Difference between revisions of "JCM312/Cinematography"
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− | *Explain what | + | Color, enlarged versions of the textbook illustrations [https://tvcrit.org/Classes/Jbutler/TVCrit2018_images_ByChapters/08/ are available online]. |
− | **How does a zoom in/out look different from a track in/out? | + | |
− | *Explain what | + | *'''G3:''' Explain what '''focal length''' is -- using the textbook illustrations. |
+ | **How does a zoom in/out look different from a track in/out? | ||
+ | *'''G4:''' Explain what '''depth of field''' is -- using the textbook illustrations. | ||
**What is the difference between deep focus and deep space (as in mise-en-scene)? | **What is the difference between deep focus and deep space (as in mise-en-scene)? | ||
− | *Explain what | + | *'''G1 and G5:''' Explain what '''aspect ratio''' is -- using the textbook illustrations. |
− | **Also explain letterbox and pan-and-scan | + | **Also explain letterbox and pillarbox (optional: pan-and-scan) |
− | *** | + | ***Example video clips: |
− | ****[http://tvcrit.com/find/hsssletterbox] | + | ****[http://tvcrit.com/find/hsssletterbox ''He Said, She Said'' letterboxing] |
− | ****[http://tvcrit.com/find/panandscan] | + | ****[http://tvcrit.com/find/panandscan ''He Said, She Said'' pan and scan] |
**What are the aspect ratios of ''Day for Night'', ''Shakespeare in Love'' and ''Monster's Ball''? | **What are the aspect ratios of ''Day for Night'', ''Shakespeare in Love'' and ''Monster's Ball''? | ||
− | *Explain the significance of camera | + | *'''G2:''' Explain the significance of camera '''framing, height, and movement''' -- using [https://tvcrit.org/Classes/Jbutler/TVCrit2018_images_ByChapters/09/ the textbook illustrations]. |
− | ** | + | **Example video clips: |
***[http://tvcrit.com/find/dolly Dollying] and [http://tvcrit.com/find/dollyresult Dollying result] | ***[http://tvcrit.com/find/dolly Dollying] and [http://tvcrit.com/find/dollyresult Dollying result] | ||
***[http://tvcrit.com/find/homicide Handheld] | ***[http://tvcrit.com/find/homicide Handheld] | ||
***[http://tvcrit.com/find/steadicam Steadicam] | ***[http://tvcrit.com/find/steadicam Steadicam] | ||
− | **When might movement be used that does | + | **When might movement be used that does ''not'' follow a character? How is a Steadicam shot different from a handheld shot? |
+ | |||
+ | <gallery mode="packed" heights=200px> | ||
+ | Image:Fig09-50 Pillarbox blurred wings.jpg|alt=pillarbox illustration|[https://vimeo.com/231455256 Pillarboxed cell-phone video] | ||
+ | </gallery> | ||
==Cinematography and narrative== | ==Cinematography and narrative== | ||
− | In | + | In [https://vimeo.com/345042067 this ''Monster's Ball'' scene] (password: tcf123abc! ), what narrative functions does the cinematography serve? Each group should account for the cinematographic aspects noted above, paying particular attention to the third shot. |
+ | |||
+ | <gallery mode="packed" heights=200px> | ||
+ | Image:MonstersBall01.jpg|alt=Shot three from a ''Monster's Ball'' scene.|Shot three from a ''Monster's Ball'' scene. | ||
+ | Image:MonstersBall02.jpg|alt=Shot three from a ''Monster's Ball'' scene continues.|Shot three from a ''Monster's Ball'' scene continues. | ||
+ | </gallery> | ||
− | |||
− | |||
− | |||
− | |||
==External links== | ==External links== | ||
− | #[ | + | #[https://vimeo.com/345042067 ''Monster's Ball'' scene] |
− | #[ | + | #[https://tvcrit.org/Classes/Jbutler/TVCrit2018_images_ByChapters/08/ ''Television'' illustrations, Chapter 8.] |
− | #[ | + | #[https://tvcrit.org/Classes/Jbutler/T440/VisualStyleIllustrations02.php Cinematography illustrations] |
+ | #[https://tvcrit.org/Classes/Jbutler/T440/MonstersBall/index.htm ''Monster's Ball'' frame grabs] | ||
+ | #[http://youtu.be/Q34z5dCmC4M ''Henri 2, Paw de Deux'': black-and-white] | ||
+ | #[https://vimeo.com/231455256 Pillarboxed cell-phone video] | ||
== Bibliography == | == Bibliography == | ||
− | #Jeremy G. Butler, ''Television: | + | #Jeremy G. Butler, ''Television: Visual Storytelling and Screen Culture'', 5th Edition (New York: Routledge, 2018). |
#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'' (New York: McGraw-Hill). | #David Bordwell and Kristin Thompson, ''Film Art: An Introduction'' (New York: McGraw-Hill). | ||
− | [[Category: | + | [[Category:JCM312 Discussion]] |
Latest revision as of 15:51, 3 September 2019
Color, enlarged versions of the textbook illustrations are available online.
- G3: Explain what focal length is -- using the textbook illustrations.
- How does a zoom in/out look different from a track in/out?
- G4: Explain what depth of field is -- using the textbook illustrations.
- What is the difference between deep focus and deep space (as in mise-en-scene)?
- G1 and G5: Explain what aspect ratio is -- using the textbook illustrations.
- Also explain letterbox and pillarbox (optional: pan-and-scan)
- Example video clips:
- What are the aspect ratios of Day for Night, Shakespeare in Love and Monster's Ball?
- Also explain letterbox and pillarbox (optional: pan-and-scan)
- G2: Explain the significance of camera framing, height, and movement -- using the textbook illustrations.
- Example video clips:
- When might movement be used that does not follow a character? How is a Steadicam shot different from a handheld shot?
Cinematography and narrative
In this Monster's Ball scene (password: tcf123abc! ), what narrative functions does the cinematography serve? Each group should account for the cinematographic aspects noted above, paying particular attention to the third shot.
External links
- Monster's Ball scene
- Television illustrations, Chapter 8.
- Cinematography illustrations
- Monster's Ball frame grabs
- Henri 2, Paw de Deux: black-and-white
- Pillarboxed cell-phone video
Bibliography
- Jeremy G. Butler, Television: Visual Storytelling and Screen Culture, 5th Edition (New York: Routledge, 2018).
- David Bordwell and Kristin Thompson, Film Art: An Introduction (New York: McGraw-Hill).