Technological University of the Philippines – Manila

Ayala Blvd., Ermita, Manila, 1000, Philippines

GEC6 – Art Appreciation

GROUP 7 - CINEMATOGRAPHY

TOGONON, AYESSA BITAR

TOLIBAS, MICHAEL ANGELO GLORIA

TORRES, ANGELO CABALUNA

VELA, JOHN RED IBAÑEZ

YARA, PRINCE LANDER NICOLE CUNANAN

2023
 CINEMATOGRAPHY

I. Overview

Cinematography is a comprehensive and insightful book that delves into

the captivating world of cinematography. This module serves as a definitive
guide for both aspiring filmmakers and cinephiles who wish to understand and
appreciate the artistry and technical aspects behind creating stunning visuals on
the silver screen. The module begins by introducing the fundamental principles
of cinematography, providing a solid foundation for readers unfamiliar with the
subject. It explores the historical evolution of cinematography, tracing its roots
from the early days of silent cinema to the modern digital era. Through engaging
narratives and captivating anecdotes, readers will gain a deep appreciation for
the pioneers and visionaries who shaped the art form.

II. Learning Outcome

By reading this module, readers will gain a comprehensive understanding of

the art and techniques of cinematography, enabling them to:

 Appreciate the role of cinematography in storytelling: Understand the

impact of camera placement, movement, framing, lighting, and color on
conveying emotions, enhancing narrative, and engaging the audience in
visual storytelling.

 Analyze and deconstruct cinematic techniques: Develop the ability to

critically analyze and interpret the visual choices made by
cinematographers in films, recognizing the deliberate use of composition,
lighting, and camera movements to achieve specific storytelling objectives.

 Apply technical skills and knowledge: Acquire practical knowledge of

camera equipment, lighting setups, and color grading techniques,
enabling readers to implement these skills in their own film or video
projects effectively.

 Collaborate effectively with creative professionals: Understand the

collaborative nature of cinematography and develop the skills necessary to
communicate and collaborate effectively with directors, production
designers, and other members of the creative team to achieve a cohesive
visual vision.

 Adapt to evolving technologies and trends: Stay informed about emerging

technologies, digital advancements, and industry trends shaping the field
 of cinematography, enabling readers to adapt and innovate while staying
grounded in the fundamental principles of the craft.

III. Content

What is Cinematography?

Cinematography is the art and craft of making motion pictures by capturing a story
visually.

Cinematography involves the following:

1. Lighting

2. Shot Size

3. Camera

4. Focus

5. Camera Movement & Placement

Lighting

Lighting in film refers to direction, quality, source, and color of light.

 Direction refers to the path where the light source comes from and where it
lands.
 Quality refers to the intensity of light.
 Source refers to the role of lighting.
 Color refers to the color of lighting.

Shot size

Shot size is how much of the setting or subject is displayed within a given frame of a
video, photo, or animation, hence the scope or size of the shot.

 Close-up - A close-up shot is used when you want to reveal a subject’s

emotions and reactions. The close-up camera shot fills your frame with a part of
your subject. If your subject is a person, it is often their face.

 Medium Shot - The medium shot is one of the most common camera shots. It
frames from roughly the waist up and through the torso. So, it emphasizes more
of your subject while keeping their surroundings visible.
  Long-shot - The wide shot (aka long shot) is a camera shot that balances both
the subject and the surrounding imagery. A wide shot will often keep the entire
subject in frame while giving context to the environment.

 Low-angle shot - In cinematography, a low-angle shot is a shot from a camera

angle positioned anywhere below the eye line, pointing upward. It can even be
below the character’s feet which is called an extreme low angle shot.

 High-angle shot - A high angle shot is when the camera looks down on the
character or subject from an elevated perspective. This is usually achieved by
placing the camera higher than the subject and then angling it down on them.

Camera Focus

Camera focus, also known as Depth of Field is the area of acceptable sharpness in
front of and behind the subject on which the lens is focused. This is adjusted with
aperture, represented as F-stops such as f1.8, f2, or even more like f16.

 Shallow DoF - blurrier background.

 Deep DoF - sharp image throughout.

CAMERA MOVEMENT AND PLACEMENT

Camera movement is a filmmaking technique that causes a change in frame or

perspective through the movement of the camera.

 There are two types: Static and Physical

 Static has three types: Zoom, Tilt, Pan
 Physical has three types: Dolly, Crane, Track

DIRECTION
Direction or Directing in film is done by a Film Director. A film director manages
the creative aspects of the production.

A Good Director must:

 A good director must know a good story when he sees it.

 A good director must have an interest in the picture he is making.
 A good director must know what a camera does.
  A good director must know the art of storytelling.
 A good director must be able to convey his ideas to the players/actors.

They also need to:

 Interpret scripts.
 Set the tone of the film.
 Work with department heads
 Work with casting directors to find talent.
 Direct actors and the camera
 Work with editors to assemble the film.
 Work with sound and music department

COMMON PHOTOGRAPHY TERMS

Aperture, ISO, Shutter Speed, Digital vs. Optical, Exposure

Aperture

 Aperture refers to the opening of a lens's diaphragm through which light passes.
It is calibrated in f/stops and is generally written as numbers such as 1.4, 2, 2.8,
4, 5.6, 8, 11 and 16.

ISO

 ISO originally referred to the sensitivity of film—it's "light gathering" ability. The
higher the ISO rating, the greater the film's ability to capture images taken in
low light. High ISO film was called fast film—it required a shorter exposure than
a low ISO film. For digital photography, ISO refers to the sensitivity—the signal
gain—of the camera's sensor.

Shutter Speed

 Shutter speed is the speed at which the shutter of the camera closes. It is
represented by fractions of a second such as 1/200s or 1" with the " symbol
designating an entire second.

Digital

 Digital, also known as Electronic, refers to electronic/digital zoom in photos.

There are different zoom choices such as 1.5x, 2x, 4x, even up to 100x.

Optical

 Optical, refers to optical zoom, or physical zoom, enlarging the image by moving
parts inside the lens. The amount of which you can zoom is limited by the actual
 lens' zoom capability.

Both DIGITAL and OPTICAL are also associated with image stabilization.

Exposure

 Exposure is the amount of light the lens is able to let in. This is the result of
adjusting Aperture, ISO, and Shutter Speed.

THEME
A theme is a central idea or concept that runs throughout a piece of literature,
art, film, or any other creative work. It is a recurring motif or subject that provides
cohesion and depth to the overall work. Themes often reflect the underlying message
or purpose of the work and explore universal human experiences, values, and
emotions.

1. Identity and Self-Discovery

Films exploring themes of personal identity, self-discovery, and

transformation often utilize visual motifs and techniques to represent the
internal journey of the characters. This can involve changes in lighting,
framing, or visual metaphors to depict character growth and development.

2. Alienation and Isolation

Cinematography can effectively convey feelings of alienation and isolation

through the use of wide shots, empty landscapes, and a de-saturated
color palette. These visual choices can evoke a sense of loneliness or
detachment experienced by the characters.

3. Power and Control

Films that explore themes of power dynamics and control often employ
visual techniques to represent these concepts visually. High and low
camera angles, framing techniques that emphasize dominance or
submission, and contrast in lighting can be used to visually reinforce the
power dynamics at play.

4. Memory and Nostalgia

The cinematography in films that delve into themes of memory and

nostalgia often employs techniques such as soft focus, diffused lighting,
and color grading to evoke a dreamlike or nostalgic atmosphere. These
visual choices can help transport the audience into the characters’
 memories or create a sense of longing for the past.

5. Social and Political Commentary

Cinematography can be used to convey social or political themes through

visual symbolism and juxtaposition. For example, contrasting shots of
wealth and poverty, or the use of specific colors to represent different
ideologies or societal issues.

SCRIPT
In cinematography, a script serves as the foundation for the visual storytelling of a
film. It is a written document that outlines the story, dialogue, and actions of the
characters, providing a blueprint for the cinematographer, director, and other members
of the production team to bring the film to life.

1. Scene Description

The script describes the locations and settings of each scene, providing
details on the time of day, weather conditions, and any significant visual
elements. This helps the cinematographer plan the appropriate lighting,
camera angles, and composition for each scene.

2. Dialogue

The script includes the dialogue spoken by the characters. Dialogue plays
a crucial role in conveying the story and developing the characters, and it
helps the cinematographer understand the emotional and dramatic beats
of the scene. This can influence camera movement, framing, and shot
selection.

3. Action and Blocking

The script also describes the physical actions and movements of the
characters within a scene. This information helps the cinematographer
determine the camera movement, angles, and framing that best capture
the intended action and maintain continuity throughout the film.

4. Transition and Visual Cues

The script may include transitions between scenes, such as cuts,

dissolves, or other visual effects. It may also provide visual cues or
specific instructions to guide the cinematographer’s choices, such as
focusing on a particular object or using a specific shot to emphasize a key
moment

5. Emotional and Visual Tone

 The script often conveys the emotional and visual tone of the film,
providing insight into the desired atmosphere and mood. This helps the
cinematographer make decisions about lighting, color grading, and visual
style to effectively convey the intended tone.

PLOT
Plot refers to the sequence of events that make up a story. It encompasses the main
storyline, the order in which events occur, and how they are connected and unfold over
time. The plot is essentially the framework that drives the narrative forward and
engages the audience.

1. Exposition

The beginning of the story where the characters, setting, and basic
situation are introduced. This sets the stage and provides necessary
background information.

2. Conflict

An event or circumstance that disrupts the status quo and triggers the
main conflict or problem of the story. It sets the protagonist on their
journey and initiates the action.

3. Rising Action

This section develops the story, introducing complications, obstacles, and

conflicts that the protagonist must overcome. Tension and suspense
increase as the plot progresses.

4. Climax

The turning point or the highest point of tension in the story. It’s the
moment of greatest conflict or decision where the protagonist faces a
crucial challenge or makes a significant discovery. The climax often
determines the outcome of the story.

5. Falling Action

After the climax, the story starts to wind down. Loose ends are tied up,
and the consequences of the climax are dealt with. The intensity
decreases as the plot moves towards resolution.

6. Resolution

The final part of the plot where the main conflict is resolved, and the story
reaches its conclusion. It provides closure and answers any lingering
questions, providing a sense of fulfillment for the audience.
SOUND, MUSIC AND SPOKEN LANGUAGE

SOUND
What is sound?

 Sound is a form of energy produced by vibrations that travel through a medium.

 It can be heard when these vibrations reach our ears.
 Sounds are all around us, shaping our experiences and enriching our lives.
 Sounds are an integral part of our lives, conveying emotions, information, and
entertainment.
 Understanding the science behind sounds allows us to appreciate and harness
their power.

Properties of Sound:

 Pitch: Determines if a sound is high or low.

 Volume: Refers to the loudness or softness of a sound.
 Timber: Characterizes the unique quality of a sound.

How Sound Travels:

 Sound waves propagate through a medium, such as air, water, or solids.

 They travel in a longitudinal wave pattern, compressing and expanding the
medium as they propagate.

Applications:

 Music: Explore how different pitches and timbres create melodies and harmonies.
 Communication: Discuss how sound is essential for human speech and language.
 Sonar: Explain how sound waves are used in underwater navigation and
mapping.

MUSIC
What is music?

 Music is a universal language that encompasses sounds organized in time.

 It is an art form that expresses emotions, thoughts, and cultural identity.
 It Emphasize the power of music to connect people, evoke emotions, and inspire
creativity.
ELEMENTS OF MUSIC

1. Melody: The sequence of notes that form a recognizable musical phrase.

2. Harmony: The combination of different notes played simultaneously, creating
chords.
3. Rhythm: The arrangement of sounds and silences in a piece, creating a sense
of beat and timing.
4. Dynamics: The variation in volume, from soft (piano) to loud (forte).
5. Timber: The quality of sound produced by different instruments or voices.

MUSIC GENRES:

1. Classical: Characterized by complex compositions, orchestral arrangements,

and historical significance.
2. Pop: Catchy melodies, simple structures, and popular appeal.
3. Rock: Electric guitars, energetic rhythms, and often rebellious lyrics.
4. Jazz: Improvisation, syncopated rhythms, and unique harmonic progressions.
5. Hip Hop: Rhythmic poetry, electronic beats, and urban culture influences.
6. Electronic: Produced using electronic instruments and digital technologies.

MUSIC AND THE BRAIN

 Music has a profound impact on the brain and human psychology.

 It can evoke emotions, improve mood, and enhance cognitive abilities.
 Listening to music activates various areas of the brain, including those
responsible for memory, attention, and emotion.

The Future of Music

 Explore emerging trends and technologies in music, such as virtual reality

concerts, AI-generated music, and streaming platforms.
 Discuss the impact of technology on the music industry and the changing
landscape of music consumption.

SPOKEN LANGUAGE

What is spoken language?

 Spoken language is a form of communication using vocal sounds produced by

the human vocal tract.
 Key features: Oral production, sound-based, real-time interaction.
 Emphasize the essential role of spoken language in human communication and
society.
ELEMENTS OF SPOKEN LANGUAGE

Phonemes: The basic units of sound in a language.

Morphemes: The smallest meaningful units of language.

Syntax: The rules governing the structure of sentences.

Prosody: The patterns of stress, intonation, and rhythm in speech.

LANGUAGE VARIATION

Dialects: Regional or social variations of a language.

Accents: Distinct ways of pronouncing words and sounds.

Code-switching: The practice of alternating between two or more languages or

dialects.

SIGNIFICANCE OF SPOKEN LANGUAGE

Communication: Facilitating social interaction and conveying information.

Cultural identity: Language as a reflection of culture and heritage.

Cognitive development: Language's role in shaping thought processes.

ACTING

The performing art in which movement, gesture, and intonation are used to
realize a fictional character for the stage, for motion pictures, or for television.

Types of Acting
1. Classical Acting

Classical Acting is action-oriented and strives not to stray from the

screenplay dialogue. This stems from the legal language used for
theatrical stage productions which states that the performance must be as
written, or not at all—no ad-libbing allowed.
 2. Modern Acting

Part of this acting process was to encourage actors to explore their

character’s motivations which is where the line “What’s my motive?”
began. This type of acting became known as the Stanislavski method or
“Method Acting.” Laurence Olivier and John Gielgud were practitioners of
the Stanislavski Method.

3. Meisner Technique

The Meisner Acting Technique preached that constant repetition could

lead to unconscious instincts that would reveal a truthfulness in the
performance.

Proper Casting

Casting is a pre-production process that involves choosing actors to fill the roles in a
particular TV show, movie, commercial, or play.

Steps on Proper Casting

1. Review the script.

2. Contact relevant agencies to find actors.
3. Determine what type of audition to request.
4. Prepare for audition.
5. Host and review auditions
6. Send callbacks.
7. Conduct a screen test.
8. Make final actor selections.

SETTINGS

Conveys an immense amount of information; setting must be authentic so that

they do not distract the audience from the story. The environment your characters are
in makes up the setting of a story.

A well-described environment can make it more compelling for your readers to

fully immerse themselves in the fictitious world you've created. The place, time, and
weather all play key points in a novel. A scene or scenes' setting in a movie refers to
their decor and design. This might include everything from the actor's attire to the
window in the background.

These elements contribute to the tale being told in the movie or video. Interior
settings and external settings are the two primary categories of setting.

The setting is where you set the scene, including all the details that bring life to your
narrative. This includes things like:
  Time & Place.
 Characters.
 Weather and Seasons.
 The Physical Setting.
 Emotional Setting.

Why are settings important in film?

A movie is a visual medium, and that is never more evident than in movies about
place or movies where the scenery plays a significant role in the plot. Setting gives
viewers a quick hint about the tone, mood, and events of a movie. And yet, it appears
that filmmakers are using, misusing, and ignoring this 7-letter word in an increasing
number of their films. We've never shied away, though, from taking the necessary time
to completely prepare our films. Location, location, location. We believe it's important to
consider where we've been and where we are as we move forward.

Costumes
Every garment worn in a movie is considered a costume. These costumes help
communicate the details of a character's personality to the audience and help actors
transform into new and believable people on screen. Although there is frequently
confusion between costume design and fashion design, the two professions and their
goals are completely different. Costume designers are concerned with creating true-to-
life characters in a story while fashion designers have labels and market their clothing.
When necessary, by the narrative, costume designers produce both stunning costumes
for a dazzling entrance and daily clothing. Before they design the characters' wardrobe
of clothes and accessories, they must first know "who" the characters "are." When
playing a certain character in a particular scene or series of scenes, one actor dons a
costume. The viewer must most importantly believe that every character in a story has
an existence before the film even starts.

Make Up
In film and TV drama, hair and make-up designers help actors portray their
characters by using hair and make-up to create a look. In pre-production, they work
closely with the director to understand the style of the story. Make up is any of the
materials used by actors for cosmetic purposes and as an aid in taking on the
appearance appropriate to the characters they play.
Photography
This introductory text provides a brief overview of Photography. Art terms are
indicated with an underline and their definition can be viewed by hovering the cursor
over the term. They can also be found in the glossary.

The word Photography literally means ‘drawing with light’, which derives from
the Greek photo, meaning light and graph, meaning to draw. Photography is the
process of recording an image – a photograph – on light sensitive film or, in the case of
digital photography, via a digital electronic or magnetic memory.

The photograph is evident in nearly every aspect of modern life. As a form of

communication and documentation, photographs are present in newspapers,
magazines, advertisements, posters, television, the Internet, passports, ID cards,
archives, security and Surveillance Systems, forensics and medicine. Photography also
plays an important role in domestic and recreational activities. Most photographs
produced today take the form of Snapshots documenting activities such as holidays and
celebrations. With the prevalence of digital cameras and mobile phone cameras, these
activities are also documented for display on photo-sharing websites and photo-based
Social Networking Sites. Despite the prevalence of photography in many aspects of
modern life, only a small minority of photographs are considered to be art and tend to
be displayed in museums and galleries in formats similar to painting.

The invention of photography is a contested subject. It was the outcome of

many technological developments, most notably associated with the Industrial
Revolution in the nineteenth century, but was also influenced by earlier technological
developments such as the Camera obscura, which is an optical device used during the
Renaissance to aid drawing and perspective.

The Niépce Heliograph

The invention of photography was announced

simultaneously in France and England in 1839, dazzling
the public and sending waves of excitement around the
world. These astonishing breakthroughs depended upon
centuries of developments in chemistry, optics, and the
visual arts, accelerating in the decades after 1790. The
Niépce Heliograph was made in 1827, during this period of
fervent experimentation. It is the earliest photograph
produced with the aid of the camera obscura known to
survive today.

The photograph was made by Joseph Nicéphore Niépce (1765–1833), born to a

prominent family at Chalon-sur-Saône in the Burgundy region of France. Motivated by
the growing popular demand for affordable pictures, Niépce's photographic experiments
were conducted with the dual aims of copying prints and recording scenes from real life
in the camera. At his family estate in the nearby village of Saint-Loup-de-Varennes, he
produced legible but fleeting camera pictures—or points de vue, as he called them—in
1816. Over the next decade he tried an array of chemicals, materials, and techniques to
advance the process he ultimately called héliographie, or 'sun writing.'

To make the heliograph, Niépce dissolved light-sensitive bitumen in oil of

lavender and applied a thin coating over a polished pewter plate. He inserted the plate
into a camera obscura and positioned it near a window in his second-story workroom.
After several days of exposure to sunlight, the plate yielded an impression of the
courtyard, outbuildings, and trees outside. Writing about his process in December 1827,
Niépce acknowledged that it required further improvements, but was nevertheless "the
first uncertain step in a completely new direction."

In 1829 Niépce entered into formal partnership with Louis-Jacques-Mandé

Daguerre (French, 1787–1851), proprietor of the famous Diorama in Paris. Daguerre
continued to make vital improvements after Niepce's death and introduced his
"Daguerreotype" process in 1839. After that stunning announcement, the Niépce
Heliograph was brought forth by early supporters as evidence of his role in
photography's invention.

The Niépce Heliograph passed through a chain of private hands in Britain in the
nineteenth and twentieth centuries before it was purchased by the Harry Ransom
Center in 1963 as part of the Gernsheim Collection. More than twenty of Niépce's
heliographic plates and prints made between 1825 and 1829 are held in public and
private collections, yet the Niépce Heliograph is the only known surviving point de vue.

The practice of taking photographs and the opening of the first photo studios in
Spanish Philippines, from the 1840s to the 1890s. The beginnings of photography in the
Philippines date back to the 1840s with two preserved daguerreotypes, one of
intramurals, manila showing a flag and a portrait of the photographer himself named w.
w. wood.

The first photography

Studios were opened in the Philippines in the 1850s,

the first known actively operational photo studio was that of
the British photographer Albert Honnis.

Honnis was a popular producer of commercial

“visiting cards” and “aesthetic” picture portraits. Honnis’
assignment as a commissioned photographer of the Russell
& Sturgis Company, a prominent sugar-cane corporation of
the time, enabled him to compile panoramic photographs of
Spanish manila and the Pasig River (vistas de manila, or
views of manila).
Dutch

 Francisco Van Kamp

 Manuel Maidin
 Pedro Picon

German

 Enrique Shuren
 C. Bonifas
 E. M. Barretto
 Francisco Pertierra
 Manuel Arias Rodriguez
 L. Gonzales

American
  Dean Conant Worcester

Joseph Nicéphore Niépce (French: [nisefɔʁ njɛps]; 7 March

1765 – 5 July 1833), commonly known or referred to simply as
Nicéphore Niépce, was a French inventor, usually credited with
the invention of photography. Niépce developed heliography, a
technique he used to create the world's oldest surviving
product of a photographic process: a print made from a
photoengraved printing plate in 1825 (see View from the
Window at Le Gras). In 1826 or 1827, he used a primitive
camera to produce the oldest surviving photograph of a real-
world scene. Among Niépce's other inventions was the
Pyréolophore, one of the world's first internal combustion
engines, which he conceived, created, and developed with his
older brother Claude Niépce.

Kodachrome - is the brand name for a color reversal film

introduced by Eastman Kodak in 1935. It was one of the
first successful color materials and was used for both
cinematography and still photography. For many years,
Kodachrome was widely used for professional color
photography, especially for images intended for publication in
print media

Louis Daguerre - The daguerreotype (first commercial photographic material) france,

1839 - Louis-Jacques-Mandé Daguerre (/dəˈ ɡɛər/ (listen)
də-GAIR, French: [lwi ʒɑk mɑ̃de daɡɛʁ]; 18 November
1787 – 10 July 1851) was a French artist and
photographer, recognized for his invention of the
eponymous daguerreotype process of photography. He
became known as one of the fathers of photography.
Though he is most famous for his contributions to
photography, he was also an accomplished painter, scenic
designer, and a developer of the diorama theatre.

William Henry Fox Talbot - (11 February 1800 – 17

September 1877) was a British inventor and photography
pioneer who invented the calotype process, a precursor to
photographic processes of the 19th and 20th centuries.
Talbot was also a noted photographer who made major
contributions to the development of photography as an
artistic medium. His work in the 1840s on photo-mechanical
reproduction led to the creation of the photo glyphic
engraving process, the precursor to photogravure. Talbot is
also remembered as the holder of a patent which, some
say, affected the early development of commercial
photography in Britain. Additionally, he made some important early photographs of
Oxford, Paris, Reading, and York.

Alfred Stieglitz - portraiture and documentary united

states late 1800s through mid-1900s - Alfred Stieglitz Hon
FRPS (January 1, 1864 – July 13, 1946) was an American
photographer and modern art promoter who was
instrumental over his 50-year career in making photography
an accepted art form. In addition to his photography,
Stieglitz was known for the New York art galleries that he
ran in the early part of the 20th century, where he
introduced many avant-garde European artists to the U.S.
He was married to painter Georgia O'Keeffe.

THE TERMINAL 1893, Printed 1911

THE STEERAGE 1907, Printed in or

Before 1913
Dorothea Lange - portrait photography United States, 1930s
- Dorothea Lange (born Dorothea Margaretta Nutzhorn; May
26, 1895 – October 11, 1965) was an American documentary
photographer and photojournalist, best known for her
Depression-era work for the Farm Security Administration
(FSA). Lange's photographs influenced the development of
documentary photography and humanized the
consequences of the Great Depression.

Damaged Child – Shactown, ELM grove,

Oklahoma, 1936
Ansel Adams - landscape photography United States 1920s
to 1960s (for most of his work) - Ansel Easton Adams
(February 20, 1902 – April 22, 1984) was an American
landscape photographer and environmentalist known for his
black-and-white images of the American West. He helped
found Group f/64, an association of photographers
advocating "pure" photography which favored sharp focus
and the use of the full tonal range of a photograph. He and
Fred Archer developed a system of image-making called the
Zone System, a method of achieving a desired final print
through a technical understanding of how the tonal range of
an image is the result of choices made in exposure, negative
development, and printing.

MONOLITH THE FACE OF HALF

DOME, Yosemite Valley, 1927
 FIRST MOTION PICTURE, the
Horse in Motion (1878) Eadweard
Muybridge

ROUNDHAY GARDEN SCENE (1888)

LOUIS LE PRINCE – Oakwood Grange in

Roundhay Leeds, in Northern England on 14
October 1888

Steven Allan Spielberg – American Filmaker -

Steven Allan Spielberg KBE (/ˈ spiːlbɜːrɡ/; born
December 18, 1946) is an American filmmaker. A
major figure of the New Hollywood era and pioneer of
the modern blockbuster, he is the most commercially
successful director in history. He is the recipient of
many accolades, including three Academy Awards,
two BAFTA Awards, and four Directors Guild of America Awards, as well as the AFI Life
Achievement Award in 1995, the Kennedy Center Honor in 2006, the Cecil B. DeMille
Award in 2009 and the Presidential Medal of Freedom in 2015. Seven of his films have
been inducted into the National Film Registry by the Library of Congress as "culturally,
historically or aesthetically significant".

SCHINDLERS LIST – 1993 War/Drama

Twelve Academy Awards

 Won seven, including best picture, best.

 Director, best adapted screenplay, and best
 Original score.
 The film won numerous other awards, including seven baftas and three golden
globe awards.

Purpose of Photography
 Documentary
 New Photographers
 Detailed Account of Actual Events
 Hobbyist Photographers aim to capture life moments with their families and
friends.
 To preserve memories
 To cultivate creativity
 To participate in other people`s live
 To see the world differently
 To tell stories
IV. Summary of Module

This comprehensive module explores the art of cinematography, covering

a range of key elements that contribute to the creation of visually captivating
and emotionally impactful films. Participants will delve into lighting, shot size,
camera movement and placement, sound, acting, costume, setting, and
photography, gaining a holistic understanding of the intricate craftsmanship
involved in the world of cinematography.

The module begins by examining lighting techniques and their influence

on the visual aesthetic and mood of a scene. Participants will learn how to
manipulate natural and artificial light sources to create contrast, shape, and
depth, and to evoke specific emotions. They will explore the interplay between
light and shadow, and how lighting choices can enhance storytelling and
character development.

The module then explores shot size and composition, emphasizing the
power of framing to guide the viewer's attention and convey meaning.
Participants will study different shot types, such as wide shots, close-ups, and
point-of-view shots, and understand how each shot size impacts the audience's
perception and engagement with the narrative.

Next, readers will explore camera movement and placement, discovering

how camera techniques can add dynamism, tension, and emotional resonance to
a scene. They will learn about dolly shots, tracking shots, and handheld shots,
and the creative decisions behind choosing the appropriate camera movement to
enhance the storytelling.

Sound design is another vital component of cinematography covered in

this module. Participants will explore the ways in which sound effects, music, and
dialogue contribute to the overall cinematic experience. They will study
techniques for effective sound recording and design and learn how to
synchronize sound with visuals to create a seamless and immersive viewing
experience.

The module then delves into the impact of acting and costume on
cinematography. Participants will explore the relationship between performers
 and the camera, studying the nuances of facial expressions, body language, and
blocking. They will also analyze how costume choices and design can enhance
character development, convey cultural or historical context, and contribute to
the overall visual style of a film.

Furthermore, readers will learn how setting plays a crucial role in

cinematography. They will examine the importance of location selection, set
design, and props in creating immersive and authentic environments that
support the narrative and engage the audience.

Finally, readers will explore the connection between cinematography and

photography, understanding how principles of composition, lighting, and visual
storytelling from the world of still photography can be applied to motion pictures.
They will study the work of renowned cinematographers and photographers to
gain inspiration and insights into creating visually stunning and meaningful
imagery.

Throughout the module, readers will engage in practical exercises, case

studies, and discussions to deepen their understanding of each element. By the
end of the module, participants will have gained a comprehensive understanding
of cinematography as a powerful storytelling tool and will be equipped with the
knowledge and skills to apply these techniques effectively in their own creative
projects.

V. Formative Assessment
References

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