Cinematography

The word cinematography literally means ‘drawing movement’. This element of film production is arranged between the director and the cinematographer – often called the director of cinematography, DP or DoP. Some directors, notably Tim Burton and Ridley Scott, take more control than others over the photography, and many directors work repeatedly with the same cinematographers.

1. Different types of shots are used in a combination to give you information about where and when something is happening, the role of a character and his/her reaction, to draw attention to someone or something, or to create an impression or feeling.
2. Different camera movements can be used to create a specific effect, for
3. example:

A character walks into a room and the camera slowly pans across (moves from side to side). We feel as if we are the character looking around. By stopping something, our attention can be focused on this; a feeling of unsteadiness or unease can be created by moving the camera diagonally (rolling). Our brains register that all is not well within this screen world; the camera pulling backwards from a scene (tracking) indicates to the audience that the action that concerns us has now finished. In suspense films the action may start suddenly again at this point, thus surprising or shocking our expectations.

Film lighting creates the mood and emphasises the key elements of the mise-en-scene. It turns cardboard sets and plastic props into a convincing three dimensional reality, often without drawing attention to itself. Usually, like film music, lighting creates its effects without the audience noticing; sometimes, like film music it becomes a dominating presence with visible shafts of light and dark shadows. In Hollywood, the three-point lighting system is favoured. This is based on the idea that the figure should usually be lit from three directions:

a) The key light, as the name suggests, is usually the brightest and most influential. This can be set to high key (e.g. to represent bright daylight) or low key (e.g. to cast shadows for an air of mystery or fear)

b) The back light helps counteract the effect of the key light, thus making the figure look more 'rounded'.

c) The filler light helps to soften the harsh shadows created by the use of the back and key lights. There may be more than one of these. Deciding not to use this will exaggerate shadow: ideal for horror movies!