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Cinematic composition

Cinematic composition. Cinematographer. Cinematographer= also known as Director of Photography (DP) Responsible for artistic and technical decisions related to images captured on screen In charge of camera crews, lighting crews, etc. The Big Picture.

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Cinematic composition

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  1. Cinematic composition

  2. Cinematographer • Cinematographer= also known as Director of Photography (DP) • Responsible for artistic and technical decisions related to images captured on screen • In charge of camera crews, lighting crews, etc.

  3. The Big Picture • Every shot the cinematographer makes must be designed with the goals of cinematic composition in mind. • Especially attendant to the Mise-en-Scene! Sunset Boulevard - Billy Wilder (1950)

  4. Goals of cinematic composition • Goal 1: Directing attention to the object of greatest significance Road to Perdition – Sam Mendes (2002) American Beauty, Revolutionary Road, Skyfall

  5. Goals of cinematic composition • Goal 2: Keeping the image in constant motion Indiana Jones and the Kingdom of the Crystal Skull – Stephen Spielberg (2008)

  6. Goals of cinematic composition • Goal 3: Creating an illusion of depth Hugo – Martin Scorsese (2011) Taxi Driver, Raging Bull, Goodfellas, Casino, The Departed, Shutter Island, Gangs of New York…

  7. Let’s see a Clip!

  8. Size and Closeness of an Object • Normally the eye is directed toward larger and closer objects rather than smaller and distant objects. • Foreground= closer to the camera, thus larger • Background= further from the camera, thus smaller

  9. Foreground versus Background in V for Vendetta (2005, James McTeigue)

  10. Foreground versus Background in V for Vendetta (2005, James McTeigue)

  11. Sharpness of Focus • The eye is drawn to what it can see best • Sharp Focus= image that is clear • Soft Focus= image that is blurry Pan’s Labyrinth (2006 – Guillermo del Toro, Hellboy)

  12. Sharpness of Focus • May overrule foreground/background rule

  13. Movement • Objects in motion draw the eye • A moving object can divert our attention from a static one • Constant movement in the background may not divert our attention from the still but more important objects in the foreground Chariots of Fire (1981 – Hugh Hudson)

  14. Extreme Close-Up Objects featured in extreme close-up give the audience nothing else to see!

  15. Arrangement • There are no specific positioning formulas, but a director will arrange people and objects in relation to each other. • Possibilities: • Symmetry • Pyramid • Balance

  16. Symmetrical Arrangement Eyes Wide Shut (1999) Stanley Kubrick 2001, Dr. Strangelove, Full Metal Jacket, The Shining, A Clockwork Orange

  17. Pyramid Arrangement Reservoir Dogs (1992– Quentin Tarrantino)

  18. Balanced Arrangement

  19. Dynamic Arrangement The Hunger Games (2012) (Gary Ross) Seabiscuit, Pleasantville

  20. Framing • Think of a picture frame. • Draws attention to the object of greatest significance, the object being framed • May add symbolism

  21. Framing

  22. Lighting and Color • Used for focus, symbolism, emphasis, etc. • Light versus Darkness Establishes Contrast

  23. Color Schindler’s List (1993 – Spielberg)

  24. Dramatic Lighting Citizen Kane

  25. Contrast

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