem for a Dream (2000), but the use
of such devices dates back to at least Martin
Scorsese’s Mean Streets (1973) and John
Frankenheimer’s Seconds (1966).

http://www.slate.com/articles/arts/movies/2013/08/criterion_collection_edition_of_seconds_directed_by_john_frankenheimer_and.html

Motivation and Invisible Technique
In narrative films, typically you want to strive for motivated camera moves. Documentaries can be more
flexible, but still it is often more effective and immersive if you use the movement of your subject to
motivate a camera move.

● Motivation – the action itself may motivate a move. Both the start and end of a dolly move or pan should
be motivated. Must arrive at a new frame, with new information composed in a meaningful way.

● Camera should “settle” at the end of any move. Rest at the new frame a beat before the cut point. Dolly
grip should “feather” in/out of the move.

● Camera movement itself may have a purpose, e.g. reveal new information or a new view of the scene.
Camera move may meet someone or pull back to show a wider shot.

● Unmotivated moves can pull audience out of the moment and make them conscious that they are
watching a film, but can have their uses, in more stylized filmmaking. E.g. Wes Anderson films.

Unmotivated Camera Moves

Moving Master Shots

● The moving master shot (or “oner”) is a shot that covers the entire action in one shot, often achieved with a
steadicam or on a dolly, but it can be handheld or even on a tripod (through panning, tilting, zooming). If done
correctly, it has the ability to cover a variety of “coverage” shots within this one moving master.

● The key to a good moving master shot is that there is interesting blocking that keeps the frame constantly active,
such as characters crossing in front of camera, or revealing new information as the camera tracks with characters.

● It is important to pay attention that all the beats of the scene are captured and that the camera is in the right place
for each of these beats by the placement of the frame on the subject.

● Moving Master shots TAKE TIME to rehearse and shoot.

● Lighting for moving master shots can be difficult as the field of view is greater, and therefore it is more difficult to
hide lights.

● Again, the shot should always service the story.

NOT Moving Camera

● What is the narrative purpose, or emotional effect, of NOT moving the
camera?

The Camera
FTV 122E: Digital Cinematography

Professor Soraya Sélène

Film (Analog) and Digital

*Film records an image by
varying the density of silver or
dye of the film emulsion in a
continuous gradient from clear
to opaque, black to white.

* Digital builds an image with
numbers in a binary format.
Detail is limited to a scale with
discrete numbers of values,
determined by the number of
bits being used.

Digital Concepts

Digital
Concepts

◈

Pixels and Chips

◈

Resolution

◈ Exposure / Dynamic Range
◈ Gamma and Log
◈ Video vs. Data, Raw vs. De-Bayered
◈ Video Scanning – Interlace or

Progressive
◈

Compression

◈

Color Space

◈ ACES
◈

Bit Depth

◈

Color Sampling

Pixels and Chips

◈ PIXEL
The PIXEL (“PICture Element”) is the building block of digital image, represents one
sample of picture information

Pixels are grouped into fixed arrays of straight rows and columns

Digital Sensor
• Analog-to-digital conversion (A/D conversion) – sensor converts light into voltage
• Analog voltage is sampled, and converted to digital code value. This determines

brightness.
• Color is determined by the chip design in the camera

Pixels and Chips

◈ CHIPS
Three-chip design – three 2/3”-size chips, one each for measuring red, green, and blue
light

Single-chip design – one large chip, tiny red, green and blue filters over each sensor on
the chip in a ”mosaic” pattern

Most widely used mosaic filter pattern is the Bayer pattern

Three Chip
Design

Three 2/3”-size chips,
one each for
measuring red, green,
and blue light

Single Chip Design

One large chip, tiny red,
green and blue filters over
each sensor on the chip in
a ”mosaic” pattern

Resolution

◈ The more pixels used to display an image, the finer the detail

◈ Resolution is the measure of the finest detail visible in a
displayed image, defined by the number of pixels recorded in
the image raster

◈ Camera resolution defined by the number of lines of pixels
(scan lines) it records.

HD 1080, or 1920×1080 (columns (pixels per line) x lines)

2K = 2048 pixels per line

4K = 4096 pixels per line

Exposure & Dynamic Range

◈ Film Dynamic range, range of usable f-stops

◈ Film – gradual “rounding off” of values at either end of tonal
scale (highlights and shadows), perceived extension of the
dynamic range

◈ Digital “clipping”

Gamma: Log/Lin

◈ Film have a logarithmic
response to exposure, S curve

◈ Shooting in LOG to emulate
the “film look” – approximates
a film gamma, resulting in a
wider dynamic range and
greater shadow detail

Video Scanning – Interlace or Progressive

Compression

◈ Intraframe codec – processes each frame individually, only removing
redundant info from within that particular frame

◈ Interframe codec – uses a series of frames, or groups of pictures (GOP),
to compress the image data. Interframe compression compares
consecutive frames within each GOP to remove redundancy from frame
to frame

More efficient, higher compression ratio
Can create challenges in editing and postprocessing (due to multiframe
dependency)

◈ Compression ratio – compares the amount of data in the original
noncompressed signal to the compressed version. The lower the
compression ratio, the higher the quality of the image (2:1 vs 4:1
compression)

Color Space

◈ Device-independent vs
device-dependent (Film)

◈ Color gamut – range of colors
a system can record or display

◈ CIE (Commision
Internationale de L’Eclairage)
XYZ color space has been
industry standard
device-independent
reference.

◈ Chromacity diagram –
represents the full range of
human vision. Triangles
within this colored shape
approximates the gamut of
digital cinema

ACES (Academy Color Encoding System)

Bit Depth

◈ Bit depth determines the number of levels available to describe the brightness of a
color

1-bit system – only 0 and 1, black and white

8-bit – 256 steps, or numbers from 0-255 (255 shades of gray)

10-bit – 1024 steps, displays more subtle tones (more number of steps assigned to highlight
values)

◈ 10-bit log standard for recording digital images back to film.

Color Sampling

Camera Systems
and Formats

Sensors and Aspect Ratio

Exposure

FTV 122E: Digital Cinematography
Professor Sélène

Exposure

What factors determine Exposure?

Exposure

Factors that determine Exposure

⚫

ISO

⚫

Aperture

(Iris) –

F-stop

⚫ Shutter Speed (shutter angle)

⚫ Frame Rate

⚫ Light Intensity – the amount of light falling on the scene

The Exposure Triangle

Exposure is controlled through the intersection of

these three elements:

⚫ ISO – the measure of a digital camera sensor’s
sensitivity to light

⚫ Shutter Speed /

Shutter Angle

– the amount
of time that the shutter is open

⚫ Aperture – the size of the opening in the lens
when a picture is taken * affects Depth of Field

Each of the three aspects of the triangle relate to

light and how it enters and interacts with the

camera.

ISO

ISO or ASA (sensitivity)

⚫ ISO – 100, 200, 400, 800, 1600, 3200, 6400

⚫ Film speed or Digital sensor’s sensitivity to light

⚫ Digital cameras have a “native” ISO – the ISO the manufacturers claim is most optimal for image quality.

⚫ Still, DPs have done tests and sometimes choose to shoot at different ISOs depending on the circumstances

⚫ Higher ISO results in more image noise

High ISO and Digital Noise

Shutter Speed

⚫ What is Shutter Speed?

⚫ Shutter Angle?

⚫ What does shutter speed determine?

Shutter Speed / Shutter Angle

⚫ Shutter speed refers to the
amount of time the shutter
remains open to capture
the image

⚫ Shutter angle is what the
the physical rotating
shutter in a film camera is
set to

⚫ 180-degree shutter
represents “normal” blur of
motion

Shutter Angle

Shutter Speed / Shutter Angle

Shutter and Motion Blur

Shutter Speed / Shutter Angle

Fast Shutter Speed

⚫ Saving Private Ryan

⚫ Gladiator

⚫ Black Hawk Down

⚫ 28 Days Later

Slow Shutter Speed

⚫ Chungking Express

⚫ Step printing

⚫ Frame Rate

Aperture

Aperture – a light valve that lets in more or less light

Aperture

F-stop

F-stops

⚫ f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32, f/45,f/64, f/90, f/128

⚫ Thinking in “stops”

⚫ Stops is the language DPs and Gaffers speak

⚫ How much “over” or “under” exposed

Double Half Principle

The Exposure Triangle

Exposure is controlled through the intersection of

these three elements:
⚫ ISO – the measure of a digital camera sensor’s
sensitivity to light

⚫ Shutter Speed – the amount of time that the
shutter is open

⚫ Aperture – the size of the opening in the lens
when a picture is taken * affects Depth of Field

Each of the three aspects of the triangle relate to
light and how it enters and interacts with the
camera.

Light Intensity
⚫ Light intensity and fall off

⚫ Inverse Square Law

Inverse Square Law of Illumination

Inverse Square Law of Illumination
⚫ If you double the distance between subject and light source, it illuminates a

surface area four times greater than the one before.

⚫ In general, we therefore multiply the distance with itself in order to calculate
the enlargement of that surface area.

⚫ However, a larger surface area leads to a light intensity that is inversely
proportional to the square of the distance, since the same amount of light has
to be distributed onto a larger surface area respectively.

⚫ Therefore, we see light fall-off, meaning a decrease of light intensity.
⚫ In technical terms the inverse-square law reads as follows: The energy (in our

case: light intensity) at location A (subject area) decreases inversely
proportional to the square of A’s distance to the energy source (for example,
our flash head).

Inverse Square Law of Illumination

Metering

Light Meter

⚫ How to use a Digital

light meter

⚫ What information is

your light meter giving

you?

Depends on whether it’s

Incident vs. Reflectance

(spot) meter

The Zone System

Foundations of
Cinematography
FTV 122E: Digital Cinematography

Professor Sélène

What is Cinematography?

• The camera work that records the mise-en-scène between edits
• The specifics of the way a shot/scene is composed/constructed
• It composes a specific perspective of the world for viewers

What is Cinematography?

• The art of selection

• An environment can be depicted in a infinite number of ways (choices of angle, lighting,

distance, etc.)
• The filmmaker chooses to depict an environment in a specific way so as to create a

particular experience for the viewer

What is Cinematography?
• The art of selection

CLIPS: Scenes on an Airplane…

What is Cinematography?

What are the elements of cinematography?

What is Cinematography?

What are the elements of cinematography?
• Camera distance and screen space
• Angles, point of view
• Lens aesthetics (representation of space and perspective, depth of field)
• Framing & Composition
• Camera movement
• Lighting (also considered part of mise-en-scène)
• Color

Foundations of Cinematography

• A human need to represent the world
• as are cave paintings, music, literature, art, architecture, photography, social networking

websites

Foundations of Cinematography

• Technological history intimately connected to aesthetics
• Artists must work with the materials and technology of their time and culture/society.

Modes of viewing and representation change over time.
• Each generation expresses and represents itself through the means available at the time

(from plant dyes to visual “toys” to digital tech)

• Visual technologies developed by inventors and tinkerers

Camera Obscura

Camerae obscurae with a lens in the opening have
been used since the second half of the 16th century
and became popular as an aid for drawing and
painting. The camera obscura box was developed
further into the photographic camera in the first half
of the 19th century when camera obscura boxes were
used to expose light-sensitive materials to the
projected image.

Phenakistiscope
(Joseph Plateau, 1832)

The phénakistoscope was the first widespread animation
device that created a fluent illusion of motion. The
phenakistiscope is regarded as one of the first forms of
moving media entertainment that paved the way for the
future motion picture and film industry. It is sometimes
compared to GIF animation since both show a short
continuous loop.

Zoetrope (William George
Horner, 1833)

Developed in Antiquity, but gained
modern popularity in the 19th
century.

A zoetrope is one of several
pre-film animation devices that
produce the illusion of motion by
displaying a sequence of drawings
or photographs showing
progressive phases of that motion.

Magic Lantern

Developed in 16th century. Evolved into
phantasmagoria in the18th century.

The magic lantern is an early type of image
projector employing pictures on sheets of glass
(originally painted, but later also printed or as
photographic plates), a lens, and a bright light
source.

Chronophotography

• An example of chronophotography. Woman Walking
Down Stairs, late 19th century. Photographed by
Eadweard Muybridge.

https://en.wikipedia.org/wiki/Eadweard_Muybridge

Chronophotography

Chronophotography is defined as “a set of photographs of a moving object, taken for the
purpose of recording and exhibiting successive phases of motion”. The term was coined by
French physiologist Étienne-Jules Marey to describe photographs of movement from which
measurements could be taken and motion could be studied. It is derived from the Greek word
chrónos (“time”) combined with photography.

Chronophotography is a predecessor to cinematography and moving film, involving a series of
different cameras, originally created and used for the scientific study of movement.

Eadweard Muybridge (1872)

In 1872, Leland Stanford, former
governor of California and horse
enthusiast, hired Eadweard
Muybridge to provide
photographic proof that at some
instants a galloping horse has all
four hooves off the ground.

https://en.wikipedia.org/wiki/Leland_Stanford

https://en.wikipedia.org/wiki/Eadweard_Muybridge

Eadweard Muybridge

Medicalization of the body

Later, in 1878, Albert Londe was hired as a medical photographer by neurologist Jean-Martin Charcot. Londe used a
camera with nine lenses and intricate timing system to study the physical and muscular movements of patients.

Etienne-Jules Marey
Chronophotography (1882)

Physicist Étienne-Jules Marey began using the
technique to more closely study movement, flight, and
exercise. He soon discovered that by overlapping
celluloid prints on top of one another, he was able to
see phases of movement and study their relations to
each other in a single frame.

Etienne-Jules Marey
Chronophotography (1882)

Chronophotographic gun.

Interested in studying
movement. Gun could take 12
consecutive frames per second;
printed all images on same
picture.

Etienne-Jules Marey
Chronophotography (1882)

Foundations of Cinematography

• Photography invented by Joseph Nicephore Niepce in 1826; improved by
Louis Jacques Mande Daguerre in 1839.

• Initial exposure times were long—8 hours.

• 1878—split second exposure times.

• After its invention, photography improved quickly, leading eventually to
moving picture cameras.

Foundations of Cinematography

• 1895 is considered the “official” birthday of motion pictures
• The Lumiere brothers developed the means to record and project movies publicly.
• Though Edison patented a motion picture camera in 1891—the Kinetoscope (it didn’t

project movies, you had to view them in the machine)

Kinetoscope
(Peephole Viewer)

Kinetoscope Parlor

THE EARLY YEARS

Lumière Brothers – 1895 first film screening in
basement of Grand Café in Paris. They were
essentially animated photographs. One continuous
shot with no camera movement, and no cutting.

Workers Leaving the Lumière Factory (1895)
https://www.youtube.com/watch?v=DEQeIRLxaM4

https://www.youtube.com/watch?v=DEQeIRLxaM4

A French professional magician and theater operator. Attended Lumière Brothers screening and
saw the potential to do more with film. He experimented with editing in camera, creating special
effects such as disappearing and reappearing effects, or “stop trick” technique (what we can call a
“jump cut”). This he discovered accidentally when his camera jammed during a shot.

Through his experimentation, Méliès began to push film from single
action shots into a narrative storytelling vehicle. He Introduced editing
devices such as:
• Fade In & Fade Out
• Overlapping Dissolves
• Stop Motion Photography

Méliès created 500 or so films, most lost today.
Martin Scorsese’s film, Hugo (2011), paid tribute to the work of Georges Méliès.

GEORGES MÉLIÈS

GEORGES MÉLIÈS
Méliès was grounded in theater mode of thinking, his narratives were comprised of tableaus, shot
from the same perspective – a proscenium stage. He never moved the camera.

The Magician (Méliès, 1898) A Trip To The Moon (Méliès, 1902)
https://www.youtube.com/watch?v=uRKcoD-th0Y https://www.youtube.com/watch?v=_FrdVdKlxUk

https://www.youtube.com/watch?v=uRKcoD-th0Y

https://www.youtube.com/watch?v=_FrdVdKlxUk

BEYOND THE TABLEAU
EDWIN S. PORTER AND THE BIRTH OF THE EDIT
Edwin S. Porter – A projectionist influenced by Méliès. Set up first Edison projector in 1896.
Joined Edison manufacturing company and became the head of production studio, serving as director and
cameraman.

Life of an American Fireman (1903)
• Took stock footage from Edison library and spliced it with staged scenes to create fictional narrative.

But was still working in tableau mentality, constructing each shot as a complete scene
• Editing techniques – Temporal overlap, shots with overlapping action
• WATCH: “The Life of an American Fireman (1903) – Editing Analysis:

The Great Train Robbery (1903)
• First film that cut between scenes without fades and dissolves, and without letting scene realize

its logical end. Editing to compress time, in favor of impact over reality.
• WATCH: https://www.youtube.com/watch?v=zuto7qWrplc

Porter started to define the most basic form of cinema is the shot, not the scene. Meaning comes
from the way the shots are arranged in time.

THE INVENTION OF CONTINUITY EDITING
D.W. GRIFFITH
D. W. Griffith, the son of a confederate army general, came to film as an actor. Hired by Edwin S.
Porter, and eventually came under contract of Biograph Company as a director.

Credited with inventing
• The Cut In
• Continuity Editing
• Parallel Editing (cross cutting)

– First invention was the Cut In, used in Greaser’s Gauntlet (1908). Cut from a medium long shot, to a full
shot in the middle of the scene to emphasize the emotional impact.

– Through varying the spatial distance through long, medium, and close up shots and temporal length of
the shot, Griffith began to establish the tenets of Classic Hollywood Continuity Editing.

– He continued to experiment with alternating shot lengths, using multiple camera setups to create a scene
using “Continuity Editing” – cutting between shots to maintain a sense of continuous space and time.
180 degree rule evolved.

THE INVENTION OF CONTINUITY EDITING
D.W. GRIFFITH
Parallel editing (cross cutting) is the technique of alternating two or more scenes that often happen
simultaneously but in different locations. If the scenes are simultaneous, they occasionally culminate in a single
place, where the relevant parties confront each other. Cutting between different scenes in parallel action is often
used to heighten tension and suspense or create a relationship between the two scenes.

First used in After Many Years (1908), about a shipwrecked man and the woman he left at home. Biograph
Company thought it was dangerous and would confuse the audience.

The Lonely Villa (1909) – cross cut between three parallel actions, continually building up the tempo of the cuts
faster and faster to build tension to an ultimate climax. https://www.youtube.com/watch?v=D7vbLTDV57E

https://www.youtube.com/watch?v=D7vbLTDV57E

SHOT TYPES & COVERAGE

The term “coverage” refers to the variety of shots you use to
visually tell your story.

Establishing Shot

Meet Me in St. Louis

Wide Shot (WS)

Fanny & Alexander

Full Shot

Sex and the City

Two Shot (2-Shot)

The Royal Tenenbaums

Ordinary People

Cowboy Shot

The Good, The Bad, and The Ugly

Over-the-Shoulder Shot (OTS)

When Harry Met Sally

Medium Shot (MS)

Silver Linings Playbook

Close-up Shot (CU)

Good Will Hunting

Extreme Close-up Shot (ECU)

The Grey

Clean Single vs. Dirty Single

Rumble Fish

Amour

Insert Shots vs. Cutaway Shots

The Royal Tenenbaums

The King’s Speech

SHOT TYPES & CAMERA DISTANCE

THE KING’S SPEECH
(2010, DIRECTOR TOM HOOPER)

Extreme long shot (XLS) – can also be an establishing shot

Long shot (LS)

Medium long shot (MLS)

Medium shot (MS)

Close-up (CU)

Medium close-up (MCU)

Extreme close-up (ECU)

CAMERA ANGLES
High, low, overhead, POV

Consider the choice of low angle camera placement in this
scene from Psycho (Hitchcock, 1960). What is the narrative
function of this choice of camera angle?

Aestheticsof Lenses

Aesthetics of Lenses
“…changing lenses for the amount of

information the lens gathers (its “field”) is
only a partial use of a lens. Lenses have
different feelings about them.

Different lenses will tell a story differently.”

– Sidney Lumet

Aesthetics of Lenses
“I like to use a wider lenses than most cinematographers. I
like the 27mm and 32mm for general shots and a 35mm or
40mm for closer work. I suppose these choices feel more
“real” to me and I certainly like the feeling they give of
being close to the subject….I do like to keep within a
certain range of lenses on a particular scene and really
dislike the sloppy way some directors will shoot a wide
angle and long lens close shots at the same time.

It’s easy to make a pretty picture in color and it is even
easier to make a pretty picture on a long lens in color but
that’s not what it is really about.”

– Roger Deakins
https://vimeo.com/24937742 (from 2:13)
https://www.youtube.com/watch?v=hoLVqtU7QeA (1:08-2:13)

Prime vs. Zoom Lenses

● Prime Lenses
● Zoom Lenses

Lenses – Focal Length

● Wide – broader field of view, exaggerate depth (objects seem further apart) (18mm, 25mm, 35mm)
● Normal – what the human eye sees as normal spatial representation (50mm)
● Long (Telephoto) – Compress space, shallower depth of field (85mm, 100mm, 135mm)
● Prime vs Zoom lenses

* Keep in mind the above focal lengths correspond to Full Frame 35 mm format

Long lenses: The Graduate (1967) Extreme Wide lenses: Homecoming (short, 2017)

https://www.youtube.com/watch?v=yRBNA27N0ts

http://www.youtube.com/watch?v=yRBNA27N0ts

https://www.youtube.com/watch?v=yRBNA27N0ts

Wide
(short-focal-length) lenses

(starts at 12.5mm)

Dr. Strangelove or: How I
Learned to Stop Worrying
and Love the Bomb (Kubrick,
1964)

“Hitchcock’s Rule”

Using “Hitchcock’s Rule,” the size of
an object in the frame should equal
its importance in the scene at that
moment.

Long focal length lenses
(85-500mm)

Barry Lyndon (Kubrick, 1975)

The long lens makes subjects
appear closer together than
they do in real life. It
compresses space. Effective
for making a crowd seem
denser.

Lensing in 12 Angry Men (Lumet, 1957)
“…changing lenses for the amount
of information the lens gathers (its
“field”) is only a partial use of a
lens. Lenses have different feelings
about them.

Different lenses will tell a story
differently.”

– Sidney Lumet

Depth of Field

Depth of field is the area in front of the camera that appears sharp in the frame. Determined by
three factors:

●

Aperture

● Focal length
● Focus distance

Shallow Focus: Her (2013) Deep Focus: Citizen Kane (1941)

Shallow Focus: Her (2013)

https://www.youtube.com/watch?v=_RISgjGPkA0 (from 7:54):

https://www.youtube.com/watch?v=HAHaRDlUrLw

Aperture / F-stop
The aperture is the factor that most influences depth of field. The wider the aperture is, the

shallower depth of field will be. A low f-number such as f/2.8 will likely render an image

with some soft focus. Conversely, the narrower the aperture is, the deeper depth of field

will be.

Aperture

Focal Length
Next to the aperture, the second factor that most affects depth of field is focal length. The longer the
lens, the shallower depth of field is. A wide angle lens (a short lens), for instance, would render an
image with more depth of field than one with a telephoto lens (a long lens). Study the figure below
and notice that the f-number is the same while focal length changes:

Focal Distance
Focus distance is the last factor to determine depth of field. The closer the focus distance is to the
camera, the less depth of field you have.

Critical Focus

The area that is sharpest in focus is called critical focus. Note that you always have more

depth of field behind your plain of critical focus than in front of it.

Circle of Confusion

Focus Distance

Rack Focus

Racking focus is changing the focal plane within the shot to deliberately guide the viewer’s

attention to what is important in the frame. It should be motivated by the beats of the

scene.

The Young Victoria (2009)

Bokeh

The aesthetic quality of the blur produced in the out-of-focus parts of an
image produced by a lens (parts of the scene that lie outside the depth of
field).

Differences in lens aberrations and aperture shape cause some lens designs
to blur the image in a way that is pleasing to the eye, while others produce
blurring that is unpleasant or distracting (“good” and “bad” bokeh).

https://en.wikipedia.org/wiki/Defocus_aberration

https://en.wikipedia.org/wiki/Lens_(optics)

https://en.wikipedia.org/wiki/Depth_of_field

https://en.wikipedia.org/wiki/Optical_aberration

https://en.wikipedia.org/wiki/Aperture

https://en.wikipedia.org/wiki/Photographic_lens

Bokeh

Anamorphic Lenses

● Spherical Lens
● Anamorphic Lens

Grand Budapest Hotel (Anderson, 2014)

Moonlight (Jenkins, 2016)

Anamorphic 2:35 format

● Softness around the characters – Jenkins says the film “is dictated by the
consciousness of the character and not the linearity of the plot. So there are some
times when Chiron is disoriented and the audience is disoriented as well”

● “rich soft/sharp balancing of the image that announces the aesthetic project of the
film, one of textured beauty and blackness” (Gillespie, 52)

● Depicting the expanse, big sky of Miami – “Chiron has the freedom to move left and
right in the frame but he almost chooses not to as he begins to retreat and retract
into himself until the edges become very blurred” (Jenkins, in Gillespie, 55)

Lenses and Movement
Zoom vs Moving the Camera

● The difference between a zoom & moving the camera (e.g. dolly move) – zoom changes
the perspective from wide angle (deep focus) to long lens (compressed background,
smaller field of view), and changes the depth of field. With zoom your basic POV stays
the same, but with dolly, the camera moves in relation to your subject (background
moves behind the subject), adding a sense of motion.

● Hide the zoom, in a dolly move or pan (The Graduate) or with a move by actors. Can
help create more pronounced moves in tight spaces.

Zolly

Jaws: https://www.youtube.com/watch?v=rW23RsUTb2Y

Goodfellas: https://www.youtube.com/watch?v=MWRncNMEhLw

Close-up Photography

● Macro Lenses
● Diopters

Lens Selection
Lenses are a key storytelling tool. In making decisions as to where to allocate your
budget, often wisest to put toward good set of lenses. Things to factor in:

● Budget
● Shooting conditions – do you need “fast” lenses?
● Zooms vs primes – will you be moving quickly (documentary), will you be zooming in the shot?
● Anamorphic
● Sharpness
● Bokeh, flares
● Camera sensor size
● Specialty lenses – e.g. tilt shift lenses

* Remember that different camera sensor sizes will determine what are wide,
normal and long focal lengths of lenses (see following chart)

Focal lengths & Sensor size

Aperture as a function of Exposure Control

Exposure * Double / Half Principle

● ISO – 100, 200, 400, 800, 1600, 3200, 6400

● Aperture (Iris) – F-stop

● Shutter Angle

● Frame Rate

The Exposure Triangle

Exposure is controlled through the intersection of

these three elements:

● ISO – the measure of a digital camera sensor’s
sensitivity to light

● Shutter Speed – the amount of time that the
shutter is open

● Aperture – the size of the opening in the lens
when a picture is taken * affects Depth of Field

Each of the three aspects of the triangle relate to

light and how it enters and interacts with the

camera.

Focal Lengths & Lenses

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