Context
- Cinematography -
What is cinematography?
Cinematography is the use of camera movement, angles and mise en scene to convey a message or meaning the to the audience without being explicit. This allows a theme or emotion to be portrayed to the audience through the language of the screen. It is crucial to cinema as without cinematography a lot of minor details that can tell so much about an experience or character be lost through the cracks of sound or action. The main elements of cinematography consist of angles (high angle can portray superiority amongst the subject of the frame while low angle can make the subject feel dominant and powerful)
Whiplash cinematography - The First Date
The scene opens on a wide establishing shot. This shows the discomfort and unfamiliarity between Nicole and Andrew. The shot is stationary as they converse about the music that's being played. It then pulls a shot-reverse shot with a midshot accompanied with awkward silences and smiles. Nicole mentions how she often sees him looking down at his feet at the cinema, Which Andrew confesses his dad critises him for. Nicole admits thather mother also critises her a lot for her chin which Andrew finds blasphemous.
As the conversation shifts to dysfunctional families and future asperations the shot closes up and turns from a wide, to a much more intimate Close up.
Andrew prods Nicole for more information about what she is studying and what she wants to do in life, which Nicole doesn't necessarily have an answer to. She then begins to criticise Andrew for his choice in school; this hostile interaction pushes the frame back to a mid shot which shows that they've slightly lost the connection they had just a moment ago.
The connection re-establishes itself and the shot creeps back to a close up as they begin to talk about how they don't get along with the people there.
The scene ends with him admitting that maybe he's just a kid with who goes the movies with his dad. This scene is a perfect example of how shot sizes can help convey a relationship between two characters to the audience.
Mr. Robot cinematography - Where Is My mind?
The scene opens with Tyrell (right) towering over Elliot (left), pushing him far into the left of the shot. 'Mr Robot' is known for this unconventional cinematography however the reason why this is particularly interesting is although Tyrell towers over Elliot, to make him feel small or powerless, he himself still only covers a small amount of the screen. In fact, when split into the rule of thirds we can see that they take up essentially the same amount of space.
In such a tense scene it seems odd to see two significant characters so out of the way and taking up less than half of the screen, however, this is standard practice in 'Mr. Robot'. In fact, it's rare you ever see Elliot or any character taking up the shot; they are usually pushed to the sides and hidden in corners. However, this abandonment of the rule of thirds isn't just lazy cinematography but carries a purpose.
In Television dramas, the rule of thirds is standard practice. It keeps things tight and concise and is a neat way of making sure the audience is focusing on the characters' emotions and dialogue. So why would Tod Campbell (Director of Photography for 'Mr. Robot') abandon such a useful tool? Why only have a sliver of Elliot in the frame? From what I can see there are two main reasons that tie in together.
Firstly, this is where we meet our non-character. The city of New York is the stage where we observe this dystopian-Esque story take place. Elliot isn't our protagonist in the conventional sense, he is our vessel, our tour guide and he helps us see the world the way he wanted us to see it. A con. We are given the illusion of choice through our complicated Starbucks orders or whether we upgrade to an iPhone or the new android but these choices exist to make us think we are in control, which couldn't be further from the truth. And the second reason of course being Elliot's mission. "To save the world."
Secondly, we are unsure throughout the show that the world we see is reality or a part of Elliot's psychosis. It is made blatantly obvious that he has mental health issues that stretch further than social anxiety and depressive episodes. It clearly stems deeper than what we are led to believe which is shown not only through the character 'Mr. Robot' (on the left of the image) but the cinematography by use of asymmetry. This could be Campbell's method of giving a visual reference to the duplicity of his psyche. The two hemispheres showing the duplicity of Elliot's psyche, or more specifically what is Elliot and what isn't.
This perfectly demonstrates Mr. Robot's style of cinematography. You see on the left we have Mr. Robot, relaxed, hands in his pockets, and on the right, we have Elliot, closed off, awkward, hands between his legs. This shows the dominance that Mr. Robot has over Elliot as well as Elliot's reluctance to fight back. You also can't help but notice the amount of negative space in the shot.
A conversation between the only characters in the scene seems more important than the cold, white steel of the New York subway but no, we are meant to notice how small they are which further projects the idea that the mission (that in this scene Elliot is moments away from being indoctrinated into) is bigger than them both.
Later on, in the show, we get a parallel image of Elliot with his childhood friend, Angela, after he has completed his mission. As you can see not only are they a lot smaller in the context of the shot but they are also lower in the shot. This being taken from a higher angle looking down on them, shows that although the crux of their mission is now over, the fallout of their actions has only just begun.
Continuing with the selected scene, after the interaction in Elliot's apartment it then cuts to a short montage of the old arcade, that Elliot moonlights at as he encrypts Evil-corps files. Old games boot up, the lights flicker and groan as they're forced on.
As this happens a piano rendition of 'Where Is My Mind' - Pixies begins to play its rhythmic and hypnotizing notes. This is relevant as it complements the cinematography.
This shot I think captures Tyrell's move to the 'dark side' perfectly. He has abandoned a life of comfort and in the life to move to alien terrain (a nod to the poster behind him) and into this dark and unknown atmosphere that could lead him potentially anywhere.
There is then this wide shot which has such an interesting composition accompanied by a beautiful colour palette of dingy yellows, greens and cyans. Elliot and Tyrell both look so small in the shot but as they move in closer to the room it shows that they are becoming equals and are willing to work together.
In the final moments of the shot, Tyrell questions Elliot about his master plan of encrypting all of Evil-corps files as well as the backups, which will essentially crash the entire corporation and delete all debt owed to them by the people. Tyrell asks Elliot why he wants to do this. Why there has to be a grander idea to all of this. At first, Elliot is unsure. He doesn't know. But then the camera pulls in closer and closer to him as the music begins to crescendo and we finally get the honest answer as we close to Elliot as we may ever get, cinematography-wise.
"I wanted to save the world."
Before the scene ends we get this final shot of Elliot staring into a popcorn machine as kernels begin to crash down. This shows that the mission is reaching its end game and as well as that we can still see Elliot through the greasy signifying he is everywhere, no matter what is happening. Mr. Robot is known for its complex plot and intricate design but I do believe its cinematography is often ignored which is a shame I've seen no other TV drama to reach even vaguely similar levels of genius that Mr Robot has. It truly is one of its kind.
Shot Scale
What is a camera shot?
Extreme wide
Extreme wide shots are typically used to set a scene. subjects are shown in little to no detail and is meant to show the area of the scene before the full scene takes place.
Wide
Wides are also often used for establishing shots of smaller locations (offices, classrooms, etc.). It also helps in setting the character's place within the scene, showing the whole body from head to toe.
Medium
allows for more detail of the character while showing a bit of background and setting the scene. This can also be used to show the body language of the character and how they interact with their surroundings.
Medium close-up
The medium close-up is one step further than the Medium shot and allows for more detail of the character (less of the foreground). This is typically used for conversation scenes
Close-up
The close-up captures the minute details of the subject that would otherwise be lost. It helps to evoke the characters frame of mind as well as drawing attention to new information
Extreme Close-up
The extreme close up is the closest the camera can get to the actor. This is to show the maximum amount of detail and is usually used to emphasise an emotion that the character is feeling.
Camera Angles
High Angle
Using a high angle portrays the subject as fragile and vulnerable or give the audience a position of power. This could be used to show surrounding elements without a wide shot.
Low angle
Using a low angle portrays a subject as powerful and dominating, this puts the audience in a nervous and vulnerable disposition.
dutch/canted angle
By setting the camera at 45 degrees this creates an uneasy atmosphere and make the audience feel uncomfortable. It distorts reality and turns everything off its head, creating unrealistic scenarios
Aerial/birds eye view
Achieved using a helicopter or drone this is a good way of establishing a scene or showing the extent or a situation or location.
Overhead shot
Overhead is similar to birds eye view however is a lot closer to the subject. It can create a distance between the subject and the audience.
Over the shoulder
Commonly used in conversation (shot reverse shot). Creates a perspective without being a first person perspective and allows the audience to feel more connected to the scene.
Point of view (POV)
Being point of view puts the audience directly into the characters world and draws the audience into the atmosphere of the film.
Wide + establishing
Overhead
wide + establishing
overhead
POV + low angle
High angle + Canted/dutch angle
Over the shoulder
For this practical task i demonstrated the various ways angles (high angles, low angles, over the shoulder, etcetera) could be used to emphasis a particular emotion. I achieved it in some senses however if i were to redo the task i would change several things.
I would make the story clearer as it's a bit choppy and messy. It goes from Robbie walking in, seeing the body and rushing off straight to Jasmin walking in, seeing the body and rushing off. Which although is technically what happens it is portrayed in a clunky repetitious way which leaves a rather dull taste; a change i would make would be to use various angles while showing the dead body (for example showing robbie standing over the body and showing the body in different shots, maybe an extreme close up or a canted angle or maybe even a mid shot of the flatness and deflation of the body) and I would completely change the way Jasmin enters the scene, maybe through a door or drop from the ceiling (maybe not the latter), just something different to what Robbie did. It then cuts directly to Robbie who is at the top of the stairs then right on the stage with jasmin standing next to him. Now this wouldn't be a problem if Robbie could, lets say, teleport. But he can't and he didn't. So I would add a few shots of him running through the hallways and up the stairs (maybe in a dutch angle and rather close to him to show some urgency and discomfort).
For the second part i would need to add an establishing shot of some sorts to show the location in which the show down is commencing. I also think it could have benefited from some sort of establishing the situation as well as the location as well as a more conclusive ending.
- Composition & Framing -
Pan
A pan is a horizontal camera movement in which the camera moves left and right on a central access in a swivelling movement and is mounted on a fixed tripod/shoulder. Typically it moves left to right (they way we read) however it is not a set in stone rule and is often broken to cause an uneasy atmosphere
Tilt
This is the parallel of a pan; instead of moving horizontally it moves vertically to make a grand gesture or unveiling of something shocking.
Track
Tracking is often more narrowly defined as movement, parallel to action, or at least at a constant distance (e.g. the camera which travels alongside the race track in track and field events)
Crane/Jib
A jib is a special kind of crane at the end of which you attach a camera; there's a counterweight at the other end for balance. It's used to capture a variety of shots, such as overhead or long sweeping moves, and can film a complete 360 degree shot.
Hand held
A handheld action creates a sense of realism and makes the audience feel as if they're part of the action.
Dolly Zoom
A dolly zoom is the action of the camera moving in while zooming out (or vice versa) to create an uneasy atmosphere and is often used during realisation or surprise.
Rule of Thirds
Rule of thirds is a method of framing a shot by splitting the frame into a 3x3 grid. This helps set up a shot and makes sure the audience is paying attention to what the director wants them to.
Eyeline Match
Not too dissimilar to the rule of thirds, eyeline match is the method of lining up a characters gaze to the frame, making the audience believe they are looking at something through the character.
Lead room
This is a shot time which is to leave space in front of the character. It is also called noseroom. This is used to help the audience understand where the subject is going.
Leading lines
These can be actual lines or imaginary lines and help to direct the attention of the audience.
Symmetry
Symmetry is mainly used for aesthetic value to show balance and solidarity. It can also direct the audience's attention to an important part of the film.
Asymmetry
Asymmetry creates visual tension and an imbalance in the shot which can put the audience on the edge of their seats.
Negative space
By isolating a particular subject this draws attention to it. It can also make said subject incredibly small.
Static Composition
Static composition is quite simply just when the shot remains entirely still and is devoid of any sort of camera movement.
Dynamic Composition
Dynamic composition is the antithesis of Static composition and has lots of movement and energy! This can put more tension into a scene
Frame within a frame
Exactly what it sounds like, a frame within a frame is when there is a frame that appears separate or within the whole frame. For example when the camera is directed towards action inside a car.
- USE OF CAMERA -
Exposure + Depth of Field
Exposure
Exposing is to let open the shutter to let light hit the sensor/film. This is what captures the image. You measure exposure time in seconds and is shown in fractions such as 1/2 (half a second), 1/60 (one sixtieth of a second), 1/250 (one two-hundred and fiftieth of a second) etc.
Slow shutter speed
A slower shutter speed lets in light for a longer period of time. This works better in darker settings such as at night time as it will quickly overexpose. This will also create a blurred effect which is how light trails are done. A 'slow' shutterspeed refers to anything slow than 1/60.
Fast shutter speed
A fast shutter speed lets light in for a shorter period of time and allows for little to know motion blur however a darker image. A fast shutter speed refers to anything faster than 1/60.
ISO
ISO refers to light sensitivity. A lower ISO (50 - 400) means that the photograph (or film if you're using an SLR) is less light sensitive and would be used for brighter locations and scenarios. A higher ISO (800 - 3200) would be used for darker settings such as night.
Low ISO
A lower iso is ideal for brighter scenarios as it is less light sensitive. A low ISO would be 50, 100, 200 and 400 (although, 400 is more of a neutral ISO and can be used for overcast days)
high ISO
A higher iso is ideal for darker scanrios such as closed off areas and night time. A high ISO would be 800, 1600, 3200...but with increasing technology the higher ISO is now breaking numbers such as 6400, 12,800 and higher.
Shallow Depth of field
Deep depth of field
Slow shutter speed (motion blur)
high shutter speed (sharp image)
Clean image (lower light sensitivity)
Noisy image (higher light sensitivity)
- Colour -
Colour temperature & white balance
Colour temperature is a way to describe the light emitted by a lightbulb which is measured in degrees of Kelvin (K) from 1,000-10,000. 1,000 is an orange-red, warm light that is on par with candle light or a match. As the number increases the feel of the light gets colder and bluer before it reaches 10,000 which is a solid blue colour and is on par with a completely clear sky.
1,000k - 3,500k
These numbers are perfect for an inviting atmosphere and is associated with warm orange and red tones.
Tungsten light (lower Kelvin)
3,500k- 6,000k
This is a perfect middle ground for a nuetral atmosphere. Associated with midday with yellow, white, light blue lights.
Neutral light (mid Kelvin)
6000k - 10,000k
This is where it begins to get darker and bluer. Associated with clear skies and solid blue colours.
Halogen light (higher kelvin)
Tungsten light (lower Kelvin)
Neutral light (mid kelvin)
Halogen light (higher kelvin)
- continuity -
The cut
The cut is the most transition in cinema. It is simply the action of changing from one shot, to the next, advancing the story.
Cutting on action
This is the method of cutting in between two shots while an action is being taken place; whether thats a punch, a kick or simply someone picking up a cup of coffee.
cross cut
A cross cut is when the editor crosscuts in between two locations. For example most phone conversations are crosscuts.
match cut
This is when the editor cuts from one shot to another that has similar action or composition.
Dissolve
A Dissolve is when you fade from one shot to another using what is called a cross dissolve.
Smash Cut
A smash cut is an abrupt cut between two shots. Going from something intense to calm, loud to quiet.
IRIS
is a stylistic choice in which the iris closes leaving just a small circe of footage on screen.
Wipe
In filmmaking, a wipe is a type of film transition where one shot replaces another by travelling from one side of the frame to another or with a special shape. If the wipe proceeds from two opposite edges of the screen toward the center or vice versa, it is known as a barn door wipe.
INvisible cut
An invisible cut is when there is a cut that gives the impression of a single take but actually consists of multiple cuts (i.e Birdman)
L-cut
The L-cut is an audio based transition. This is when the audio from one shot carries onto the next shot.
J-cut
The J cut is also an audio based transition and is the polar opposite of the L-cut. This is when the audio from the next shot begins in the current shot
- Lighting -
“To me, if there’s an achievement to lighting and photography in a film it’s because nothing stands out, it all works apiece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting” - Roger Deakins, Cinematographer
Different kinds of lighting
Low key lighting
Low key lighting leaves large, prominent areas of dark. This kind of lighting tends to be somber—serious, formal, and dignified in mood. Low-key lighting requires more side and back lighting.
High key lighting
High key lighting has an abundance of bright, diffused light, resulting in slow-falloff or flat lighting. It required a closer and smaller light source than soft light.
Hard light
Hard light has extremely defined shadows and has a high range of contrast. It required a closer and smaller light source than soft light.
Soft light
Soft light is flatter and more evenly dispersed and has less defined and weaker shadows. It requires a further and bigger light source than high key lighting and can be dampened by the use of a screen or (on a buget) a bedsheet.
Daylight
A cooler/higher kelvin reading will mimic daylight and a warmer/lower kelvin reading will mimic the lights of a house. The cooler reading will give a colder, bluer light while a warmer reading will emit a more orange/red colour.
Intensity
INTENSITY is the BRIGHTNESS (How Bright does the light source go). To have enough light to get a good exposure on the camera. To have enough light to get a good exposure with a particular lens. If you are shooting slow motion then you need more intense lights
Position of lighting
Three point lighting
Three-point lighting is a traditional method for illuminating a subject in a scene with light sources from three distinct positions. The three types of lights are key light, fill light, and backlight.
Rembrandt Lighting
Rembrandt lighting is a standard lighting technique that is used in studio portrait photography and cinematography. It can be achieved using one light and a reflector, or two lights, and is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment.
Butterfly Lighting
Butterfly lighting is a lighting pattern used in portrait photography where the key light is placed above and pointing down on the subject's face. This creates a dramatic shadow under the nose and chin that looks like a butterfly
Rim Lighting
Rim lighting is a technique that puts light around the edges of a subject. It's something that can be achieved outdoors when the sun is low in the sky, and in the studio, it's often just a case of moving the lights behind the subject instead of in front.
INVERSE SQUARE LAW
The Inverse Square Law stipulates that should a person (or object) be close to a light source then there is a greater difference in light intensity as that person (or object) moves away. When the person (or object) is much further away from a light source that object can move much greater distances away from the light before there is a significant drop in the intensity of light. This effect is most noticeable when using hard lights than that of soft.
