Cinematography (also called Photographic Direction ) is the science or art of moving aerial photography by recording light or other electromagnetic radiation, either electronically through image sensors, or chemically using sensitized materials light like film stock.
Cinematographers use lenses to focus reflected light from objects to real images that are transferred to multiple image sensors or light-sensitive materials within the film camera. This exposure is made in sequence and preserved for later processing and viewed as a movie. Pictures taken with an electronic image sensor, generating electrical charge for each pixel in the image, which is electronically processed and stored in a video file for processing or subsequent display. Images taken with photographic emulsions generate a series of latent images that are not visible on film stock, which are chemically "developed" into visible images. The images on the film stock are projected to view the film.
Cinematography finds usefulness in many areas of science and business as well as for entertainment and mass communication purposes.
The word "cinematography" is based on the Greek word ?????? ( kinema ), meaning "movement, motion" and ??????? ( graphein ) meaning "record", together means "motion recording". A word used to refer to art, process, or filmmaking work, but then its meaning is limited to "moving film photography".
Video Cinematography
History
Precursors
In the 1830s, moving images were produced on drums and rotating disks, with independent discovery by Simon von Stampfer (stroboscope) in Austria, Joseph Plateau (phenakistoscope) in Belgium, and William Horner (zoetrope) in England.
In 1845, Francis Ronalds invented the first successful camera capable of making continuous recordings of various indications of meteorological and geomagnetic instruments over time. The cameras were supplied to many observatories around the world and some remained in use until the 20th century.
William Lincoln patented a device, in 1867, which showed animated images called "life wheel" or "zoopraxiscope". In it, move the pictures or photographs viewed through the gap.
On June 19, 1873, Eadweard Muybridge managed to photograph a horse named "Sallie Gardner" in a fast motion using a series of 24 stereoscopic cameras. The cameras are arranged along the tracks parallel to the horses, and each camera's shutter is controlled by a travel wire triggered by a horse's hooves. They are 21 inches apart to cover the 20 feet taken by horse steps, taking pictures on a thousandth of a second. By the end of the decade, Muybridge had adapted the sequence of his photographs into a zoopraxiscope for short, primitive projected films, which was the sensation of his lecture tour in 1879 or 1880.
Nine years later, in 1882, the French scientist ÃÆ' â € ° tienne-Jules Marey invented a chronophotographic gun, capable of taking 12 consecutive frames per second, recording all frames of the same image.
The nineteenth century until the early twentieth century led to the use of films not only for entertainment purposes but also for scientific exploration. French biologist and filmmaker Jean Painleve lobbied for using film in the scientific field, as new media is more efficient at capturing and documenting the behavior, movement, and environment of microorganisms, cells, and bacteria, than the naked eye. The introduction of film into the field of science makes it possible to not only see "new images and objects, such as cells and natural objects, but also see them in real time", whereas before the invention of moving images, scientists and physicians alike have to rely on sketches of human hand anatomy and microorganisms. This caused great inconvenience in the world of science and medicine. The development of films and the increased use of cameras allows physicians and scientists to understand better understanding and knowledge about their projects.
Cinematography movie
The experimental film Roundhay Garden Scene, filmed by Louis Le Prince on October 14, 1888, in Roundhay, Leeds, England, is the earliest survival film. The film is recorded on film paper.
WKL Dickson, working under the direction of Thomas Alva Edison, was the first to design a successful apparatus, Kinetograph, patented in 1891. This camera takes a series of instantaneous photos on Eastman Kodak photo emulsion standard coated on 35 mm transparent celluloid. wide. The work was first shown publicly in 1893, using a vision tool also designed by Dickson, the Kinetoscope. Contained in a large box, only one person at the time of seeing it through the peephole can see the movie.
The following year, Charles Francis Jenkins and his projector, the Phantoscope, made successful audiences watching while Louis and Auguste LumiÃÆ'¨re perfected the cinà ©  © matographe, a tool that took, printed, and projected films, in Paris in December 1895. brother of LumiÃÆ'¨re is the first to present projected photographs, moves, photographs, to an audience that pays more than one person.
In 1896, theaters played in France (Paris, Lyon, Bordeaux, Nice, Marseille); Italy (Rome, Milan, Naples, Genoa, Venice, Bologna, ForlÃÆ'¬); Brussels; and London.
In 1896, Edison demonstrated his improved Vitascope projector, the first successful commercial projector in the US.
Cooper Hewitt created a mercury lamp that made it practical to record a movie indoors without the sun in 1905.
The first animated cartoon was produced in 1906.
Credit began appearing at the beginning of the film in 1911.
The Bell and Howell 2709 film cameras discovered in 1915 allow the director to make close-ups without moving the camera physically.
In the late 1920s, most of the films produced were sound films.
The widescreen format was first tested in the 1950s.
In the 1970s, most of the movies were color films. IMAX and other 70mm formats are gaining in popularity. Broad film distribution becomes commonplace, establishing the basis for "blockbuster".
Cinematography films dominate the film industry since its inception until 2010 when digital cinematography became dominant. Cinematography films are still used by some directors, especially in certain applications or because of the format favorites.
Black and white
Since its birth in the 1880s, the film was dominated by monochrome. Contrary to popular belief, monochrome does not necessarily mean black and white; it means movies recorded in one tone or color. Because the cost of the color film base is much higher, most films are produced in black and white monochrome. Even with the emergence of early color experiments, the greater the cost of color means films were mostly made in black and white until the 1950s, when cheaper color processes were introduced, and within a few years the percentage of films taken on color films exceeded 51%. In the 1960s, color became the dominant film. In the coming decades, the use of color films is greatly increased while monochrome movies become scarce.
Color
After the advent of the film, a large amount of energy is invested in the production of photography in natural colors. The discovery of the talking picture further enhances the demand for the use of color photography. However, compared to other technological advancements at the time, the arrival of color photography was a relatively slow process.
The early films were not really color films because they were shot monochrome and colored hands or colored machines afterwards. (Such films are referred to as colored and not colors .) The earliest example was the hand-made Annabelle Serpentine Dance in 1895 by Edison Manufacturing Company. Tinting-based machines then became popular. Tinting continued until the emergence of natural color cinematography in the 1910s. Many black and white films have been colored recently using digital tinting. This includes footage of footage from both world wars, sporting events, and political propaganda.
In 1902, Edward Raymond Turner produced the first film with a natural color process instead of using the staining technique. In 1908, kinemacolor was introduced. That same year, A Visit to the Seaside's short film became the first natural color film to be presented publicly.
In 1917, the earliest Technicolor version was introduced. Kodachrome was introduced in 1935. Eastmancolor was introduced in 1950 and became the color standard for the rest of this century.
In 2010, color films were largely replaced by color digital cinematography.
Digital cinematography
In digital cinematography, the film is recorded on digital media such as flash storage, as well as distributed through digital media such as hard drives.
Beginning in the late 1980s, Sony began marketing the concept of "electronic cinematography," using a professional Sony HDVS video camera. The effort found little success. However, this leads to one of the earliest feature digital feature films, Julia and Julia , produced in 1987. In 1998, with the introduction of HDCAM recorders and 1920 ÃÆ'â € "1080 pixels professional digital video camera based on on CCD technology, the idea, which is now re-labeled as "digital cinematography", began to gain traction in the marketplace.
Shot and released in 1998, The Last Broadcast is believed by some as the first feature-length video footage and fully edited on consumer-level digital equipment. In May 1999, George Lucas challenged the supremacy of filmmaking for the first time by incorporating footage filmed with high definition digital cameras in Star Wars: Episode I - The Phantom Menace. In late 2013, Paramount became the first major studio to distribute films to theaters in digital format, eliminating 35mm film entirely. Since then the demand for films to be developed to digital format rather than 35mm has increased drastically.
With the rise of digital technology, movie studios are increasingly turning to digital cinematography. Since 2010, digital cinematography has become the dominant cinematography form after most cinematographic films have been replaced.
Maps Cinematography
Aspect
Many aspects contribute to the art of cinematography, including:
Cinema techniques
The first film camera is fastened directly to the head of the tripod or other support, with only the rudest leveling tool provided, by way of a tripod head that still cameras in that period. The earliest film cameras are thus effectively repaired during shooting, and hence the movement of the first camera is the result of mounting the camera on a moving vehicle. The first known is a film taken by cameraman LumiÃÆ'¨re from the rear carriage platform that left Jerusalem in 1896, and in 1898, there were a number of films taken from a moving train. Although listed under the general title "panorama" in the sales catalog at the time, the films shot straight ahead from the front of the railway engine are typically specifically referred to as "ghost rides".
In 1897, Robert W. Paul had the first rotating head camera made to wear a tripod, so he could follow a procession that took place from the Queen Victoria Jubilee of Diamonds in an uninterrupted shot. This device has a camera mounted on a vertical axis that can be rotated by the worm gear driven by a crank handle twist, and Paul puts it on general sales next year. Photographs taken using such "panning" heads are also referred to as "panoramas" in movie catalogs in the first decade of cinema. This ultimately leads to the creation of panoramic photos as well.
The standard pattern for the early film studios was provided by the studio built by Georges MÃÆ' Â © liÃÆ'¨s in 1897. It has a glass roof and three glass walls built after a large studio model for still photography, and it is equipped with a thin cotton fabric that can stretched under the roof to relieve direct sunlight on sunny days. The gentle overall light with no apparent shadow produced by this arrangement, and which also exists naturally on cloudy overcast days, is the basis for film lighting in movie studios over the next decade.
Image sensor and movie stock
Cinematography can be started with a digital image sensor or film roll. Advances in film emulsions and grain structures provide a wide range of film stocks available. The selection of movie shares is one of the first decisions made in preparing a typical film production.
Aside from the selection of 8 mm (amateur), 16 mm (semi-professional), 35 mm (professional) and 65 mm (epic) photography films, the cinematographer has a choice of stock in the reversal (which, when developed, create positive images) and negative formats along with varying film speed (light sensitivity varies) from ISO 50 (slow, least sensitive to light) to 800 (very fast, very light sensitive) and different responses to color (low saturation, high saturation) and contrast (varying levels between pure black (no exposure) and pure white (complete overexposure).The progress and adjustment for almost all film meters makes the "super" format in which the film area is used to capture one the image frame is expanded, although the film's physical gauge remains the same, Super 8 mm, Super 16 mm, and Super 35 mm all use more of the overall film area for images than from "non- supe "their usual r colleagues. The larger the film size, the higher the clarity of image resolution and overall technical quality. Techniques used by film labs to process film stocks can also offer considerable variation in the resulting image. By controlling the temperature and varying the duration at which the film is immersed in the developmental chemicals, and by passing through certain chemical processes (or partially skipping them all), the cinematographer can achieve a very different appearance from one film stock in the laboratory. Some of the techniques that can be used are thrust processing, bypass bleaching, and cross processing.
Most modern cinema uses digital cinematography and does not have film stock, but the camera itself can be customized in ways far beyond the capability of a single film stock. They can provide different levels of color sensitivity, image contrast, light sensitivity and so on. One camera can achieve all the appearance of different emulsions. Digital image adjustments such as ISO and contrast are performed by estimating the same adjustments that would occur if the actual film is being used, and thus susceptible to the perception of camera sensor sensors from various film stocks and image adjustment parameters.
Filters
Filters, such as diffusion filters or color effect filters, are also widely used to improve mood or dramatic effects. Most photographic filters consist of two optical glass parts glued together with some form of image or light manipulation material between glass. In the case of color filters, there is often a translucent opaque medium between the two optical glass fields. Color filters work by blocking the light wavelengths of certain colors from reaching the film. With a color film, this works very intuitively where the blue filter will reduce red, orange, and yellow light parts and create a blue color on the film. In black and white photography, color filters are used somewhat intuitively opposite; such as a yellow filter, which reduces the wavelengths of blue light, can be used to darken the daytime sky (by removing the blue light from hitting the film, thereby greatly reducing the light of most of the blue sky) while not refracting human flesh tones. Certain cinematographers, such as Christopher Doyle, are renowned for their innovative use of filters. Filters can be used in front of the lens or, in some cases, behind the lens for different effects. Christopher Doyle is a pioneer to increase the use of filters in film. He is highly respected throughout the world of cinema.
Lens
Lenses can be attached to the camera to give a specific look, feel, or effect based on focus, color, etc.
Like the human eye, the camera creates perspective and spatial relationships with other parts of the world. However, unlike a person's eyes, a cinematographer can choose different lenses for different purposes. Variations in focal length are one of the main benefits. The focal length of the lens determines the viewing angle and, therefore, the field of view. Cinematographers can choose from a wide range of wide-angle lens, "normal" lens and long focus lens, as well as macro lens and other special effects lens system such as borescope lens. The wide angle lens has a short focal length and makes the spatial spacing clearer. Someone in the distance is shown smaller while someone at the front will look great. On the other hand, the long focus lens reduces such magnifiers, which depict distant objects as perspective that appear close together and flatten. The difference between perspective rendering is not really because of the focal length by itself, but by the distance between the subject and the camera. Therefore, the use of different focal lengths in combination with different cameras for subject distance creates these different rendering. Changing the focal length just by maintaining the same camera position does not affect the perspective but the camera point of view alone.
The zoom lens allows the camera operator to change its focal length in shooting or quickly between settings for shooting. Because prime lenses offer greater and "faster" optical qualities (larger aperture openings, can be used in less light) than zoom lenses, these lenses are often used in professional cinematography compared to zoom lenses. Certain scenes or even types of filmmaking, however, may require the use of zoom for speed or ease of use, as well as shots involving zoom movement.
As in other photography, open image control is performed in the lens with aperture diaphragm control. For proper selection, the cinematographer needs all lenses carved with T-Stop instead of f-stop so that it ends up losing the light because the glass does not affect the exposure control when setting it using a regular meter. Optional choices also affect image quality (deviation) and depth of field.
Depth of field and focus
The focal length and aperture diaphragm affect the depth of the scene field - that is, how much background, middle-down and foreground will be given in "acceptable focus" (just one precise field of the image in the right focus) on the target film or videos. Depth of field (not to be confused with the depth of focus) is determined by the size of the aperture and the focal distance. Large or deep depth of field is produced with very small iris holes and focuses on distant points, whereas shallow depth of field will be achieved with large (open) iris holes and more focus on the lens. The depth of the field is also governed by the size of the format. If one considers field of view and point of view, the smaller the image, the shorter the focal length, to maintain the same field of view. Then, the smaller the image, the more the field gets, for the same field of view. Therefore, 70mm has less depth of field than 35mm for a particular field of view, 16mm over 35mm, and an early video camera, as well as the most modern consumer-level video camera, even more in the field than 16mm.
In Citizen Kane (1941), cinematographer Gregg Toland and director Orson Welles used a firmer hole to make every detail of the foreground and background set in sharp focus. This practice is known as a deep focus. Deep focus became popular cinematographic devices from the 1940s onwards in Hollywood. Today, the trend is for a more superficial focus. To change the focal plane of one object or character to another character in shooting is generally known as the shelf focus .
At the beginning of the transition to digital cinematography, the inability of digital video cameras to easily reach shallow depth of field, because their small image sensors, was originally a frustrating problem for filmmakers trying to mimic the look of 35mm film. An optical adapter is made that achieves this by installing a larger format lens that projects the image, on a larger format size, on a ground glass display that maintains the depth of the field. Adapters and lenses are then mounted on a small format video camera which in turn is focused on a ground glass display.
The SLR digital camera still has a sensor size similar to the 35mm film frame, and thus is able to produce images with the same depth of field. The emergence of video functions in these cameras triggered a revolution in digital cinematography, with more and more filmmakers adopting cameras for the purpose because of their movie-like movie-movie quality. Recently, more and more specialized video cameras are equipped with larger sensors capable of film depth like 35mm.
Aspect and framing ratio
The aspect ratio of an image is its width ratio to its height. This can be expressed as a ratio of 2 integers, such as 4: 3, or in decimal format, such as 1.33: 1 or only 1.33.
Different ratios give different aesthetic effects. Standards for aspect ratios vary significantly over time.
During the silent era, aspect ratios vary greatly, from 1: 1 square, all the way up to extreme extreme 4: 1 Polyvision extreme screen. However, from the 1910s, still images were generally set at a 4: 3 ratio (1.33). The introduction of sound-on-film briefly narrows the aspect ratio, to allow space for the voice line. In 1932, a new standard was introduced, the ratio of Academy 1.37, by way of thickening the frame line.
Over the years, mainstream cinematographers were restricted using Academy ratios, but in the 1950s, thanks to Cinerama's popularity, the widescreen ratio was introduced in an attempt to draw viewers back to the theater and away from their home television. This new widescreen format gives the cinematographer a wider frame to compose their images.
Many different proprietary photographic systems were created and used in the 1950s to make widescreen films, but a dominated film: anamorphic process, which optically squeezes the image to shoot twice the horizontal area to the same vertical size as the standard "ball" lens. The most commonly used anamorphic format is CinemaScope, which uses an aspect ratio of 2.35, although initially 2.55. CinemaScope was used from 1953 to 1967, but due to a lack of technicality in its design and ownership by Fox, some third party companies, led by Panavision technical improvements in the 1950s, dominated the anamorphic lens market. Changes to the standard projection of SMPTE changed the projection ratio from 2.35 to 2.39 in 1970, although this did not alter anything regarding the anamorphic standard of photography; all changes with respect to aspect ratio of anamorphic 35 mm photography specially for camera or projector gate size, not optical system. After the "widescreen war" of the 1950s, the film industry moved to 1.85 as the standard for theatrical projection in the United States and Britain. This is a trimmed version 1.37. Europe and Asia chose 1.66 at first, although 1.85 has largely seeped into these markets in recent decades. Certain "epic" movies or adventures utilize anamorphic 2.39.
In the 1990s, with the advent of high-definition video, television engineers created a ratio of 1.78 (16: 9) as a mathematical compromise between theater standard 1.85 and 1.33 television, because it is not practical to produce traditional CRT television tubes. with a width of 1.85. Until then, nothing comes from 1.78. Today, this is the standard for high definition video and for widescreen television.
Exposure
Light is required to create an image exposure on a movie frame or on a digital target (CCD, etc.). The art of lighting for cinematography goes far beyond basic exposure, however, being the essence of the visual story. Lighting greatly contributes to the emotional response of the audience watching the movie. Increased filter usage can severely affect the final image and affect the exposure.
Camera movement
Cinematography can not only describe a moving subject but can use a camera, which represents an audience's point of view or perspective, which moves during the film-making process. This movement plays a considerable role in the emotional language of the film image and the audience's emotional reaction to the action. Techniques range from the most basic panning movements (horizontal shifts in the viewing angle of the fixed position, such as turning your head from side to side) and tilting (vertical shift in the viewing angle of the fixed position, such as tilting your head back to see the sky or bottom for look to the ground) to dollying (put the camera on a moving platform to move it closer or farther from the subject), tracing (placing the camera on a moving platform to move it left or right), stretching (moving the camera in a vertical position; soil and swing from side to side from fixed base position), and combination above. Early cinematographers often face problems that are not common to other graphic artists because of the element of motion.
The camera has been installed into almost any imaginable form of transportation.
Most cameras can also be grasped, held in the hands of camera operators moving from one position to another while recording action. Personal stabilization platforms emerged in the late 1970s through the discovery of Garrett Brown, later known as Steadicam. Steadicam is the body arm and stabilization arm connected to the camera, supporting the camera while isolating from the operator's body movements. After Steadicam's patent expired in the early 1990s, many other companies began to manufacture the concept of their personal camera stabilizer. This discovery is much more common throughout the cinematic world today. From long movies to evening news, more and more networks are starting to use personal camera stabilizers.
Special effects
The first special effects in the cinema are made when the movie is being recorded. This came to be known as the "in-camera" effect. Then, optical and digital effects were developed so that editors and visual effects artists could more strictly control the process by manipulating film in post-production.
The 1896 film The Execution of Mary Stuart shows the actor dressed as the queen putting her head on the block of execution in front of a small group of audiences in Elizabeth dress. The executioner took his ax downward, and the head cut off the queen fell to the ground. This trick succeeded by stopping the camera and replacing the actor with the doll, then restarting the camera before the ax fell. The two pieces of the film are then trimmed and put together so that the action appears when the film is displayed, creating an overall illusion and laying the foundation for a special effect.
The film was among those exported to Europe with the first Kinetoscope machine in 1895 and was seen by Georges MÃÆ'Ã… © liÃÆ'¨s, who was making a magic show at the Robert-Houdin Theater in Paris at the time. He took the filming in 1896, and after making copies of other films from Edison, LumiÃÆ'¨re, and Robert Paul, he made the Escamotage d'un dame chez Robert-Houdin (The Vanishing Lady) >. The film shows a woman made to disappear using the same stop motion technique as the previous Edison movie. After this, Georges MÃÆ'Ã… © liÃÆ'¨s made many single shot films using this trick over the next few years.
Double exposure
Another basic technique for cinematographic tricks involves the double exposure of film in camera, first performed by George Albert Smith in July 1898 in England. Smith's The Corsican Brothers (1898) is portrayed in the Warwick Trade Company catalog, which took Smith's film distribution in 1900, thus:
"One of the twin sisters came home from the shooting in the Corsican mountains, and was visited by other twin ghosts.With very careful photography, the ghost appeared * quite transparent * After showing that he had been killed by the sword, and appealing for revenge , he disappears.Vision then appears to show a fatal duel in the snow.For Corsican's admiration, his duel and his brother's death are clearly portrayed in the vision, and overcome by his feelings, he falls to the floor as his mother enters the room.
The ghost effect is done by draping the set in black velvet after the main action is shot, and then bringing back the negative with the actor who plays the ghost through action at the right point. Likewise, the vision, which appears in a circular or matte sketch, is also superimposed over the black area in the background to the scene, not over the part of the set with detail in it, so nothing comes through the image, which looks solid enough. Smith uses this technique again at Santa Claus (1898).
Georges MÃÆ'Â © liÃÆ'¨s first used the superimposition on a dark background in La Caverne maudite (The Cave of the Demons) made several months later in 1898, and described it with some superimpositions in one shot at Un Homme de tÃÆ'ªtes (The Four Troublesome Heads) . He creates further variations in the next films.
Frame rate options
Movable image images are presented to an audience with constant speed. In the theater it is 24 frames per second, in NTSC (USA) The television is 30 frames per second (29.97 to be exact), in PAL (Europe) television it is 25 frames per second. The speed of this presentation does not vary.
However, by varying the speed at which images are drawn, various effects can be made knowing that the recorded images are faster or slower to be played at a constant speed. Giving the cinematographer more freedom for creativity and expression to be made.
For example, time-lapse photography is made by exposing images at a very slow rate. If the cinematographer sets the camera to expose one frame every minute for four hours, and then the recording is projected at 24 frames per second, a four hour event will take 10 seconds to display, and one can present events throughout the day. (24 hours) in just one minute.
Contrary to this, if an image is captured at the above speed to be presented, the effect is to greatly slow (slow motion) of the image. If a cinematographer captures someone who dives into a pool at 96 frames per second, and the image is played back at 24 frames per second, the presentation will take 4 times longer than the actual event. Extreme slow motion, capturing thousands of frames per second can present things normally not seen by the human eye, such as in-flight bullets and shock waves passing through the media, potentially powerful cinematographic techniques.
In movies, the manipulation of time and space is a factor that contributes greatly to the narrative narrative tool. Film editing plays a much more powerful role in this manipulation, but the selection of frame rates in initial action photography is also a contributing factor to changing time. For example, Charlie Chaplin's Modern Times is shot at "silent speed" (18 fps) but is projected at "speed of sound" (24 fps), which makes slapstick action even more exciting.
Sleek speed, or just "lean", is a process where the frame rate of camera shooting changes over time. For example, if for 10 seconds of capture, the frame frequency of the capture is adjusted from 60 frames per second to 24 frames per second, when played back at the standard frame rate of 24 frames per second, a unique time-manipulation effect is achieved. For example, someone who pushes the door open and walks out into the street will seem to start with slow motion, but in a few seconds later in the same shot, the person will appear to be walking in "real time" (normal speed). The slender velocity is done at The Matrix when Neo re-enters the Matrix for the first time seeing Oracle. When he comes out of the "load-point" warehouse, the camera zooms in at a normal speed but when approaching Neo's face, time seems to slow down, shadowing the time manipulation itself in the Matrix later in the movie.
Other special techniques
G.A. Smith initiated backward motion techniques and also improved the self-motivated image quality. This he did by repeating the action a second time while recording it with the camera upside down and then joining the second negative tail with the first one. The first film to use this was Tipsy, Topsy, Turvy and Awkward Painter , the last one showing a sign painter who waved a sign, and then the painting on the mark vanished. under the painters brush. The earliest surviving example of this technique is Smith's
Cecil Hepworth improves this technique by scanning the negative from the forward motion of retracting the frame by frame, so in the production of the mold, the original action is reversed. Hepworth made The Bathers in 1900, where the bathing baths and jumping into the water looked out of there, and their clothes miraculously fly back to their bodies.
The use of different camera speeds also appeared around the year 1900. Robert Paul's On Runaway Motor Car via Piccadilly Circus (1899), the camera rotates so slowly that when the movie is projected on 16 regular frames per second, high speed. Cecil Hepworth used the opposite effect in India's Head and Seidlitz powder (1901), where a Red Indian NaÃveve ate a lot of stomach soft drinks, causing his stomach to expand and then he then jumped like a balloon. This is done by turning the camera faster than 16 frames per second which gives the first "slow motion" effect.
Personnel
In the order of seniority, the following staff are involved:
- Director of photography also called cinematographer
- Camera carriers are also called cameramen
- The first assistant camera is also called focus drag
- Second assistant camera is also called node
In the film industry, cinematographer is responsible for the technical aspects of the image (lighting, lens selection, composition, exposure, screening, film selection), but works with the director to ensure that Aesthetic art supports the director's vision of the story that is told. The cinematographers are camera heads, clutches and lighting crews on a set, and for this reason, they are often called director of photography or DP . ASC defines cinematography as a creative and interpretive process that culminates in the authorship of original artwork rather than simple recordings of physical events. Cinematography is not a subcategory of photography. By contrast, photography is just one of the skills used by a cinematographer other than physical, organizational, managerial, other interpretative. and image manipulation techniques to produce a coherent process. In the British tradition, if DOP actually operates the camera itself, they are called a cinematographer. In smaller productions, it is common for one person to perform all of these functions alone. Career development usually involves climbing the ladder from seconds, first, finally to operate the camera.
The director of photography makes many creative and interpretive decisions during their work, from pre-production to post-production, all of which affect the overall nuances and look of the film. Many of these decisions are similar to what photographers need to take when taking pictures: the cinematographer controls the choice of the film itself (from various stocks available with varying sensitivity to light and color), selection of lens focal length, aperture and focus exposure. Cinematography, however, has a temporal aspect (see persistence of vision), unlike still photography, which is purely a still image. It's also bigger and heavier to deal with movie cameras, and this involves a more complex array of choices. Therefore, cinematographers often have to work with more people than photographers, who can often function as one person. As a result, the work of the cinematographer also includes personnel management and logistics organization. Given the deep knowledge. a cinematographer not only requires his or her own expertise but also from other personnel, formal school fees in analog or digital film making can be profitable.
See also
References
External links
- Movie Making Manual: The cinematography section on Wikibooks
- The History of Cinematography at Kodak.
- Burns, Paul. The History of Cinematographic Discovery
Source of the article : Wikipedia
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