Class #1: Basic Cinematography Techniques
A minimal understanding of cinematography techniques is needed in order to understand and interpret the visual language of films. After all, these techniques are the basic ingredients used by the filmmaker in the storytelling process. It’s important to note that each of these techniques and types don’t have a fixed purpose; different directors use them for different purposes under different circumstances. The following is a minimal list of the most fundamental cinematic techniques, with corresponding examples.
1. Shot Distance: An easy way to determine shot distance is by using the human body in the frame as a unit. (Of course, these three are not the only shot distance types that exist- these are just the most commonly used and identified)
Long shot: Shows the whole human body, head to toes
Medium shot: Shows half the human body
Close-up: Shows only the face
2. Focus (depth of field)
Shallow: Focused on a singular plane of the frame.
Deep: Focused on multiple planes throughout the frame.
This clip, from the 1941 Orson Welles film Citizen Kane, makes use of the various shot distances as well as deep focus. From 0:30~1:45, the frame is in deep focus and holds three types of shot distances: the boy outside (long), the man in the doorway (medium full), and the people at the table (medium).
3. Basic Shot Types: Different shot types allow filmmakers-the good ones, anyway- to complement dialogue, add subtext, foreshadow, contextualize on-screen relationships, and much more.
Establishing shot: A shot that establishes the situation (generally the time or place or both) the scene takes place in.
4-shot: A shot with 4 people in the frame
2-shot: A shot with 2 people in the frame
Over-the-Shoulder shot: A shot typically used in dialogue scenes.
As an example of how filmmakers can convey meaning through even a single still shot, here is a still shot from Woody Allen’s Manhattan:
This shot is a medium shot / 4-shot. The frame contains a parallel positioning of two man-woman pairs. This is the first clue that this is a picture of two pairs of couples, supported by the visual cue of the woman on the far right holding Woody Allen’s hand. However, the proximity between characters clues the viewers in to what will happen later on- the two characters in the middle will be drawn closer together, as shown in this shot, over the progression of the plot.
4. Angles: Since cameras serve as the literal ‘eyes’ of the audiences, camera angles can be effectively used to establish a relationship between the viewers and the material presented within the frame.
Eye-level: This angle is usually neutral, but it can also be used to draw the viewer into the frame, as shown in these still shots from Stanley Kubrick’s The Shining.
In this eye-level shot, Jack Nicholson stares dead center at the viewers, forcing the viewers to make eye contact with this menacing figure. The viewers are forcibly being involved in the scene, placed at eye level with Nicholson, and are being drawn into the tension that Kubrick builds up throughout the movie.
This is another eye-level shot that draws the viewers directly into the harrowing situation playing out on the screen. The camera angle lets the viewers observe Jack Nicholson at eye level; at any moment, it seems as if Jack Nicholson will turn to the camera and start swinging the axe at the viewers. This is another example of an eye-level shot that draws the viewers into the scene.
Low/High Angles: The use of low/high angles often portray a power relationship between two things on the screen or the viewer and the material. Often, the extreme use of these angles can distort the size of the objects presented on screen to give them power, vulnerability, respect, menace, and other attributions.
Oblique (Dutch/canton) angles: Oblique angles denote precariousness, threatening atmosphere, and mental instability. It is a purposefully subjective shot that often reflects the onscreen character’s subjective point of view. Though filmmakers often use Dutch shots with obviously tilted angles, others use slightly tilted frames that the viewer might not even pick up on unless they are consciously searching for it. These oblique angles subtly show the precariousness of the unfolding events or inner mental instability without making it too obvious.
This Dutch shot from Christopher Nolan’s The Dark Knight denotes the mental instability of the Joker and makes the viewer feel somewhat uneasy. This uneasiness of the viewers that comes from the shot composition translates into their feelings regarding the character presented onscreen. The filmmaker is exerting control over how the viewers should approach this character, the Joker.
5. Camera Movement: Camera movements direct the viewers visual path through the space presented by the filmmaker.
Pan: Steady horizontal movement
Tilt: Steady vertical movement
Boom: The camera is fastened to a crane and moved.
Tracking shot: The camera moves as if on a track, or literally on a track
Hand-held/shaky: Often utilizes the camera as a character in the film. Journalistic, and subjective technique.
Steadicam: A mixing of the tracking + handheld shot.
This video analyzes the various camera movements and other cinematographic techniques in a sequence from Kill Bill Vol. 1.
On a summarizing note, the following video organizes the various cinematographic techniques we studied in the first class along with great examples taken from Peter Jackson’s The Fellowship of the Ring.
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