LMCV122 in 2024 Lecture 3_07e09b4b45bc771a851c3ff1536e9eb6.pdf

LECTURE 3 – CINEMATOGRAPHY PART 2 Images from: https://medium.com/@catherinewatts/filmmaking- 101-establ...

LECTURE 3 – CINEMATOGRAPHY PART 2 Images from: https://medium.com/@catherinewatts/filmmaking- 101-establishing-connection-with-your-audience-360d482605f2  SOURCES Bordwell, D and Thompson, K 2009. Film Art. An Introduction. 9 th edition. New York: McGraw-Hill. AND Bordwell, D and Thompson, K 2010. Film Art. An Introduction. 10 th edition. New York: McGraw-Hill. CHAPTER 5 The Shot: Cinematography p.160-216. See also nfi.edu/camera_angles/ (Nashville Film institute) for useful video examples LECTURE 2 RECAP:CAMERA DISTANCE  “Camera angle as a motif. In The Seeing differently. Maltese Falcon, Kasper Gutman is frequently René Clair in Entr’acte frames a ballerina photographed from a low angle, emphasizing from straight below, transforming the his obesity. figure into a pulsating flower.” (Bordwell and Thompson 2010:194) Someone’s fat cat ….  FRAMING AND MISE-EN-SCENE “Framing can suggest character point-of-view (p.o.v. shot or subjective framing)” (Bordwell and Thompson 2010:193) CAMERA DISTANCE FOR INTRICACY AND SCOPE “The close shots of thieves’ surreptitious gestures have a narrative function in Robert Bresson’s Pickpocket, but they also create a dazzling ballet of fingers and wrists (5.122). Helicopter shots in Lessons of Darkness give the desolate burning oilfields of Kuwait an eerie, horrifying grandeur (5.123)” (Bordwell and Thompson 2010:212) FRAMING AND MISE-EN-SCENE  THE MOBILE FRAME – CAMERA MOVEMENT But there is one resource of framing that is specific to films, either photochemical or digital. In cinema, the frame can move with respect to what it shows us. In cinematography, mobile framing allows the filmmaker to change the camera angle, level, height, or distance during the shot. Just as important, the movement of the frame often persuades us that we’re moving, too.” Types of Mobile Framing There are several kinds of camera movement, each with a specific effect onscreen. (Bordwell and Thompson 2010:195)  TYPES OF MOBILE FRAMING “We usually refer to the ability of the frame to be mobile as camera movement. A mobile frame is usually achieved by physically moving the camera during production. There are several kinds of camera movement, each with a specific effect onscreen. The pan (short for panorama) movement rotates the camera on a horizontal axis. The camera as a whole, however, does not move to a new position. Onscreen, the pan gives the impression of a frame horizontally scanning a space. It is as if the camera "turns its head" right or left.” (Bordwell and Thompson 2010:195)  CAMERA MOVEMENT: PAN SHOT (OR PANORAMIC SHOT, PANNING SHOT) “The pan (short for panorama) movement swivels the camera on a vertical axis. The camera as a whole does not move to a new position. It shows the subjects moving and “follows” them.” (Bordwell and Thompson 2010:196) ------>  WATCH: PANNING SHOT VIDEOS https://www.studiobinder.com/blog/what-is-a-camera-pan- definition/ https://www.empireonline.com/movies/features/film-studies- 101-camera-shots-styles/  VERTICAL CAMERA MOVEMENT: Tilt shot up/down or down/up “The tilt movement rotates the camera on a vertical axis. It is as if the camera's head were swivelling up or down. Again, the entire camera does not change position. Onscreen, the tilt movement yields the impression of unrolling a space from top to bottom, or bottom to top. This movement can be executed at various speeds for different effects.” (Bordwell and Thompson 2010:196)  CAMERA MOVEMENT “The tilt movement rotates the camera on a horizontal axis. It is as if the camera’s head were swivelling up or down.” >> (Bordwell and Thompson 2010:196)  WATCH: TILT SHOT EXAMPLES https://www.studiobinder.com/blog/tilt-shot-in-film/  MOVEMENT AND MACHINERY “For many decades, camera movements in live-action production depended on putting the camera on a dolly, a heavy cart. The dolly can usually move on its own wheels, but it is often mounted on rails, hence the term tracking (5.141). Tracking shots are also made with cranes, even if the camera position doesn’t rise or fall as in the usual crane shot. Suspended from a jib arm, the camera can glide over rough terrain. The Thin Red Line employed a 72-foot crane arm that let the camera slither over hills of tall grass during battle scenes. “The whole idea of using that crane was to not make it feel like a crane,” says cinematographer John Toll. “We wanted it to look like the most continuous, smooth dolly that had ever been built.” ” Bordwell and Thompson 2010:197)  CAMERA MOVEMENT: DOLY OR TRACKING SHOT ““In the tracking or dolly shot, the camera as a whole changes position, traveling in any direction along the ground—forward, backward, diagonally, in circles, or from side to side (5.132, 5.133).” ” (Bordwell and Thompson 2010:196)  TRACKING SHOT OR DOLLY SHOT “Tracking on rails. The camera crew must push the dolly on the tracks to capture the shot. The 360° tracking shot has become a common technique in modern cinema. The shot, being prepared for The Departed, was omitted from the final film.” (Bordwell and Thompson 2010:198)  WATCH: https://www.studiobinder.com/blog/tracking-shot-camera-movement-definition https://www.filmlifestyle.com/tracking-shot/ https://www.studiobinder.com/blog/best-dolly-zoom-vertigo-effect/  CAMERA MOVEMENT: CRANE SHOT “In the crane shot, the camera moves above ground level. Typically, it rises or descends, often thanks to a mechanical arm that lifts and lowers it. A crane shot may move vertically, like an elevator (5.134, 5.135), or at some angle forward or back (5.136, 5.137). Variations of the crane shot are helicopter and airplane shots. In Ivan the Terrible, from a high angle view of Anastasia’s bier (5.134), the camera descends to end on a straight-on framing of Ivan slumped at its base (5.135).” (Bordwell and Thompson 2010: 197)  CAMERA MOVEMENT: CRANE SHOT “At the end of Karel Reisz’s Morgan! the camera cranes diagonally up and back to reveal that the hero’s apparently innocuous flower garden proclaims his Communist sympathies (5.136, 5.137). Remarkably, since the characters in the frame are not able to rise to a high vantage point, this garden is “hidden in plain sight” from their perspectives.” (Bordwell and Thompson 2009: 201)  WATCH: CRANE SHOT EXAMPLES https://www.youtube.com/watch?v=uVihMExI27A https://www.youtube.com/watch?v=PfKrFDLl-po  HANDHELD CAMERA “If the filmmaker, for a particular effect, does not want smooth camera movement, or prefers jumpy, irregular movement, the camera is held by hand. The camera is removed from its tripod or other stabilising apparatus and thus stabilised only by the body of the cameraperson, giving a realistic effect to any movements filmed.” (Bordwell and Thompson 2010:203) This creates the impression of authenticity for the footage. In horror movies such as The Blair Witch project, this camera movement simulates irregular character movements and subjective points of view that invite emotional response in the audience. Abrupt movement may be included in this camera motion as if accidental, but any such choice is intentional and creates a specific effect.  HANDHELD CAMERA IN FILMS https://www.imdb.com/list/ls025259936/ Handheld camera for authenticity of movement and perspective: https://www.videomaker.com/article/c18/17682-use-your-camera-to-control-audience- perspective/  CRANE SHOT vs TRACKING SHOT “A crane shot is created by placing the cameraperson on a crane and thus enabling the camera to move in three dimensions. The movement during a crane shot can be changed while the camera operator is filming, thus the footage may create impressions of the camera’s point of view “looking in different directions” or moving around subjects or props. Thus, it may move higher or lower, horizontally, or approach/retreat from a subject, similar to a zoom. This is usually combined with high-angle shots, but may also result in tilted or Dutch shots if the camerawork causes the “normal” three dimensions to be altered. The camera thus moves around and hovers at various levels to the subject.” (Bordwell and Thompson 2010:189 and 198)  BODY-WORN CAMERA OR STEADICAM “A body-worn camera can go places that would be difficult for a dolly. The operator can smoothly follow actors climbing stairs, riding vehicles, and walking great distances (5.142, 5.143). Some directors have taken advantage of the Steadicam to create lengthy shots moving through many locales.” (Bordwell and Thompson 2010:198) This may be used in coverage in tight spaces, such as when the athlete enters or moves through a crowd. Staged sport events (MMA or WWE) usually have a fixed camera that can either zoom or pan the athlete. BODY-WORN CAMERA/ STEADICAM (Bordwell and Thompson 2012:213)  EFFECTS OF VARIOUS MOVING SHOTS “We tend to see camera movement as a substitute for our movement. When we see a forward tracking shot, we feel that we’re approaching something or backing away. A crane shot that pulls away from something at ground level makes us feel a little weightless. We aren’t completely fooled, of course. We never forget that we’re watching a film in a theater. But camera movement provides several convincing cues for movement through space. Indeed, so powerful are these cues that filmmakers often make camera movements subjective— motivated narratively to represent what a moving character sees. Camera movement can be a powerful cue for a point-of-view shot.” (Bordwell and Thompson 2010:200)  “Don Pennebaker hand-holds the camera while filming his Keep on Rockin’ (5.144). HANDHELD CAMERA IN DOCUMENTARY FILM (5.145) For the documentary Primary, a cameraman lifted the camera above his head and followed John F. Kennedy through a milling crowd.” (Bordwell and Thompson 2010:198) This makes the viewer feel close to the subject, creating a sense of authenticity.  THE ZOOM AND THE MOBILE FRAME “A zoom lens provides a continuous range of focal lengths. When the camera operator zooms during filming, the result is a mobile framing—even though the camera stays in one spot (5.41–5.43). Some viewers have trouble distinguishing a zoom-in from a forward tracking shot, or a zoom-out from a reverse tracking shot. But filmmakers know very well that there are major differences. The choice that the director and the cinematographer make can subtly shape how the viewer responds. The zoom lens reduces or blows up some portion of the image. Although a tracking shot and a crane shot also enlarge or reduce areas of the frame, this is not all that they do. In the genuine camera movement, static objects in different planes pass one another at different rates. We see different sides of objects, and backgrounds gain volume and depth (5.147, 5.148). By contrast, a zoom enlargement doesn’t alter the aspects or positions of the objects we see. Our vantage point is the same at the end of the shot as at the beginning (5.149, 5.150). When the camera moves, we sense our own movement through the space. In a zoom, a bit of the space gets steadily magnified or demagnified. (Bordwell and Thompson 2010:189) Tracking shot: THE CAMERA MOVES ALONG. “In Alain Resnais’s La Guerre est finie, a tracking shot gives the objects considerable volume (5.147, 5.148). The wall has lost none of its solidity, and objects pass as if we were walking toward the sign. In Theo Angelopoulos’s Ulysses’ Gaze, a zoom shot simply blows up one area of the shot (5.149–5.150), as if we were adjusting a telescope.” (Bordwell and Thompson 2010:199) THE CAMERA REMAINS IN ONE PLACE. Use Zoom for a mobile framing effect and tracking to follow the character while animating the background. “Zoom “movement” is the movement of the lens inside the camera to create another depth to the subject or thing on camera. This gives viewers the impression that the are approaching the subject, but the camera remains still, only the lens is changing position. The vantage point of the viewer also remains in the same position throughout the zooming in or out, only the magnification changes. A tracking shot is created by moving the camera alongside a subject or moving prop or live being, so that the lens is in one position in regard to the subject, but the camera remains at the same distance to the moving subject. Other subjects of things seem to shift in the frame, so that the character seems to be followed while the surroundings are moving at a different speed. This is often used to focus attention on an important character moving through a crowd or through dense vegetation or traffic. A different angle of view is therefore created.” (Bordwell and Thompson 2009:202)  REFRAMING “Just as filmmakers must decide how to motivate story actions or whether to motivate lighting sources, they must consider whether to motivate camera movement. Should you make the frame’s changing space depend on the movement in the shot? Usually, the answer is yes. A panning movement may keep a racing car centered, a tracking shot may follow a character from room to room, or a crane shot may pursue a rising balloon. Sometimes the camera movement is quite minimal, as with reframing. If a character moves in relation to another character, often the frame will slightly pan or tilt to adjust to the movement (5.153–5.155). Because reframing movements are usually slight and motivated by the figures’ movement, we seldom notice them.” (Bordwell and Thompson 2010:201)  FRAMING AWAY FROM ACTORS “Framing can move independently of the figures, too. Sometimes the camera drifts away from the characters to reveal something of narrative importance; the mobile frame is motivated not by figure movement but by the demands of the narration. In Jean Renoir’s Crime of M. Lange, the protagonist sits at his desk writing Wild West stories, but the camera pans away to show cowboy gear cluttering his room, establishing that Lange lives in a fantasy world. Similarly, an independent camera movement can point out an overlooked clue, a sign that comments on the action, or an imminent threat. The camera can thus be relatively unrestricted in its range of knowledge, as in 5.136–5.137 when it reveals Morgan’s hammer-and-sickle flower bed.” (Bordwell and Thompson 2010:202)  In His Girl Friday, director Howard Hawks strives to REFRAMING balance his compositions through reframing. When Hildy crosses from the left (5.153) to sit on the desk, the camera pans right to reframe her (5.154). This reframing is more noticeable than the next one: As Walter swivels his chair to face her, the camera reframes very slightly leftward (5.155). Because reframing movements are usually slight and motivated by the figures’ movement, we seldom notice them.” (Bordwell and Thompson 2010:201)  THE ZOOM AND THE MOBILE FRAME “A zoom lens provides a continuous range of focal lengths. When the camera operator zooms during filming, the result is a mobile framing—even though the camera stays in one spot (5.41–5.43). Some viewers have trouble distinguishing a zoom-in from a forward tracking shot, or a zoom-out from a reverse tracking shot. But filmmakers know very well that there are major differences. The choice that the director and the cinematographer make can subtly shape how the viewer responds. The zoom lens reduces or blows up some portion of the image. Although a tracking shot and a crane shot also enlarge or reduce areas of the frame, this is not all that they do. In the genuine camera movement, static objects in different planes pass one another at different rates. We see different sides of objects, and backgrounds gain volume and depth (5.147, 5.148). By contrast, a zoom enlargement doesn’t alter the aspects or positions of the objects we see. Our vantage point is the same at the end of the shot as at the beginning (5.149, 5.150). When the camera moves, we sense our own movement through the space. In a zoom, a bit of the space gets steadily magnified or demagnified. (Bordwell and Thompson 2010:189) SPEED OF CAMERA MOVEMENT ACCENTUATES SHOCK “In Cloverfield the video camera records an explosion in the street, and a whip pan to the right blurs the action (5.162). When the framing becomes stable again, we realize that the blurry movement was trying to follow the head of the Statue of Liberty rolling down the street (5.163).” (Bordwell and Thompson 2010:203)  MOBILE FRAMING AND SOUND “Sometimes the speed of the mobile framing functions rhythmically, as in musical films. During the “Broadway Rhythm” number in Singin’ in the Rain, the camera cranes quickly back from Gene Kelly several times, and the speed of the movement is timed to accentuate the lyrics.” (Bordwell and Thompson 2010:203) Such narrative devices simulate the human response to a musical rhythm or themes in the melody. https://www.youtube.com/watch?v=swloMVFALXw