AO2 & AO4 Cinematography Research

Cinematography research

Cinematography is the technique of movie photography, including both the shooting and the processing of the image. A cinematographer studies the script of the film and sets up specific lighting that provokes emotions and strengthens the plot. He successfully communicates the story through camera, light, shot types, script, movements and exposure. Cinematography is vital in building tension in thriller movies and influencing the emotions that the audience feel

Exposure in my film:

In cinematography, exposure refers to how much light is taken in by the camera. Exposure is directly connected to the brightness and darkness of the image. The genre that I am working on is majorly effected by exposure. The cinematographer needs to be able to create a gloomy and low-spirited atmosphere to be able to construct a sense of eerie and unnatural aspects therefore very little amount of light should be absorbed by the camera to keep everything low-key and ambiguous

Shot size:

Long shots and establishing shots can illustrate a lot to the audience. The main difference between the two is that establishing shots will be wide enough to show all the characters and objects necessary for the drama, while a wide shot will be wider than that, focusing more on the environment to set the scene.

On the other hand, many close ups will be used to emphasis the detail in certain things in the opening sequence such a tattoo, or blood splattered. Close ups are more dramatic than long shots or medium shots and they emphasis more emotion. For example, there is a close up of the victims face to emphasis her lack of emotion and her lifeless state.

A full shot separates the character from the viewer both physically and psychologically. They carry less emotional weight, and therefore they are not the best choice during emotional scenes. This is used when the murderer and the victim (lady G) are walking towards the camera.

Medium shots are most commonly used as they show the character’s body at a suitable distance where not too much detail is showing but the audience are still able to identify who is in the shot and what is happening.

Camera angles:

An eye level angle is the one in which the camera is placed at the subject’s height, so if the actor is looking at the lens, he wouldn’t have to look up or down. Eyelevel shots are incredibly common because they are neutral. They often have no dramatic power whatsoever, thus they are ideal for romantic comedies and news casting.

Low angles are captured from a camera placed below the actor’s eyes, looking up at them. Low angles make characters look dominant, aggressive, or ominous.

Point-of-view shots are angles in which the camera incorporates a character’s eyes. POVs are usually preceded by a close-up of the character’s eyes. This could be used for example when the murderer sits in front of the cork board.

Camera movements:

A pan shot is where the camera is aimed sideways along a straight line. It is on a tripod, with the operator turning it either left or right. Panning is commonly utilized to capture images of moving objects like cars speeding or people walking; or to show sweeping vistas like an ocean or a cliff. One of my opening sequence scenes include a pan shot of the murdered victim from her feet to her head. It provides as much detail as it can in the short footage.

Tilts refer to the up or down movement of the camera while the camera itself does not move. Tilts are often employed to reveal vertical objects like a building or a person. For example, in my opening sequence there will be a long shot, tilt of the murderer walking through an alleyway. This will make the murderer seem small and irrelevant in the scene.

When the entire camera is moved forward or backward, this move is called dolly. Dollies are often used when recording a subject that moves away or toward the camera in this case it would be when the murderer walks down a corridor to pick up a briefcase.

In a pedestal move, the camera body will be raised or lowered. The difference between tilts and pedestals is that in the former, the camera lens is just being aimed up or down, whereas in the latter, the camera is being vertically moved this is used when we only see the bottom half of the murderer to create enigma and to keep him/her anonymous. And to emphasise the tattoo on his wrist.

Zoom in refers to seemingly “approaching” the subject, which makes the subject look bigger or zooms into specific detail in the frame. Zoom out refers to seemingly “distancing” the subject, thus making it look smaller. This is used when the camera does three consecutive zooms on the victims face when the audience realize that she was the one murdered. It creates a sense of suspense as the face is revealed.

Cinematographer in Gone girl, Jeff Cronenweth’s who has been working with directors for around 25 years. He started off as a camera assistant for music videos and commercials. He is now a famous cinematographer especially Gone girl.

Gone girl is a thrilling story about a man’s wife who suddenly disappeared and the events surrounding it. Cronenweth’s challenge was finding a way to keep the audience dragged in what would initially be a very mundane environment.

He said “I was looking to create a visual world and style that allowed the actors to play this mental chess game with each other without giving their characters away,” he said. 
“I wanted to add visual contrast and emotion, but still in the context of this very pedestrian lifestyle that they find themselves in, which then starts to fall apart.”

Source: https://mattmulcahey.wordpress.com/2015/01/14/an-interview-with-gone-girl-cinematographer-jeff-cronenweth/

He also worked on the cinematography of the film “the girl with the dragon tattoo”, “fight club”, “down with love” and many more.

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