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Film Analysis 1: La Historia Oficial Cinematography Basics

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Film Analysis 1: La Historia Oficial Cinematography Basics Film Analysis 1: La Historia oficial Cinematography Basics Film recording, like any other form of photography, relies on two basic variables: how much light is let in to the camera, and how long that light is let in. These variables are both controlled by the opening, or aperture, of the camera. The less light is let in, the darker the image will be, and the less time the light is let in, the darker the image will be. Since the two variables have basically the same results, a photographer can find a balance between exposure time and aperture to avoid underexposure and overexposure. This also has an effect on motion capture: the longer the exposure, the more moving things will likely appear to be blurry. Not only can the photographer decide what to focus on in a particular shot, but the range of things that can be in focus can also be controlled. By coordinating the aperture with the length of time each frame is exposed, a cinematographer can control the depth of field of an image. Focus Deep Focus allows many planes within the image to be shown in focus, up to and including an infinite focus in which nothing in the image appears blurry. Focus Shallow Focus, on the other hand, limits the focus to a single plane of the image, leaving everything else out of focus. Lighting Most films do not make use of natural light, but instead manipulate the lighting on set in order to create particular effects. The most typical kind of lighting in films and television is called Three Point Lighting. The Key Light is the brightest light, and it pulls out highlights and fine features. The Fill Light softens the contrast of the shot, and the Back Light separates the subject in the foreground from the background. Lighting In a typical film there is a balance between the three lights, although the Key Light is usually the strongest light. You can see this classic kind of lighting used in this top image. Another kind of lighting is Low Key Lighting, often used in Film Noir, in which the Fill Light is turned down or off, as in the bottom image. Lighting A third, rarer form of lighting is High Key Lighting, in which the Key Light and the Fill Light are at equal intensity, leading to very little contrast and an almost over-exposed and glossy image. An example of this form of lighting is seen in the image below. Framing The director also uses framing to control not only what is included in the shot, but also what is not included in the shot. This creates the effect of an imaginary off-screen space that exists in the viewer’s mind. Usually this effect is used to help the audience suspend their disbelief, because switching between two views of the same scene creates the illusion of space and continuity – that we are witnessing an event in a real world. Framing Framing can be used to create a sense of destabilization if the figures are all pushed to one side of the image or another. It can also be used to strategic effect if the off-screen space is not re-established, forcing the viewer to fill in the space with their own imagination. Framing Framing has to do with not only what is in the picture, but also the position of the camera in relation to what is in the picture. Do we feel the same way about the students in these two different framings? In one, the camera is above them, in the other the camera and the students are on the same level. Scale The scale of objects in film is, of course, relative. However, useful terminology has been developed relative to the size of the human body on film. Scale The largest scales are referred to as Extreme Long Shots. These images usually show multiple full human figures, as well as the larger environment in which the figures are set. Scale Next on the scale are normal Long Shots. These images usually show one or a few human figures completely within the frame, with none (or very little) of the body off-screen. Scale A Medium Long Shot is a bit closer, cutting off some of the human figure, usually the lower legs and feet. This scale is sometimes called plain américain in French because it is so widely used in the Western genre. Scale The Medium Close-Up is typically above the waist of the human figure, but can also describe a shot that includes the actor’s head and shoulders. Scale A Close-Up usually includes only the actor’s head, though it can also extend down to the shoulders as well. Most shots of objects, unless they are very big or very small, are also Close-ups. Scale Finally, the Extreme Close-Up usually frames an individual part of the human face. It can also be used for other individual body parts, or for very small objects. There are no Extreme Close- Ups that I could find in La Historia oficial, so here are some from other films. What is in the Scene? The director and art director of a film decide what will be included in every shot. Aside from framing, lighting, and more technical concerns, what is left is mise-en-scene, the objects, figures, settings, costumes, props, colors, textures, and other visual forms contained in the image. Décor The setting and props in a scene do more than just fill out the frame or interact with the characters. They can also tell us a lot about the characters who inhabit those spaces. Compare Roberto’s home to that of his father’s Costume We can also get a lot of information about a character from their costume. Compare Alicia’s outfit as a teacher to what Gaby’s apparent grandmother and her fellow protestors wear. .
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