Research: Cinematrography (Miss B)

Cinematography



Cinematography is one of the four micro elements within film industry, alongside special effects, mise en scene and editing.(1) Using a collection of filming techniques, cinematography can act as a direct communication with the audience, or the feel of being 'inside' the movie. Smart and sophisticated camera tricks are distinguished greatly over the thriller genre, the most common being a fast-passed zoom, an establishing shot, and so forth.

Cinematography is split into three main sectors, and branches off into more about the different kind of techniques:

• Shot frames

Establishing shot | Shows the primary scene + setting

Extreme Long Shot or XLS | A shot slightly longer than head to toe

Long Shot or LS | A shot displaying head to toe

Medium Shot or MS | A shot displaying head to torso

Medium Close Up or MCU | A shot displaying head to chest

Close Up or CU | A shot displaying head to shoulder

Extreme Close Up or XCU | A shot size that is very close to a face or an item of significance.

• Camera Angles

Low Angle | Camera angle directed below the character, representing power or a high status

High Angle | Camera angle directed above the character, representing insignificance or defeat

• Camera Movement

Panning Shot | Camera moving across, e.g following somebody walking

Tilt Shot | Camera moves up and down over a character, giving the impression of a 'dirty look' or introduction

Crane Shot | Camera placed on a crane, extending it's flexibility and abilities

Zoom | Capturing emotion or getting away from it

Point Of View or POV | First person perspective

Hand Held | Camera moving in motion with the character

Overhead Shot | Camera positioned as if from an eagle's perspective (ceiling)

Over The Shoulder | Shot from behind a character's shoulder while in conversation with another, whom the camera is facing

Two Shot | Sideways angle with enough space for two characters to fit in the frame

In this scene of The Grudge, at 0:09 we see a close-up of the woman's profile. This technique was used so cleverly, because behind her, you see The Grudge in the mirror where the woman's reflection should be - however, it isn't easy to see at first glance because of the close up on herself. This sighting may scare, excite or confuse the audience, and mostly create apprehension for what they know is about to happen.

At 1:07, the woman and the man are shown from a high angle, and already being positioned on the floor, it creates the illusion (and obvious reality) that she cannot defend him or herself, they are insignificant in terms of the Grudge. Also, because she is coming down the stairs, this angle could perhaps be seen as a point of view as we would expect her to be on a higher level of floor than them. The raw explicitness of the couples' moment of weakness could perhaps stir sympathy from the audience, or excitement, as in psychological effect including the urge for them to move on and survive. 

This point has already been analysed, but a panning shot is used briefly as the woman walks across the mirror. This creates enormous effect as the camera is also panning the Grudge; whom we can see in the actual mirror. Their movements are synced, giving off the impression that the Grudge knows what you are doing, and where, whenever. 

Conclusion | From this lesson I have decided that I will definitely use an establishing shot, perhaps more than once, the first time being the undisturbed area and the second time being the drastic change (stated as an example). I think that extreme close ups would be ideal for my opening if I choose to include a psychotic murderous character, displaying abnormalities such as looking directly into the camera, their proportions distorted. Both angles of lows and highs are needed because of the antagonist and victim roles. I don't think I would use a hald held camera movement because I feel that fits under more of a documentary/journalistic thriller.

SOURCES:

(1) http://www.slideshare.net/spingwoodmedia/film-language