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equate to a happier, exciting, more positive mood. Camera angle can affect a scene by setting perspective. It conveys how characters or the audience see something, and through what angle. Camera angle can also play an important role by highlighting either a close up detail, or background setting. A close up angle can highlight detail on someone's face, while a wider lens can give key information that takes place in the background of a shot. Camera distance can highlight specific details that can be important to a film shot. From very far away, a group of people can all look the same, but once you zoom in very close, the viewer is able to see differences within the population through details like facial expression and body language. Coloring is similar to lighting, in the way that it plays an important role in setting mood and emotion throughout a shot. A color like green can convey balance and peace through scenes of nature. A shot with a lot of red can express anger, intensity, passion or love. While some of these emotions might not come out intentionally while seeing color, it is a subconscious fact that color within cinematography can have a large effect. Speed is a vital element in cinematography that can be used in a variety of ways, such as the creation of action, or a sense of movement. Speed can be further used to slow down time, highlight important moments, and often times build a sense of suspense in a film. Slow motion is a technique which involves filming at a higher frame rate, then playing the footage again at a normal speed. This creates a slowed-down effect in the film, which can put emphasis on or add fluidity to a scene. On the other hand, fast motion is the opposite of slow motion, filming at a lower frame rate and then playing the film back at a normal speed. This creates a sped-up effect which can help to emphasize passage of time, or create a sense of urgency. Time lapse is when you take a series of still photographs at a regular interval over a long period of time. From here, if you play them back continuously, a sped-up effect is shown. Time lapses are used most effectively to show things like sunrises, natural movement, or growth. They are commonly used to show passage of time in a shorter sequence. Reverse motion is filming a scene normally, then playing the film in reverse. This is usually used to create uncommon/surreal effects, and create unusual scenes. The various techniques involving speed all can add to a films intensity, vibe, show passage of time, and have many other effects. Camera movement within a film can play a role in enhancing the visual quality and impact of a film. Some aspects of camera movement that contribute to this are:
1028:; and London. The chronological improvements in the medium may be listed concisely. In 1896, Edison showed his improved Vitascope projector, the first commercially successful projector in the U.S. Cooper Hewitt invented mercury lamps which made it practical to shoot films indoors without sunlight in 1905. The first animated cartoon was produced in 1906. Credits began to appear at the beginning of motion pictures in 1911. The Bell and Howell 2709 movie camera invented in 1915 allowed directors to make close-ups without physically moving the camera. By the late 1920s, most of the movies produced were sound films. Wide screen formats were first experimented within the 1950s. By the 1970s, most movies were color films. IMAX and other 70mm formats gained popularity. Wide distribution of films became commonplace, setting the ground for "blockbusters." Film cinematography dominated the motion picture industry from its inception until the 2010s when digital cinematography became dominant. Film cinematography is still used by some directors, especially in specific applications or out of fondness for the format.
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audience's attention to specific elements within the frame, highlighting important characters or objects. Secondly, lighting contributes to the composition of a shot. Filmmakers strategically place lights to create balance, depth, and visual interest within the frame. It allows them to control the visual elements within the scene, emphasizing certain areas and de-emphasizing others. Lastly, lighting significantly impacts the mood and atmosphere of a film. By manipulating light intensity, color, and direction, filmmakers can evoke different emotions and enhance the narrative. Bright, even lighting may evoke a sense of safety and happiness, while low-key lighting with shadows can create tension, mystery, or fear. The choice of lighting style can also reflect the genre of the film, such as the high contrast lighting commonly used in film noir.
1786:) is determined by the aperture size and the focal distance. A large or deep depth of field is generated with a very small iris aperture and focusing on a point in the distance, whereas a shallow depth of field will be achieved with a large (open) iris aperture and focusing closer to the lens. Depth of field is also governed by the format size. If one considers the field of view and angle of view, the smaller the image is, the shorter the focal length should be, as to keep the same field of view. Then, the smaller the image is, the more depth of field is obtained, for the same field of view. Therefore, 70mm has less depth of field than 35mm for a given field of view, 16mm more than 35mm, and early video cameras, as well as most modern consumer level video cameras, even more depth of field than 16mm.
890:, Auguste and Louis, who in 1895 developed a machine called the Cinematographe, which had the ability to capture and show moving images. The early era of cinema saw rapid innovation. Filmmakers discover and apply new methods such as editing, special effects, close-ups, etc. Hollywood began to emerge as the mecca of the film industry, and many of the famous studios today such as Warner Bros and Paramount Pictures began to rule the film world. Over time, cinema and cinematography have changed drastically. From the silent films of the early 20th century, to the ability of sound to be added to films in the 1920s, widescreen and color films in the 50s, huge improvements in general creativity and methodology have emerged.
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efficient in capturing and documenting the behavior, movement, and environment of microorganisms, cells, and bacteria, than the naked eye. The introduction of film into scientific fields allowed for not only the viewing of "new images and objects, such as cells and natural objects, but also the viewing of them in real time", whereas prior to the invention of moving pictures, scientists and doctors alike had to rely on hand-drawn sketches of human anatomy and its microorganisms. This posed a great inconvenience to the scientific and medical worlds. The development of film and increased usage of cameras allowed doctors and scientists to grasp a better understanding and knowledge of their projects.
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the subject from one side to create depth and dimension. The fill light reduces shadows caused by the key light, softening the overall lighting. The backlight separates the subject from the background, providing a halo effect and enhancing the sense of depth. High Key
Lighting: High key lighting produces a bright, evenly lit scene, often used in comedies or light-hearted films. It minimizes shadows, creating a cheerful and upbeat atmosphere. Low Key Lighting: Low key lighting involves using a single key light or a few strategically placed lights to create strong contrasts and deep shadows. This technique is commonly used in film noir and horror genres to evoke suspense, mystery, or fear.
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different emotions and purposes. Some examples of different types of
Cinematography can be known as Realism. This style of cinematography aims to create a realistic portrayal of the world, often using natural lighting, handheld cameras, and a documentary-like approach to filming. Classic Hollywood is a style of cinematography characterized by its use of highly polished, studio-produced films with glamorous sets, bright lighting, and romanticized narratives. Film Noir is a style of cinematography that is characterized by its use of stark contrast and chiaroscuro lighting, low-key lighting, and a dark, brooding atmosphere. It often features crime, mystery, and morally ambiguous characters.
2474:), unlike still photography, which is purely a single still image. It is also bulkier and more strenuous to deal with movie cameras, and it involves a more complex array of choices. As such a cinematographer often needs to work cooperatively with more people than does a photographer, who could frequently function as a single person. As a result, the cinematographer's job also includes personnel management and logistical organization. Given the in-depth knowledge, a cinematographer requires not only of his or her own craft but also that of other personnel, formal tuition in analogue or digital filmmaking can be advantageous.
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2220:"One of the twin brothers returns home from shooting in the Corsican mountains, and is visited by the ghost of the other twin. By extremely careful photography the ghost appears *quite transparent*. After indicating that he has been killed by a sword-thrust, and appealing for vengeance, he disappears. A 'vision' then appears showing the fatal duel in the snow. To the Corsican's amazement, the duel and death of his brother are vividly depicted in the vision, and overcome by his feelings, he falls to the floor just as his mother enters the room."
872:" in fast motion using a series of 24 stereoscopic cameras. The cameras were arranged along a track parallel to the horse's, and each camera shutter was controlled by a trip wire triggered by the horse's hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one-thousandth of a second. At the end of the decade, Muybridge had adapted sequences of his photographs to a zoopraxiscope for short, primitive projected "movies", which were sensations on his lecture tours by 1879 or 1880.
2055:. The Steadicam is a body harness and stabilization arm that connects to the camera, supporting the camera while isolating it from the operator's body movements. After the Steadicam patent expired in the early 1990s, many other companies began manufacturing their concept of the personal camera stabilizer. This invention is much more common throughout the cinematic world today. From feature-length films to the evening news, more and more networks have begun to use a personal camera stabilizer.
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camera movements were the result of mounting a camera on a moving vehicle. The first known of these was a film shot by a Lumière cameraman from the back platform of a train leaving
Jerusalem in 1896, and by 1898, there were a number of films shot from moving trains. Although listed under the general heading of "panoramas" in the sales catalogues of the time, those films shot straight forward from in front of a railway engine were usually specifically referred to as "
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2325:, or simply "ramping", is a process whereby the capture frame rate of the camera changes over time. For example, if in the course of 10 seconds of capture, the capture frame rate is adjusted from 60 frames per second to 24 frames per second, when played back at the standard movie rate of 24 frames per second, a unique time-manipulation effect is achieved. For example, someone pushing a door open and walking out into the street would appear to start off in
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to emphasize contrast, texture, and lighting, enhancing the visual storytelling experience. The use of black-and-white cinematography dates back to the early days of cinema when color film was not yet available. Filmmakers relied on this technique to create visually striking and atmospheric films. Even with the advent of color film technology, black-and-white cinematography continued to be utilized for artistic and thematic purposes. Ken
Dancyger's book
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together and flattening perspective. The differences between the perspective rendering is actually not due to the focal length by itself, but by the distance between the subjects and the camera. Therefore, the use of different focal lengths in combination with different camera to subject distances creates these different rendering. Changing the focal length only while keeping the same camera position does not affect perspective but the
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to emphasize contrast, texture, and lighting, enhancing the visual storytelling experience. The use of black-and-white cinematography dates back to the early days of cinema when color film was not yet available. Filmmakers relied on this technique to create visually striking and atmospheric films. Even with the advent of color film technology, black-and-white cinematography continued to be utilized for artistic and thematic purposes.
1643:, such as diffusion filters or color effect filters, are also widely used to enhance mood or dramatic effects. Most photographic filters are made up of two pieces of optical glass glued together with some form of image or light manipulation material between the glass. In the case of color filters, there is often a translucent color medium pressed between two planes of optical glass. Color filters work by blocking out certain color
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monochrome. Even with the advent of early color experiments, the greater expense of color meant films were mostly made in black-and-white until the 1950s, when cheaper color processes were introduced, and in some years percentage of films shot on color film surpassed 51%. By the 1960s, color became by far the dominant film stock. In the coming decades, the usage of color film greatly increased while monochrome films became scarce.
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1507:(1993). These films showcase the power and versatility of black-and-white cinematography in creating emotionally resonant visuals. Black-and-white cinematography remains a relevant and widely used technique in modern filmmaking. It continues to be employed by filmmakers to evoke specific moods, convey a sense of timelessness, and enhance the artistic expression of their stories.
1131:(1993). These films showcase the power and versatility of black-and-white cinematography in creating emotionally resonant visuals. Black-and-white cinematography remains a relevant and widely used technique in modern filmmaking. It continues to be employed by filmmakers to evoke specific moods, convey a sense of timelessness, and enhance the artistic expression of their stories.
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1907:, television engineers created the 1.78 (16:9) ratio as a mathematical compromise between the theatrical standard of 1.85 and television's 1.33, as it was not practical to produce a traditional CRT television tube with a width of 1.85. Until that change, nothing had ever been originated in 1.78. Today, this is a standard for high-definition video and for widescreen television.
1595:, high saturation) and contrast (varying levels between pure black (no exposure) and pure white (complete overexposure). Advancements and adjustments to nearly all gauges of film create the "super" formats wherein the area of the film used to capture a single frame of an image is expanded, although the physical gauge of the film remains the same.
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yellow filter, which cuts down on blue wavelengths of light, can be used to darken a daylight sky (by eliminating blue light from hitting the film, thus greatly underexposing the mostly blue sky) while not biasing most human flesh tone. Filters can be used in front of the lens or, in some cases, behind the lens for different effects.
2301:) the image. If a cinematographer shoots a person diving into a pool at 96 frames per second, and that image is played back at 24 frames per second, the presentation will take 4 times as long as the actual event. Extreme slow motion, capturing many thousands of frames per second can present things normally invisible to the
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Lighting: The use of colored lights or gels can dramatically alter the mood and atmosphere of a scene. Different colors evoke different emotions and can enhance storytelling. For example, warm tones like red or orange may create a sense of warmth or passion, while cool tones like blue can convey sadness or isolation.
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Numerous lighting techniques are employed in filmmaking to achieve desired effects. Here are some commonly used techniques: Three-Point
Lighting: This classic technique involves the use of three lights: the key light, fill light, and backlight. The key light serves as the primary source, illuminating
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still cameras have sensor sizes similar to that of the 35mm film frame, and thus are able to produce images with similar depth of field. The advent of video functions in these cameras sparked a revolution in digital cinematography, with more and more film makers adopting still cameras for the purpose
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In motion pictures, the manipulation of time and space is a considerable contributing factor to the narrative storytelling tools. Film editing plays a much stronger role in this manipulation, but frame rate selection in the photography of the original action is also a contributing factor to altering
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shows an actor dressed as the queen placing her head on the execution block in front of a small group of bystanders in
Elizabethan dress. The executioner brings his axe down, and the queen's severed head drops onto the ground. This trick was worked by stopping the camera and replacing the actor with
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Directors of photography make many interpretive decisions during the course of their work, from pre-production to post-production, all of which affect the overall feel and look of the motion picture. Many of these decisions are similar to what a photographer needs to note when taking a picture: the
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is created by exposing an image at an extremely slow rate. If a cinematographer sets a camera to expose one frame every minute for four hours, and then that footage is projected at 24 frames per second, a four-hour event will take 10 seconds to present, and one can present the events of a whole day
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can also offer a considerable variance in the image produced. By controlling the temperature and varying the duration in which the film is soaked in the development chemicals, and by skipping certain chemical processes (or partially skipping all of them), cinematographers can achieve very different
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To convey mood, emotion, narrative and other factors within the shot, cinematography is implemented by using different aspects within a film. Lighting on the scene can affect the mood of a scene or film. Darker shots with less natural light can be gloomy, scary, sad, intense. Brighter lighting can
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Black-and-white cinematography is a technique used in filmmaking where the images are captured and presented in shades of gray, without color. This artistic approach has a rich history and has been employed in various films throughout cinema's evolution. It is a powerful tool that allows filmmakers
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Black-and-white cinematography is a technique used in filmmaking where the images are captured and presented in shades of gray, without color. This artistic approach has a rich history and has been employed in various films throughout cinema's evolution. It is a powerful tool that allows filmmakers
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From its birth in the 1880s, movies were predominantly monochrome. Contrary to popular belief, monochrome does not always mean black-and-white; it means a movie shot in a single tone or color. Since the cost of tinted film bases was substantially higher, most movies were produced in black-and-white
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defines cinematography as a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event. Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in
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In the film industry, the cinematographer is responsible for the technical aspects of the images (lighting, lens choices, composition, exposure, filtration, film selection), but works closely with the director to ensure that the artistic aesthetics are supporting the director's vision of the story
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Cinematography can not only depict a moving subject but can use a camera, which represents the audience's viewpoint or perspective, that moves during the course of filming. This movement plays a considerable role in the emotional language of film images and the audience's emotional reaction to the
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Light is necessary to create an image exposure on a frame of film or on a digital target (CCD, etc.). The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting contributes considerably to the emotional response an audience has
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projection standards altered the projected ratio from 2.35 to 2.39 in 1970, although this did not change anything regarding the photographic anamorphic standards; all changes in respect to the aspect ratio of anamorphic 35 mm photography are specific to camera or projector gate sizes, not the
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of light from reaching the film. With color film, this works very intuitively wherein a blue filter will cut down on the passage of red, orange, and yellow light and create a blue tint on the film. In black-and-white photography, color filters are used somewhat counter-intuitively; for instance, a
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provides valuable insights into the historical and theoretical aspects of black-and-white cinematography. Dancyger explores how this technique has been employed throughout film history, examining its impact on storytelling, mood, and visual aesthetics. The book delves into the artistic choices and
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The standard pattern for early film studios was provided by the studio which
Georges Méliès had built in 1897. This had a glass roof and three glass walls constructed after the model of large studios for still photography, and it was fitted with thin cotton cloths that could be stretched below the
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After the advent of motion pictures, a tremendous amount of energy was invested in the production of photography in natural color. The invention of the talking picture further increased the demand for the use of color photography. However, in comparison to other technological advances of the time,
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provides valuable insights into the historical and theoretical aspects of black-and-white cinematography. Dancyger explores how this technique has been employed throughout film history, examining its impact on storytelling, mood, and visual aesthetics. The book delves into the artistic choices and
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of the 1950s, the motion-picture industry settled into 1.85 as a standard for theatrical projection in the United States and the United
Kingdom. This is a cropped version of 1.37. Europe and Asia opted for 1.66 at first, although 1.85 has largely permeated these markets in recent decades. Certain
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offer greater optical quality and are "faster" (larger aperture openings, usable in less light) than zoom lenses, they are often employed in professional cinematography over zoom lenses. Certain scenes or even types of filmmaking, however, may require the use of zooms for speed or ease of use, as
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Black-and-white cinematography allows filmmakers to focus on the interplay of light and shadow, emphasizing the contrast between different elements within a scene. This technique can evoke a sense of nostalgia, evoke a specific time period, or create a timeless and classic feel. By stripping away
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The first film cameras were fastened directly to the head of a tripod or other support, with only the crudest kind of leveling devices provided, in the manner of the still-camera tripod heads of the period. The earliest film cameras were thus effectively fixed during the shot, and hence the first
1182:. Machine-based tinting later became popular. Tinting continued until the advent of natural color cinematography in the 1910s. Many black-and-white movies have been colorized recently using digital tinting. This includes footage shot from both world wars, sporting events and political propaganda.
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Black-and-white cinematography allows filmmakers to focus on the interplay of light and shadow, emphasizing the contrast between different elements within a scene. This technique can evoke a sense of nostalgia, evoke a specific time period, or create a timeless and classic feel. By stripping away
2040:(moving the camera in a vertical position; being able to lift it off the ground as well as swing it side-to-side from a fixed base position), and combinations of the above. Early cinematographers often faced problems that were not common to other graphic artists because of the element of motion.
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Filmmakers sometimes employ natural lighting to create an authentic, realistic look. This technique utilizes existing light sources, such as sunlight or practical lamps, without additional artificial lighting. It is often seen in outdoor scenes or films aiming for a naturalistic aesthetic. Color
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Early in the transition to digital cinematography, the inability of digital video cameras to easily achieve shallow depth of field, due to their small image sensors, was initially an issue of frustration for film makers trying to emulate the look of 35mm film. Optical adapters were devised which
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and has no film stocks , but the cameras themselves can be adjusted in ways that go far beyond the abilities of one particular film stock. They can provide varying degrees of color sensitivity, image contrast, light sensitivity and so on. One camera can achieve all the various looks of different
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Importance of
Lighting in Film Lighting in film is essential for three primary reasons: visibility, composition, and mood. Firstly, lighting ensures that the subject or scene is properly illuminated, allowing viewers to perceive the details and understand the narrative. It helps in guiding the
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lenses. Wide-angle lenses have short focal lengths and make spatial distances more obvious. A person in the distance is shown as much smaller while someone in the front will loom large. On the other hand, long focus lenses reduce such exaggerations, depicting far-off objects as seemingly close
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There are many types of
Cinematography that each differ based on production purpose and process. These different types of Cinematography are similar in the sense that they all have the goal of conveying a specific emotion, mood or feeling. For each different style however they can often convey
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of an image is the ratio of its width to its height. This can be expressed either as a ratio of 2 integers, such as 4:3, or in a decimal format, such as 1.33:1 or simply 1.33. Different ratios provide different aesthetic effects. Standards for aspect ratio have varied significantly over time.
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The late nineteenth to the early twentieth centuries brought rise to the use of film not only for entertainment purposes but for scientific exploration as well. French biologist and filmmaker Jean Painleve lobbied heavily for the use of film in the scientific field, as the new medium was more
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accomplished this by mounting a larger format lens which projected its image, at the size of the larger format, on a ground glass screen preserving the depth of field. The adapter and lens then mounted on the small format video camera which in turn focused on the ground glass screen.
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emulsions. Digital image adjustments such as ISO and contrast are executed by estimating the same adjustments that would take place if actual film were in use, and are thus vulnerable to the camera's sensor designers perceptions of various film stocks and image adjustment parameters.
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The ghost effect was done by draping the set in black velvet after the main action had been shot, and then re-exposing the negative with the actor playing the ghost going through the actions at the appropriate part. Likewise, the vision, which appeared within a circular vignette or
2365:, made before September 1901. Here, a small boy is shown knocking down a castle just constructed by a little girl out of children's building blocks. A title then appears, saying "Reversed", and the action is repeated in reverse so that the castle re-erects itself under his blows.
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a dummy, then restarting the camera before the axe falls. The two pieces of film were then trimmed and cemented together so that the action appeared continuous when the film was shown, thus creating an overall illusion and successfully laying the foundation for special effects.
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roof to diffuse the direct ray of the sun on sunny days. The soft overall light without real shadows that this arrangement produced, which also exists naturally on lightly overcast days, was to become the basis for film lighting in film studios for the next decade.
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However, by varying the speed at which the image is captured, various effects can be created knowing that the faster or slower recorded image will be played at a constant speed. Giving the cinematographer even more freedom for creativity and expression to be made.
1351:. In late 2013, Paramount became the first major studio to distribute movies to theaters in digital format, eliminating 35mm film entirely. Since then the demand of movies to be developed onto digital format rather than 35mm has increased significantly.
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and also improved the quality of self-motivating images. This he did by repeating the action a second time while filming it with an inverted camera and then joining the tail of the second negative to that of the first. The first films using this were
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1852:. However, from the 1910s, silent motion pictures generally settled on the ratio of 4:3 (1.33). The introduction of sound-on-film briefly narrowed the aspect ratio, to allow room for a sound stripe. In 1932, a new standard was introduced, the
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As digital technology improved, movie studios began increasingly shifting toward digital cinematography. Since the 2010s, digital cinematography has become the dominant form of cinematography after largely superseding film cinematography.
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of a scene – that is, how much the background, mid-ground and foreground will be rendered in "acceptable focus" (only one exact plane of the image is in precise focus) on the film or video target. Depth of field (not to be confused with
2229:, was similarly superimposed over a black area in the backdrop to the scene, rather than over a part of the set with detail in it, so that nothing appeared through the image, which seemed quite solid. Smith used this technique again in
2028:(horizontal shift in viewpoint from a fixed position; like turning your head side-to-side) and tilting (vertical shift in viewpoint from a fixed position; like tipping your head back to look at the sky or down to look at the ground) to
1603: mm all utilize more of the overall film area for the image than their "regular" non-super counterparts. The larger the film gauge, the higher the overall image resolution clarity and technical quality. The techniques used by the
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addition to other physical, organizational, managerial, interpretive. and image-manipulating techniques to effect one coherent process. In British tradition, if the DOP actually operates the camera him/herself they are called the
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when Neo re-enters the Matrix for the first time to see the Oracle. As he comes out of the warehouse "load-point", the camera zooms into Neo at normal speed but as it gets closer to Neo's face, time seems to slow down,
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2462:. On smaller productions, it is common for one person to perform all these functions alone. The career progression usually involves climbing up the ladder from seconding, firsting, eventually to operating the camera.
989:, an apparatus that took, printed, and projected film, in Paris in December 1895. The Lumière brothers were the first to present projected, moving, photographic, pictures to a paying audience of more than one person.
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eats a lot of the fizzy stomach medicine, causing his stomach to expand and then he then leaps around balloon-like. This was done by cranking the camera faster than the normal 16 frames per second giving the first
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so that the eventual light loss due to the glass does not affect the exposure control when setting it using the usual meters. The choice of the aperture also affects image quality (aberrations) and depth of field.
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Cecil Hepworth improved upon this technique by printing the negative of the forward motion backward, frame by frame, so that in the production of the print the original action was exactly reversed. Hepworth made
1886:, which used a 2.35 aspect ratio, although it was originally 2.55. CinemaScope was used from 1953 to 1967, but due to technical flaws in the design and its ownership by Fox, several third-party companies, led by
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2047:, that is held in the hands of the camera operator who moves from one position to another while filming the action. Personal stabilizing platforms came into being in the late 1970s through the invention of
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color, filmmakers can emphasize the composition, shapes, and textures within the frame, enhancing the visual impact. Notable films that have employed black-and-white cinematography include classics such as
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color, filmmakers can emphasize the composition, shapes, and textures within the frame, enhancing the visual impact. Notable films that have employed black-and-white cinematography include classics such as
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2380:(1899), had the camera turn so slowly that when the film was projected at the usual 16 frames per second, the scenery appeared to be passing at great speed. Cecil Hepworth used the opposite effect in
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Zooming: This movement involves changing the focal length of the lens to make the subject appear closer or farther away. It can be used to create a sense of intimacy or distance from the subject.
2361:, the latter which showed a sign painter lettering a sign, and then the painting on the sign vanishing under the painter's brush. The earliest surviving example of this technique is Smith's
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process, which optically squeezes the image to photograph twice the horizontal area to the same size vertical as standard "spherical" lenses. The first commonly used anamorphic format was
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because of the film-like qualities of their images. More recently, more and more dedicated video cameras are being equipped with larger sensors capable of 35mm film-like depth of field.
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cinematographer controls the film choice itself (from a range of available stocks with varying sensitivities to light and color), the selection of lens focal lengths, aperture
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1655:, are well known for their innovative use of filters; Doyle was a pioneer for increased usage of filters in movies and is highly respected throughout the cinema world.
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in 1900 in which bathers who have undressed and jumped into the water appear to spring backward out of it, and have their clothe magically fly back onto their bodies.
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head were also referred to as "panoramas" in the film catalogues of the first decade of the cinema. This eventually led to the creation of a panoramic photo as well.
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and spatial relations with the rest of the world. However, unlike one's eye, a cinematographer can select different lenses for different purposes. Variation in
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This film was among those exported to Europe with the first Kinetoscope machines in 1895 and was seen by Georges Méliès, who was putting on magic shows in his
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Tilt: Rotating the camera vertically from a fixed position. It can be used to show the height of a subject or to emphasize a particular element in the scene.
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Early movies were not actually color movies since they were shot monochrome and hand-colored or machine-colored afterward (such movies are referred to as
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are created sequentially and preserved for later processing and viewing as a motion picture. Capturing images with an electronic image sensor produces an
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2329:, but in a few seconds later within the same shot, the person would appear to walk in "realtime" (normal speed). The opposite speed-ramping is done in
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instruments over time. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century.
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962:, patented in 1891. This camera took a series of instantaneous photographs on standard Eastman Kodak photographic emulsion coated onto a transparent
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challenged the supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in
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Pedestal/Booming/Jibbing: Moving a camera vertically in its entirety. This can be used to show vertical movement relative to a subject in a frame
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invented a chronophotographic gun, which was capable of taking 12 consecutive frames a second and recording all the frames of the same picture.
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in Paris at the time. He took up filmmaking in 1896, and after making imitations of other films from Edison, Lumière, and Robert Paul, he made
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technique as the earlier Edison film. After this, Georges Méliès made many single shot films using this trick over the next couple of years.
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Many different proprietary photographic systems were invented and used in the 1950s to create widescreen movies, but one dominated film: the
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Panning: Rotating the camera horizontally from a fixed position. It can be used to follow a moving subject or to show a wide view of a scene.
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technical considerations involved in creating compelling black-and-white imagery, offering a comprehensive understanding of the technique.
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technical considerations involved in creating compelling black-and-white imagery, offering a comprehensive understanding of the technique.
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digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography", began to gain traction.
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was shot at "silent speed" (18 fps) but projected at "sound speed" (24 fps), which makes the slapstick action appear even more frenetic.
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35 mm wide. The results of this work were first shown in public in 1893, using the viewing apparatus also designed by Dickson, the
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The inverse of this, if an image is captured at speeds above that at which they will be presented, the effect is to greatly slow down (
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used tighter apertures to create every detail of the foreground and background of the sets in sharp focus. This practice is known as
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Trucking: Moving a camera horizontally in its entirety. This can be used to show horizontal movement relative to a subject in a frame
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had the first real rotating camera head made to put on a tripod, so that he could follow the passing processions of Queen Victoria's
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is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999,
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In the 1830s, three different solutions for moving images were invented based on the concept of revolving drums and disks, the
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For years, mainstream cinematographers were limited to using the Academy ratio, but in the 1950s, thanks to the popularity of
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were developed so that editors and visual effects artists could more tightly control the process by manipulating the film in
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50 (slow, least sensitive to light) to 800 (very fast, extremely sensitive to light) and differing response to color (low
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watching a motion picture. The increased usage of filters can greatly impact the final image and affect the lighting.
1807:. Deep focus became a popular cinematographic device from the 1940s onward in Hollywood. Today, the trend is for more
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1315:. The effort met with very little success. However, this led to one of the earliest digitally shot feature movies,
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970:. Contained within a large box, only one person at a time looking into it through a peephole could view the movie.
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1579:(epic photography, rarely used except in special event venues) – the cinematographer has a selection of stocks in
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sets. These new widescreen formats provided cinematographers a wider frame within which to compose their images.
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The first special effects in the cinema were created while the film was being shot. These came to be known as "
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1811:. To change the plane of focus from one object or character to another within a shot is commonly known as a
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in one uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated by a
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Cinematography finds uses in many fields of science and business, as well as for entertainment purposes and
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1556:. The selection of a film stock is one of the first decisions made in preparing a typical film production.
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allows a camera operator to change his focal length within a shot or quickly between setups for shots. As
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driven by turning a crank handle, and Paul put it on general sale the next year. Shots taken using such a
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produced the first films with a natural color process rather than using colorization techniques. In 1909,
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2704:"The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution"
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can be attached to the camera to give a certain look, feel, or effect by focus, color, etc. As does the
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William Lincoln patented a device, in 1867 that showed animated pictures called the "wheel of life" or "
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made a couple of months later in 1898, and elaborated it with many superimpositions in the one shot in
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or rolls of film. Advancements in film emulsion and grain structure provided a wide range of available
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Cameras have been mounted to nearly every imaginable form of transportation. Most cameras can also be
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As in other photography, the control of the exposed image is done in the lens with the control of the
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ratios were introduced in an effort to pull audiences back into the theater and away from their home
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technology. Following the commercialization of CCD sensors during the late 1970s to early 1980s, the
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1583:(which, when developed, create a positive image) and negative formats along with a wide range of
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699: 'to write, draw, paint, etc.') is the art of motion picture (and more recently, electronic
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Motion picture images are presented to an audience at a constant speed. In the theater it is 24
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1890:'s technical improvements in the 1950s, dominated the anamorphic cine lens market. Changes to
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1900:"epic" or adventure movies utilized the anamorphic 2.39 (often incorrectly denoted '2.40')
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on a set, and for this reason, they are often called directors of photography or DPs. The
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2282:(Europe) television it is 25 frames per second. This speed of presentation does not vary.
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3298:(12 July 1993). "Active pixel sensors: Are CCDS dinosaurs?". In Blouke, Morley M. (ed.).
2032:(placing the camera on a moving platform to move it closer or farther from the subject),
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Coe, Brian (July 1969). "William Friese Greene and the Origins of Cinematography III".
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looks from a single film stock in the laboratory. Some techniques that can be used are
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August 24, 1891: Thomas Edison Receives a Patent for His Movie Camera, the Kinetograph
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Landecker, Hannah (2006). "Microcinematography and the History of Science and Film".
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1738:. For proper selection, the cinematographer needs that all lenses be engraved with
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In the 2010s, color films were largely superseded by color digital cinematography.
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was introduced in 1950 and became the color standard for the rest of the century.
3302:. Vol. 1900. International Society for Optics and Photonics. pp. 2–14.
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Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925
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3008:"150 years on, meet the prolific pioneer who brought us the movie projector"
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The use of different camera speeds also appeared around 1900. Robert Paul's
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2036:(placing the camera on a moving platform to move it to the left or right),
1769:(1941): everything, including the hat in the foreground and the boy (young
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is one of the chief benefits. The focal length of the lens determines the
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2822:"Only 7 percent of the movies on Netflix came out before the year 2000"
1668:
1017:
3325:
3231:
Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows
3200:
Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows
3067:
Baker, T. Thorne (1932). "New Developments in Colour Cinematography".
2340:
the manipulation of time itself within the Matrix later in the movie.
1488:
The Technique of Film and Video Editing: History, Theory, and Practice
1112:
The Technique of Film and Video Editing: History, Theory, and Practice
4644:
4457:
2190:
A scene inset inside a circular vignette showing a "dream vision" in
1369:
Numerous aspects contribute to the art of cinematography, including:
1009:
861:". In it moving drawings or photographs were watched through a slit.
692:
675:
3082:
Baker, T. Thorne (1932). "New Developments in Colour Photography".
2798:
2415:
In descending order of seniority, the following staff is involved:
2278:(US) Television it is 30 frames per second (29.97 to be exact), in
4116:
3467:
3264:"A Review of the Pinned Photodiode for CCD and CMOS Image Sensors"
2403:
2185:
2007:
1754:
1662:
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1568:
1539:
Rolling: Rotating a camera in its entirety in a horizontal manner.
1442:
1329:
1326:
1322:
1144:
1013:
940:
903:
806:
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144:
3403:(2007). "Anamorphic Cinematography". In Burum, Stephen H. (ed.).
2216:, which took up the distribution of Smith's films in 1900, thus:
2174:. This film shows a woman being made to vanish by using the same
3950:
3385:
Moore, Harris C. (1949). "Production Problems: Cinematography".
3368:"The Last Broadcast is A First: The Making of a Digital Feature"
2275:
1844:
During the silent era, aspect ratios varied widely, from square
1301:
1287:
1163:
the arrival of color photography was a relatively slow process.
1005:
993:
724:
574:
4500:
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and focus. Cinematography, however, has a temporal aspect (see
3017:
2445:
being told. The cinematographers are the heads of the camera,
2279:
2062:
1914:
1376:
1035:
946:
An experimental film camera was developed by British inventor
40:
3472:
2198:
The other basic technique for trick cinematography involves
1243:, as well as distributed through a digital medium such as a
751:
for subsequent processing or display. Images captured with
3300:
Charge-Coupled Devices and Solid State Optical Sensors III
2024:
action. Techniques range from the most basic movements of
921:(1888), the world's earliest surviving motion-picture film
3098:"World's first colour film footage viewed for first time"
2019:
Camera on a small motor vehicle representing a large one
1286:
over the next two decades. The CCD was followed by the
958:, was the first to design a successful apparatus, the
2679:
Sir Francis Ronalds: Father of the Electric Telegraph
2256:. He created further variations in subsequent films.
3387:
Journal of the University Film Producers Association
2860:
The Art Direction Handbook for Film & Television
992:
In 1896, movie theaters were open in France (Paris,
4755:
4635:
4534:
4440:
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4257:
4205:
4164:
4155:
4115:
4042:
3928:
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3796:
3738:
3683:
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3510:
2241:first used superimposition on a dark background in
2202:of the film in the camera, which was first done by
71:. Unsourced material may be challenged and removed.
2754:
2654:The Focal Dictionary of Photographic Technologies
3146:The Electronics Revolution: Inventing the Future
2378:On a Runaway Motor Car through Piccadilly Circus
1235:In digital cinematography, the movie is shot on
1174:). The earliest such example is the hand-tinted
2708:European Society for the History of Photography
1848:, all the way up to the extreme widescreen 4:1
1777:Focal length and diaphragm aperture affect the
3468:The History of the Discovery of Cinematography
2603:(extensive alphabetical listing and glossary).
1710:and other special effect lens systems such as
1698:. Cinematographers can choose from a range of
4512:
4020:
3488:
2212:(1898) was described in the catalogue of the
886:The origins of today's cinema go back to the
715:to focus reflected light from objects into a
639:
8:
3268:IEEE Journal of the Electron Devices Society
2528:, a communication forum for cinematographers
875:Four years later, in 1882, French scientist
3455:Movie Making Manual: Cinematography section
3138:
3136:
2243:La Caverne maudite (The Cave of the Demons)
2097:. Unsourced material may be challenged and
1949:. Unsourced material may be challenged and
1411:. Unsourced material may be challenged and
1070:. Unsourced material may be challenged and
981:, made a successful audience viewing while
4519:
4505:
4497:
4209:
4161:
4027:
4013:
4005:
3735:
3495:
3481:
3473:
1321:(1987). In 1998, with the introduction of
646:
632:
155:
3315:
3279:
2168:Escamotage d'un dame chez Robert-Houdin (
2117:Learn how and when to remove this message
1969:Learn how and when to remove this message
1667:Live recording for TV on a camera with a
1431:Learn how and when to remove this message
1348:Star Wars: Episode I – The Phantom Menace
1090:Learn how and when to remove this message
868:successfully photographed a horse named "
759:on the film stock, which are chemically "
131:Learn how and when to remove this message
1450:(left) painting a backdrop in his studio
771:for viewing in the same motion picture.
2918:The Man Who Made Movies: W.K.L. Dickson
2644:
2348:G. A. Smith initiated the technique of
167:
3349:
3339:
2988:
2978:
1548:Cinematography can begin with digital
1515:Aspects of a cinema that affect a film
1308:cinematography", utilizing its analog
827:by Joseph Plateau in Belgium, and the
823:by Simon von Stampfer in Austria, the
2601:List of motion picture-related topics
2511:Academy Award for Best Cinematography
2437:Second assistant camera, also called
2419:Director of photography, also called
1773:) in the distance, is in sharp focus.
1731:well as shots involving a zoom move.
7:
3429:"New York Film Academy – Filmmaking"
3084:Journal of the Royal Society of Arts
3069:Journal of the Royal Society of Arts
2962:Kreitner, Richard (24 August 2015).
2780:
2778:
2455:American Society of Cinematographers
2431:First assistant camera, also called
2095:adding citations to reliable sources
1947:adding citations to reliable sources
1856:of 1.37, by means of thickening the
1587:(varying sensitivity to light) from
1409:adding citations to reliable sources
1068:adding citations to reliable sources
69:adding citations to reliable sources
3405:The American Cinematographer Manual
3040:"WHEN MOVIEW BEGAN AND NO ONE CAME"
767:. The images on the film stock are
3038:Myrent, Glenn (29 December 1985).
2838:from the original on 10 April 2019
2733:Sir Francis Ronalds and his Family
2681:. London: Imperial College Press.
1651:Certain cinematographers, such as
25:
3173:Scientific charge-coupled devices
2820:Mertes, Micah (16 January 2019).
1903:In the 1990s, with the advent of
1196:In 1917, the earliest version of
954:, working under the direction of
798:History of virtual cinematography
27:Art of motion picture photography
3988:
3449:
2581:Glossary of motion picture terms
2550:Filmmaking technique of Kurosawa
2484:
2206:in July 1898 in the UK. Smith's
2067:
1919:
1381:
1304:began marketing the concept of "
1040:
755:result in a series of invisible
613:
177:
45:
2857:Rizzo, Michael (11 July 2014).
2294:(24 hours) in just one minute.
1193:was first shown to the public.
56:needs additional citations for
3119:. University of Exeter Press.
3006:Reed, Carey (22 August 2015).
1278:slowly began transitioning to
846:of the varying indications of
831:by William Horner in Britain.
1:
3461:The History of Cinematography
2425:Camera operator, also called
1300:Beginning in the late 1980s,
815:sequence of a horse galloping
682: 'movement' and
3176:. SPIE Press. pp. 3–4.
3149:. Springer. pp. 245–8.
2656:. Focal Press. p. 454.
2612:List of video-related topics
2559:Films about cinematography:
2521:Cinematography in healthcare
2156:The Execution of Mary Stuart
2051:, which became known as the
1180:Edison Manufacturing Company
1158:, hand-tinted version (1895)
719:that is transferred to some
3262:; Hondongwa, D. B. (2014).
2607:List of cinema of the world
2526:Cinematography Mailing List
1627:Most of modern cinema uses
1544:Image sensor and film stock
1335:Shot and released in 1998,
1297:), developed in the 1990s.
4886:
4785:Computer-generated imagery
4327:Unchained camera technique
3170:James R. Janesick (2001).
2925:, John Libbey Publishing.
2729:"The First "Movie Camera""
2263:
2252:The Four Troublesome Heads
2128:
1895:optical system. After the
1362:
1313:professional video cameras
1224:
1218:
1176:Annabelle Serpentine Dance
1156:Annabelle Serpentine Dance
1138:
897:
791:
788:History of film technology
785:
685:
668:
29:
4850:Film and video technology
4490:
4212:
3984:
3407:(9 ed.). ASC Press.
3372:thelastbroadcastmovie.com
3281:10.1109/JEDS.2014.2306412
2902:10.1093/screen/10.4-5.129
2410:First Motion Picture Unit
2387:(1901), in which a naïve
2382:The Indian Chief and the
2363:The House That Jack Built
1256:metal–oxide–semiconductor
1141:Color motion picture film
983:Louis and Auguste Lumière
3143:Williams, J. B. (2017).
2923:Indiana University Press
2757:The Man Who Stopped Time
2359:The Awkward Sign Painter
1832:Aspect ratio and framing
1795:(1941), cinematographer
1751:Depth of field and focus
1599:, Super 16 mm, and
1204:was introduced in 1935.
745:electronically processed
725:light-sensitive material
252:Breaking down the script
152:, a digital movie camera
30:Not to be confused with
3115:McKernan, Luke (2018).
2596:List of film techniques
2408:A camera crew from the
2344:Reverse and slow motion
2214:Warwick Trading Company
977:and his projector, the
975:Charles Francis Jenkins
973:In the following year,
840:first successful camera
743:in the image, which is
371:Daily production report
4870:Filmmaking occupations
4578:Dead-character costume
2761:. Joseph Henry Press.
2702:Ronalds, B.F. (2016).
2677:Ronalds, B.F. (2016).
2412:
2291:time-lapse photography
2222:
2195:
2020:
1774:
1702:, "normal" lenses and
1672:
1629:digital cinematography
1609:process the film stock
1451:
1276:entertainment industry
1262:. The first practical
1221:Digital cinematography
1159:
950:and patented in 1889.
925:The experimental film
922:
816:
153:
4249:multiple-camera setup
3703:Principal photography
3228:Stump, David (2014).
3197:Stump, David (2014).
2753:Clegg, Brian (2007).
2652:Spencer, D A (1973).
2572:Cinematographer Style
2472:persistence of vision
2407:
2218:
2209:The Corsican Brothers
2189:
2164:Théâtre Robert-Houdin
2018:
1905:high-definition video
1758:
1682:, the camera creates
1666:
1571:(semi-professional),
1446:
1268:charge-coupled device
1266:image sensor was the
1187:Edward Raymond Turner
1154:
948:William Friese Greene
928:Roundhay Garden Scene
918:Roundhay Garden Scene
915:
844:continuous recordings
810:
794:History of the camera
753:photographic emulsion
378:Daily progress report
350:Film inventory report
331:Principal photography
148:
4860:Cinematic techniques
4670:Infrared photography
4036:Cinematic techniques
3941:Guerrilla filmmaking
3915:Digital distribution
3858:Digital intermediate
3698:Cinematic techniques
3104:. 12 September 2012.
2931:10.2307/j.ctt20060gj
2915:Spehr, Paul (2008).
2591:List of film formats
2355:Tipsy, Topsy, Turvy,
2260:Frame rate selection
2091:improve this section
1989:Lighting Techniques
1943:improve this section
1694:and, therefore, the
1405:improve this section
1365:Cinematic techniques
1227:Digital movie camera
1110:Ken Dancyger's book
1064:improve this section
548:Guerrilla filmmaking
65:improve this article
3663:Production schedule
3308:1993SPIE.1900....2F
2309:time. For example,
2204:George Albert Smith
1771:Charles Foster Kane
1575:(professional) and
1291:active-pixel sensor
877:Étienne-Jules Marey
292:Production schedule
4720:Tilted plane focus
4660:Forced perspective
4568:Costumed character
4553:Air bladder effect
4172:Wide / Long / Full
3976:First-dollar gross
3238:. pp. 19–22.
3045:The New York Times
2827:Omaha World-Herald
2413:
2196:
2170:The Vanishing Lady
2139:" effects. Later,
2021:
1996:Natural Lighting:
1775:
1736:diaphragm aperture
1673:
1452:
1338:The Last Broadcast
1160:
956:Thomas Alva Edison
923:
866:Eadweard Muybridge
817:
813:Eadweard Muybridge
776:mass communication
299:One liner schedule
154:
4832:
4831:
4828:
4827:
4705:Schüfftan process
4685:Multiple exposure
4598:Prosthetic makeup
4486:
4485:
4463:Freeze-frame shot
4448:Establishing shot
4315:
4314:
4222:Over-the-shoulder
4002:
4001:
3792:
3791:
3668:Shooting schedule
3414:978-0-935578-31-7
3326:10.1117/12.148585
3245:978-1-136-04042-9
3214:978-1-136-04042-9
3207:. pp. 83–5.
3183:978-0-8194-3698-6
2940:978-0-861-96695-0
2768:978-0-309-10112-7
2688:978-1-78326-917-4
2622:Photographic film
2586:History of cinema
2272:frames per second
2248:Un Homme de têtes
2127:
2126:
2119:
2016:
1979:
1978:
1971:
1897:"widescreen wars"
1704:long focus lenses
1700:wide-angle lenses
1653:Christopher Doyle
1441:
1440:
1433:
1152:
1100:
1099:
1092:
913:
864:On 19 June 1878,
737:electrical charge
656:
655:
364:Production report
306:Shooting schedule
141:
140:
133:
115:
16:(Redirected from
4877:
4805:Optical printing
4680:Lighting effects
4665:Front projection
4628:Theatrical blood
4588:Miniature effect
4563:Bullet hit squib
4521:
4514:
4507:
4498:
4441:Other techniques
4230:
4210:
4206:Camera placement
4162:
4029:
4022:
4015:
4006:
3993:
3992:
3991:
3946:Development hell
3876:Film distributor
3779:Costume designer
3756:Daily production
3736:
3730:Dailies (rushes)
3725:Daily call sheet
3653:Production board
3614:Script breakdown
3497:
3490:
3483:
3474:
3453:
3437:
3436:
3425:
3419:
3418:
3397:
3391:
3390:
3382:
3376:
3375:
3364:
3358:
3357:
3351:
3347:
3345:
3337:
3319:
3292:
3286:
3285:
3283:
3256:
3250:
3249:
3225:
3219:
3218:
3194:
3188:
3187:
3167:
3161:
3160:
3140:
3131:
3130:
3112:
3106:
3105:
3094:
3088:
3087:
3079:
3073:
3072:
3064:
3058:
3057:
3055:
3053:
3035:
3029:
3028:
3026:
3024:
3003:
2997:
2996:
2990:
2986:
2984:
2976:
2974:
2972:
2959:
2953:
2952:
2912:
2906:
2905:
2896:(4–5): 129–147.
2885:
2879:
2878:
2854:
2848:
2847:
2845:
2843:
2817:
2811:
2810:
2782:
2773:
2772:
2760:
2750:
2744:
2743:
2741:
2739:
2725:
2719:
2718:
2716:
2714:
2699:
2693:
2692:
2674:
2668:
2667:
2649:
2564:Visions of Light
2506:360-degree video
2494:
2489:
2488:
2487:
2122:
2115:
2111:
2108:
2102:
2071:
2063:
2017:
1974:
1967:
1963:
1960:
1954:
1923:
1915:
1622:cross processing
1505:Schindler's List
1436:
1429:
1425:
1422:
1416:
1385:
1377:
1373:Cinema technique
1270:(CCD), based on
1200:was introduced.
1153:
1129:Schindler's List
1095:
1088:
1084:
1081:
1075:
1044:
1036:
952:W. K. L. Dickson
914:
888:Lumière brothers
747:and stored in a
707:Cinematographers
696:
689:
679:
672:
648:
641:
634:
618:
617:
616:
385:Daily editor log
357:Daily call sheet
278:Production strip
271:Production board
259:Script breakdown
181:
171:
156:
136:
129:
125:
122:
116:
114:
80:"Cinematography"
73:
49:
41:
21:
4885:
4884:
4880:
4879:
4878:
4876:
4875:
4874:
4855:Film production
4835:
4834:
4833:
4824:
4751:
4710:Shutter effects
4695:Rear projection
4631:
4530:
4528:Special effects
4525:
4496:
4482:
4436:
4393:
4320:Camera movement
4311:
4302:Worm's-eye view
4253:
4228:
4201:
4151:
4111:
4038:
4033:
4003:
3998:
3995:Film portal
3989:
3987:
3980:
3924:
3920:Streaming media
3862:
3836:Special effects
3798:Post-production
3788:
3734:
3679:
3658:Day out of days
3626:Shooting script
3600:
3557:film adaptation
3506:
3501:
3446:
3441:
3440:
3427:
3426:
3422:
3415:
3399:
3398:
3394:
3384:
3383:
3379:
3366:
3365:
3361:
3348:
3338:
3317:10.1.1.408.6558
3296:Fossum, Eric R.
3294:
3293:
3289:
3260:Fossum, Eric R.
3258:
3257:
3253:
3246:
3227:
3226:
3222:
3215:
3196:
3195:
3191:
3184:
3169:
3168:
3164:
3157:
3142:
3141:
3134:
3127:
3114:
3113:
3109:
3096:
3095:
3091:
3081:
3080:
3076:
3066:
3065:
3061:
3051:
3049:
3037:
3036:
3032:
3022:
3020:
3005:
3004:
3000:
2989:|magazine=
2987:
2977:
2970:
2968:
2961:
2960:
2956:
2941:
2914:
2913:
2909:
2887:
2886:
2882:
2875:
2856:
2855:
2851:
2841:
2839:
2819:
2818:
2814:
2784:
2783:
2776:
2769:
2752:
2751:
2747:
2737:
2735:
2727:
2726:
2722:
2712:
2710:
2701:
2700:
2696:
2689:
2676:
2675:
2671:
2664:
2651:
2650:
2646:
2641:
2636:
2617:Outline of film
2516:Cinematographer
2490:
2485:
2483:
2480:
2460:cinematographer
2421:cinematographer
2402:
2384:Seidlitz powder
2346:
2311:Charlie Chaplin
2268:
2262:
2200:double exposure
2184:
2182:Double exposure
2154:The 1896 movie
2149:post-production
2145:digital effects
2133:
2123:
2112:
2106:
2103:
2088:
2072:
2061:
2059:Special effects
2008:
2006:
2004:Camera movement
1975:
1964:
1958:
1955:
1940:
1924:
1913:
1834:
1753:
1661:
1638:
1614:push processing
1605:film laboratory
1597:Super 8 mm
1559:Aside from the
1546:
1517:
1468:Diamond Jubilee
1437:
1426:
1420:
1417:
1402:
1386:
1375:
1367:
1361:
1318:Julia and Julia
1280:digital imaging
1252:digital cameras
1233:
1223:
1217:
1145:
1143:
1137:
1096:
1085:
1079:
1076:
1061:
1045:
1034:
1032:Black and white
964:celluloid strip
933:Louis Le Prince
904:
902:
896:
836:Francis Ronalds
825:phenakistoscope
805:
800:
790:
784:
703:) photography.
652:
620:Film portal
614:
612:
605:
604:
570:
553:
552:
533:
525:
524:
516:
515:
482:
472:
471:
463:
462:
445:Special effects
410:
408:Post-production
400:
399:
343:Shooting script
319:
311:
310:
285:Day Out of Days
247:
237:
236:
191:
169:
137:
126:
120:
117:
74:
72:
62:
50:
39:
28:
23:
22:
15:
12:
11:
5:
4883:
4881:
4873:
4872:
4867:
4862:
4857:
4852:
4847:
4845:Cinematography
4837:
4836:
4830:
4829:
4826:
4825:
4823:
4822:
4817:
4812:
4807:
4802:
4797:
4792:
4787:
4782:
4772:
4767:
4761:
4759:
4753:
4752:
4750:
4749:
4744:
4743:
4742:
4737:
4732:
4722:
4717:
4712:
4707:
4702:
4700:Reverse motion
4697:
4692:
4687:
4682:
4677:
4672:
4667:
4662:
4657:
4652:
4647:
4641:
4639:
4633:
4632:
4630:
4625:
4620:
4618:Matte painting
4615:
4610:
4605:
4600:
4595:
4585:
4580:
4575:
4570:
4565:
4560:
4555:
4550:
4543:Aerial rigging
4540:
4538:
4532:
4531:
4526:
4524:
4523:
4516:
4509:
4501:
4495:
4494:
4491:
4488:
4487:
4484:
4483:
4481:
4480:
4475:
4470:
4465:
4460:
4455:
4450:
4444:
4442:
4438:
4437:
4435:
4434:
4429:
4428:
4427:
4422:
4417:
4415:Depth of field
4412:
4401:
4399:
4395:
4394:
4392:
4391:
4386:
4381:
4376:
4371:
4366:
4361:
4356:
4351:
4346:
4345:
4344:
4334:
4329:
4323:
4321:
4317:
4316:
4313:
4312:
4310:
4309:
4304:
4299:
4294:
4289:
4284:
4279:
4274:
4269:
4263:
4261:
4255:
4254:
4252:
4251:
4242:
4237:
4232:
4227:Point-of-view
4224:
4219:
4213:
4207:
4203:
4202:
4200:
4199:
4194:
4189:
4184:
4179:
4174:
4168:
4166:
4159:
4153:
4152:
4150:
4149:
4148:
4147:
4142:
4137:
4127:
4121:
4119:
4113:
4112:
4110:
4109:
4104:
4099:
4094:
4089:
4084:
4079:
4074:
4069:
4064:
4059:
4054:
4048:
4046:
4040:
4039:
4034:
4032:
4031:
4024:
4017:
4009:
4000:
3999:
3985:
3982:
3981:
3979:
3978:
3973:
3968:
3963:
3958:
3953:
3948:
3943:
3938:
3932:
3930:
3926:
3925:
3923:
3922:
3917:
3912:
3907:
3906:
3905:
3900:
3895:
3885:
3884:
3883:
3872:
3870:
3864:
3863:
3861:
3860:
3855:
3850:
3849:
3848:
3843:
3833:
3828:
3823:
3818:
3813:
3808:
3802:
3800:
3794:
3793:
3790:
3789:
3787:
3786:
3784:Make-up artist
3781:
3776:
3771:
3768:
3763:
3758:
3753:
3748:
3746:Film inventory
3742:
3740:
3733:
3732:
3727:
3722:
3721:
3720:
3715:
3710:
3708:Cinematography
3700:
3695:
3689:
3687:
3681:
3680:
3678:
3677:
3676:
3675:
3665:
3660:
3655:
3650:
3649:
3648:
3643:
3633:
3628:
3623:
3622:
3621:
3610:
3608:
3606:Pre-production
3602:
3601:
3599:
3598:
3593:
3588:
3587:
3586:
3576:
3574:Film budgeting
3571:
3570:
3569:
3564:
3559:
3554:
3549:
3539:
3534:
3533:
3532:
3522:
3520:Film treatment
3516:
3514:
3508:
3507:
3502:
3500:
3499:
3492:
3485:
3477:
3471:
3470:
3464:
3458:
3445:
3444:External links
3442:
3439:
3438:
3420:
3413:
3392:
3377:
3359:
3350:|journal=
3287:
3251:
3244:
3220:
3213:
3189:
3182:
3162:
3155:
3132:
3126:978-0859892964
3125:
3107:
3089:
3074:
3059:
3048:. p. 2019
3030:
2998:
2954:
2939:
2907:
2880:
2873:
2867:. p. 92.
2849:
2812:
2799:10.1086/501105
2774:
2767:
2745:
2720:
2694:
2687:
2669:
2663:978-0133227192
2662:
2643:
2642:
2640:
2637:
2635:
2634:
2629:
2627:Special effect
2624:
2619:
2614:
2609:
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2598:
2593:
2588:
2583:
2578:
2577:
2576:
2568:
2557:
2552:
2547:
2544:
2539:
2537:Fictional film
2534:
2532:Digital cinema
2529:
2523:
2518:
2513:
2508:
2503:
2497:
2496:
2495:
2479:
2476:
2442:
2441:
2439:clapper loader
2435:
2429:
2423:
2401:
2398:
2350:reverse motion
2345:
2342:
2289:For instance,
2264:Main article:
2261:
2258:
2239:Georges Méliès
2183:
2180:
2131:Special effect
2129:Main article:
2125:
2124:
2075:
2073:
2066:
2060:
2057:
2005:
2002:
1977:
1976:
1927:
1925:
1918:
1912:
1909:
1833:
1830:
1784:depth of focus
1779:depth of field
1752:
1749:
1719:of view only.
1660:
1657:
1637:
1634:
1545:
1542:
1541:
1540:
1537:
1534:
1531:
1528:
1525:
1516:
1513:
1464:Robert W. Paul
1448:Georges Méliès
1439:
1438:
1389:
1387:
1380:
1374:
1371:
1363:Main article:
1360:
1357:
1325:recorders and
1250:The basis for
1231:Digital cinema
1219:Main article:
1216:
1213:
1139:Main article:
1136:
1133:
1098:
1097:
1048:
1046:
1039:
1033:
1030:
987:Cinématographe
985:perfected the
898:Main article:
895:
892:
870:Sallie Gardner
848:meteorological
804:
801:
786:Main article:
783:
780:
659:Cinematography
654:
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628:
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534:
532:Related topics
531:
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324:Cinematography
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245:Pre-production
243:
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239:
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228:
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225:Film budgeting
222:
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210:
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203:
201:Film treatment
198:
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182:
174:
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164:
139:
138:
53:
51:
44:
36:film criticism
26:
24:
14:
13:
10:
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6:
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3:
2:
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4813:
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4793:
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4788:
4786:
4783:
4780:
4776:
4773:
4771:
4768:
4766:
4763:
4762:
4760:
4758:
4754:
4748:
4745:
4741:
4740:Speed ramping
4738:
4736:
4733:
4731:
4728:
4727:
4726:
4723:
4721:
4718:
4716:
4713:
4711:
4708:
4706:
4703:
4701:
4698:
4696:
4693:
4691:
4688:
4686:
4683:
4681:
4678:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4658:
4656:
4653:
4651:
4648:
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4643:
4642:
4640:
4638:
4634:
4629:
4626:
4624:
4621:
4619:
4616:
4614:
4611:
4609:
4606:
4604:
4601:
4599:
4596:
4593:
4589:
4586:
4584:
4581:
4579:
4576:
4574:
4573:Creature suit
4571:
4569:
4566:
4564:
4561:
4559:
4556:
4554:
4551:
4548:
4544:
4541:
4539:
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4533:
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4517:
4515:
4510:
4508:
4503:
4502:
4499:
4493:
4492:
4489:
4479:
4476:
4474:
4471:
4469:
4466:
4464:
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4459:
4456:
4454:
4451:
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4446:
4445:
4443:
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4426:
4423:
4421:
4418:
4416:
4413:
4411:
4408:
4407:
4406:
4403:
4402:
4400:
4396:
4390:
4387:
4385:
4382:
4380:
4379:Walk and talk
4377:
4375:
4372:
4370:
4367:
4365:
4362:
4360:
4357:
4355:
4352:
4350:
4347:
4343:
4340:
4339:
4338:
4335:
4333:
4330:
4328:
4325:
4324:
4322:
4318:
4308:
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4303:
4300:
4298:
4295:
4293:
4290:
4288:
4285:
4283:
4280:
4278:
4275:
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4270:
4268:
4265:
4264:
4262:
4260:
4256:
4250:
4246:
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4236:
4233:
4231:
4225:
4223:
4220:
4218:
4215:
4214:
4211:
4208:
4204:
4198:
4195:
4193:
4190:
4188:
4185:
4183:
4180:
4178:
4175:
4173:
4170:
4169:
4167:
4163:
4160:
4158:
4154:
4146:
4145:Sound effects
4143:
4141:
4138:
4136:
4133:
4132:
4131:
4128:
4126:
4123:
4122:
4120:
4118:
4114:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4090:
4088:
4085:
4083:
4080:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4049:
4047:
4045:
4041:
4037:
4030:
4025:
4023:
4018:
4016:
4011:
4010:
4007:
3997:
3996:
3983:
3977:
3974:
3972:
3969:
3967:
3964:
3962:
3961:Film industry
3959:
3957:
3954:
3952:
3949:
3947:
3944:
3942:
3939:
3937:
3934:
3933:
3931:
3927:
3921:
3918:
3916:
3913:
3911:
3908:
3904:
3901:
3899:
3896:
3894:
3891:
3890:
3889:
3886:
3882:
3879:
3878:
3877:
3874:
3873:
3871:
3869:
3865:
3859:
3856:
3854:
3853:Negative cost
3851:
3847:
3844:
3842:
3839:
3838:
3837:
3834:
3832:
3829:
3827:
3824:
3822:
3819:
3817:
3814:
3812:
3809:
3807:
3804:
3803:
3801:
3799:
3795:
3785:
3782:
3780:
3777:
3775:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3747:
3744:
3743:
3741:
3739:Daily reports
3737:
3731:
3728:
3726:
3723:
3719:
3716:
3714:
3711:
3709:
3706:
3705:
3704:
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3647:
3644:
3642:
3639:
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3634:
3632:
3629:
3627:
3624:
3620:
3617:
3616:
3615:
3612:
3611:
3609:
3607:
3603:
3597:
3596:Working title
3594:
3592:
3589:
3585:
3582:
3581:
3580:
3577:
3575:
3572:
3568:
3565:
3563:
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3555:
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3550:
3548:
3545:
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3531:
3528:
3527:
3526:
3523:
3521:
3518:
3517:
3515:
3513:
3509:
3505:
3498:
3493:
3491:
3486:
3484:
3479:
3478:
3475:
3469:
3466:Burns, Paul.
3465:
3462:
3459:
3456:
3452:
3448:
3447:
3443:
3434:
3430:
3424:
3421:
3416:
3410:
3406:
3402:
3396:
3393:
3388:
3381:
3378:
3373:
3369:
3363:
3360:
3355:
3343:
3335:
3331:
3327:
3323:
3318:
3313:
3309:
3305:
3301:
3297:
3291:
3288:
3282:
3277:
3273:
3269:
3265:
3261:
3255:
3252:
3247:
3241:
3237:
3233:
3232:
3224:
3221:
3216:
3210:
3206:
3202:
3201:
3193:
3190:
3185:
3179:
3175:
3174:
3166:
3163:
3158:
3156:9783319490885
3152:
3148:
3147:
3139:
3137:
3133:
3128:
3122:
3118:
3111:
3108:
3103:
3099:
3093:
3090:
3085:
3078:
3075:
3070:
3063:
3060:
3047:
3046:
3041:
3034:
3031:
3019:
3015:
3014:
3013:PBS News Hour
3009:
3002:
2999:
2994:
2982:
2967:
2966:
2958:
2955:
2950:
2946:
2942:
2936:
2932:
2928:
2924:
2920:
2919:
2911:
2908:
2903:
2899:
2895:
2891:
2884:
2881:
2876:
2874:9781317673705
2870:
2866:
2862:
2861:
2853:
2850:
2837:
2833:
2829:
2828:
2823:
2816:
2813:
2808:
2804:
2800:
2796:
2792:
2788:
2781:
2779:
2775:
2770:
2764:
2759:
2758:
2749:
2746:
2734:
2730:
2724:
2721:
2709:
2705:
2698:
2695:
2690:
2684:
2680:
2673:
2670:
2665:
2659:
2655:
2648:
2645:
2638:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2615:
2613:
2610:
2608:
2605:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2574:
2573:
2569:
2566:
2565:
2561:
2560:
2558:
2556:
2553:
2551:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2502:
2499:
2498:
2493:
2482:
2477:
2475:
2473:
2469:
2463:
2461:
2456:
2452:
2451:lighting crew
2448:
2440:
2436:
2434:
2430:
2428:
2424:
2422:
2418:
2417:
2416:
2411:
2406:
2399:
2397:
2395:
2390:
2386:
2385:
2379:
2374:
2372:
2366:
2364:
2360:
2356:
2351:
2343:
2341:
2339:
2338:foreshadowing
2334:
2333:
2328:
2324:
2323:Speed ramping
2320:
2318:
2317:
2312:
2306:
2304:
2300:
2295:
2292:
2287:
2283:
2281:
2277:
2273:
2267:
2259:
2257:
2255:
2253:
2249:
2244:
2240:
2236:
2234:
2233:
2228:
2221:
2217:
2215:
2211:
2210:
2205:
2201:
2193:
2188:
2181:
2179:
2177:
2173:
2171:
2165:
2160:
2157:
2152:
2150:
2146:
2142:
2138:
2132:
2121:
2118:
2110:
2107:November 2019
2100:
2096:
2092:
2086:
2085:
2081:
2076:This section
2074:
2070:
2065:
2064:
2058:
2056:
2054:
2050:
2049:Garrett Brown
2046:
2041:
2039:
2035:
2031:
2027:
2003:
2001:
1997:
1994:
1990:
1987:
1983:
1973:
1970:
1962:
1952:
1948:
1944:
1938:
1937:
1933:
1928:This section
1926:
1922:
1917:
1916:
1910:
1908:
1906:
1901:
1898:
1893:
1889:
1885:
1881:
1876:
1874:
1870:
1866:
1861:
1859:
1855:
1854:Academy ratio
1851:
1847:
1842:
1839:
1831:
1829:
1826:
1822:
1818:
1816:
1815:
1810:
1809:shallow focus
1806:
1802:
1799:and director
1798:
1794:
1793:
1787:
1785:
1780:
1772:
1768:
1767:
1762:
1757:
1750:
1748:
1745:
1741:
1737:
1732:
1729:
1725:
1720:
1718:
1713:
1709:
1706:, as well as
1705:
1701:
1697:
1696:field of view
1693:
1692:angle of view
1689:
1685:
1681:
1677:
1671:optical lens.
1670:
1665:
1658:
1656:
1654:
1649:
1646:
1642:
1635:
1633:
1630:
1625:
1623:
1619:
1618:bleach bypass
1615:
1610:
1606:
1602:
1598:
1594:
1590:
1586:
1582:
1578:
1574:
1570:
1566:
1562:
1557:
1555:
1551:
1543:
1538:
1535:
1532:
1529:
1526:
1523:
1522:
1521:
1514:
1512:
1508:
1506:
1502:
1498:
1492:
1489:
1483:
1479:
1477:
1473:
1469:
1465:
1460:
1458:
1457:phantom rides
1449:
1445:
1435:
1432:
1424:
1421:November 2019
1414:
1410:
1406:
1400:
1399:
1395:
1390:This section
1388:
1384:
1379:
1378:
1372:
1370:
1366:
1358:
1356:
1352:
1350:
1349:
1344:
1340:
1339:
1333:
1331:
1328:
1324:
1320:
1319:
1314:
1311:
1307:
1303:
1298:
1296:
1292:
1289:
1285:
1284:digital video
1281:
1277:
1273:
1272:MOS capacitor
1269:
1265:
1264:semiconductor
1261:
1260:image sensors
1257:
1253:
1248:
1246:
1242:
1241:flash storage
1238:
1237:digital media
1232:
1228:
1222:
1215:Digital video
1214:
1212:
1209:
1207:
1203:
1199:
1194:
1192:
1188:
1183:
1181:
1177:
1173:
1169:
1164:
1157:
1142:
1134:
1132:
1130:
1126:
1122:
1116:
1113:
1108:
1104:
1094:
1091:
1083:
1080:November 2019
1073:
1069:
1065:
1059:
1058:
1054:
1049:This section
1047:
1043:
1038:
1037:
1031:
1029:
1027:
1023:
1019:
1015:
1011:
1007:
1003:
999:
995:
990:
988:
984:
980:
976:
971:
969:
965:
961:
957:
953:
949:
944:
942:
938:
934:
930:
929:
920:
919:
901:
893:
891:
889:
884:
880:
878:
873:
871:
867:
862:
860:
859:zoopraxiscope
855:
853:
849:
845:
842:able to make
841:
838:invented the
837:
832:
830:
826:
822:
814:
809:
802:
799:
795:
789:
781:
779:
777:
772:
770:
766:
765:visible image
762:
758:
757:latent images
754:
750:
746:
742:
738:
734:
730:
726:
722:
718:
714:
713:
708:
704:
702:
698:
695:
688:
684:
681:
678:
671:
667:
664:
663:Ancient Greek
660:
649:
644:
642:
637:
635:
630:
629:
627:
626:
621:
611:
610:
609:
608:
601:
598:
596:
595:Screenwriting
593:
591:
588:
586:
583:
581:
578:
576:
573:
572:
566:
565:
562:
561:
557:
556:
549:
546:
544:
541:
539:
536:
535:
529:
528:
521:
518:
517:
511:
508:
506:
503:
501:
497:
496:
494:
488:
485:
484:
481:
476:
475:
468:
467:Negative cost
465:
464:
458:
455:
453:
449:
448:
446:
440:
437:
435:
432:
430:
427:
426:
423:
420:
419:
416:
413:
412:
409:
404:
403:
395:
394:
391:
388:
386:
383:
382:
379:
376:
375:
372:
369:
368:
365:
362:
361:
358:
355:
354:
351:
348:
347:
344:
341:
339:
336:
335:
332:
329:
328:
325:
322:
321:
315:
314:
307:
304:
303:
300:
297:
296:
293:
290:
289:
286:
283:
282:
279:
276:
275:
272:
269:
268:
265:
262:
260:
257:
256:
253:
250:
249:
246:
241:
240:
233:
230:
229:
226:
223:
221:
218:
217:
214:
211:
209:
206:
205:
202:
199:
197:
194:
193:
190:
185:
184:
180:
176:
175:
172:
166:
162:
158:
157:
151:
147:
143:
135:
132:
124:
121:November 2019
113:
110:
106:
103:
99:
96:
92:
89:
85:
82: –
81:
77:
76:Find sources:
70:
66:
60:
59:
54:This article
52:
48:
43:
42:
37:
33:
19:
4815:Split screen
4810:Smallgantics
4800:Match moving
4608:Pyrotechnics
4558:Animatronics
4398:Lens effects
4259:Camera angle
4247: /
4130:Non-diegetic
3986:
3888:Film release
3868:Distribution
3811:Re-recording
3806:Film editing
3718:Videographer
3707:
3579:Film finance
3537:Step outline
3457:at Wikibooks
3432:
3423:
3404:
3395:
3386:
3380:
3371:
3362:
3299:
3290:
3274:(3): 33–43.
3271:
3267:
3254:
3230:
3223:
3199:
3192:
3172:
3165:
3145:
3116:
3110:
3101:
3092:
3083:
3077:
3068:
3062:
3050:. Retrieved
3043:
3033:
3021:. Retrieved
3011:
3001:
2969:. Retrieved
2964:
2957:
2949:j.ctt20060gj
2917:
2910:
2893:
2889:
2883:
2859:
2852:
2840:. Retrieved
2834:Group, Inc.
2825:
2815:
2790:
2786:
2756:
2748:
2738:27 September
2736:. Retrieved
2732:
2723:
2711:. Retrieved
2707:
2697:
2678:
2672:
2653:
2647:
2570:
2562:
2464:
2459:
2443:
2433:focus puller
2414:
2381:
2377:
2375:
2370:
2367:
2362:
2358:
2354:
2347:
2330:
2321:
2316:Modern Times
2314:
2307:
2296:
2288:
2284:
2269:
2246:
2242:
2237:
2230:
2223:
2219:
2207:
2197:
2191:
2167:
2161:
2153:
2134:
2113:
2104:
2089:Please help
2077:
2042:
2022:
1998:
1995:
1991:
1988:
1984:
1980:
1965:
1956:
1941:Please help
1929:
1902:
1877:
1862:
1843:
1838:aspect ratio
1835:
1823:
1819:
1812:
1801:Orson Welles
1797:Gregg Toland
1792:Citizen Kane
1790:
1788:
1776:
1766:Citizen Kane
1764:
1733:
1728:prime lenses
1721:
1717:camera angle
1708:macro lenses
1688:focal length
1674:
1650:
1639:
1626:
1563:selection –
1558:
1550:image sensor
1547:
1518:
1509:
1504:
1503:(1980), and
1500:
1496:
1493:
1487:
1484:
1480:
1461:
1453:
1427:
1418:
1403:Please help
1391:
1368:
1353:
1346:
1343:George Lucas
1336:
1334:
1316:
1299:
1249:
1234:
1210:
1206:Eastmancolor
1195:
1184:
1171:
1167:
1165:
1161:
1128:
1127:(1980), and
1124:
1120:
1117:
1111:
1109:
1105:
1101:
1086:
1077:
1062:Please help
1050:
991:
972:
945:
931:, filmed by
926:
924:
916:
885:
881:
874:
863:
856:
833:
818:
773:
729:movie camera
721:image sensor
711:
705:
701:video camera
693:
690:
683:
676:
673:
666:
658:
657:
558:
538:Film history
493:Film release
487:Distribution
480:Distribution
422:Re-recording
415:Film editing
390:Sound report
323:
220:Film finance
196:Step outline
142:
127:
118:
108:
101:
94:
87:
75:
63:Please help
58:verification
55:
32:film studies
4820:Stop motion
4795:Introvision
4775:Compositing
4765:Bullet time
4747:Stop motion
4735:Slow motion
4730:Fast motion
4675:Lens flares
4650:Bullet time
4623:Sugar glass
4613:Rubber mask
4547:wire-flying
4453:Master shot
4307:Dutch angle
4217:Perspective
3966:Film rights
3956:Filmography
3713:Videography
3641:Scenography
3552:spec script
3512:Development
2793:: 121–132.
2632:Videography
2555:Film theory
2492:Film portal
2394:slow motion
2371:The Bathers
2327:slow-motion
2299:slow motion
2232:Santa Claus
2192:Santa Claus
2176:stop motion
1884:CinemaScope
1825:Digital SLR
1684:perspective
1645:wavelengths
1585:film speeds
1567:(amateur),
1554:film stocks
1501:Raging Bull
1295:CMOS sensor
1198:Technicolor
1191:Kinemacolor
1178:in 1895 by
1125:Raging Bull
979:Phantoscope
968:Kinetoscope
960:Kinetograph
852:geomagnetic
821:stroboscope
727:inside the
600:Spec script
543:Filmography
396:Cost report
338:Videography
232:Green-light
189:Development
4865:Filmmaking
4839:Categories
4770:Chroma key
4725:Time-lapse
4690:Filtration
4655:Dolly zoom
4583:Kitbashing
4389:Dolly zoom
4287:Crane shot
4282:Bird's-eye
4277:High-angle
4165:Field size
4140:Film score
4082:Lens flare
4052:Background
3971:Turnaround
3936:Box office
3821:Soundtrack
3816:Sync sound
3774:Editor log
3751:Production
3685:Production
3631:Storyboard
3591:Greenlight
3542:Screenplay
3530:scriptment
3504:Filmmaking
3401:Hora, John
2639:References
2546:Filmmaking
2396:" effect.
2389:Red Indian
2332:The Matrix
2266:Frame rate
1959:March 2023
1888:Panavision
1880:anamorphic
1873:television
1869:widescreen
1858:frame line
1850:Polyvision
1814:rack focus
1805:deep focus
1763:shot from
1761:deep focus
1593:saturation
1561:film gauge
1497:Casablanca
1306:electronic
1245:hard drive
1225:See also:
1202:Kodachrome
1121:Casablanca
1016:, Venice,
1004:); Italy (
900:Film stock
803:Precursors
792:See also:
749:video file
717:real image
661:(from
434:Soundtrack
429:Sync sound
318:Production
264:Storyboard
213:Screenplay
208:Scriptment
170:Filmmaking
150:Arri Alexa
91:newspapers
18:Camerawork
4790:Go motion
4715:Slit-scan
4637:In-camera
4536:Practical
4468:Long take
4374:SnorriCam
4369:Steadicam
4349:Hand-held
4297:Low-angle
4135:Narration
4097:Rembrandt
3693:Film crew
3673:one-liner
3646:Rehearsal
3463:at Kodak.
3352:ignored (
3342:cite book
3312:CiteSeerX
3236:CRC Press
3205:CRC Press
2991:ignored (
2981:cite book
2865:CRC Press
2807:144554305
2542:Film crew
2427:cameraman
2400:Personnel
2303:human eye
2137:in-camera
2078:does not
2053:Steadicam
1930:does not
1724:zoom lens
1712:borescope
1680:human eye
1476:"panning"
1472:worm gear
1462:In 1897,
1392:does not
1327:1920×1080
1310:Sony HDVS
1185:In 1902,
1051:does not
1008:, Milan,
1002:Marseille
834:In 1845,
769:projected
763:" into a
761:developed
739:for each
733:exposures
580:Film crew
4603:Puppetry
4473:One-shot
4359:Tracking
4342:Whip pan
4292:Jib shot
4197:Two shot
4187:Close-up
4177:American
4157:Shooting
4125:Diegetic
4072:High-key
4044:Lighting
3910:Roadshow
3826:Timecode
3761:Progress
3525:Producer
3433:nyfa.edu
3334:10556755
3102:BBC News
3052:10 April
3023:10 April
2971:10 April
2842:10 April
2836:Archived
2832:BH Media
2501:3-D film
2478:See also
2468:exposure
2235:(1898).
2045:handheld
2034:tracking
2030:dollying
1911:Lighting
1865:Cinerama
1601:Super 35
1581:reversal
1499:(1942),
1239:such as
1170:and not
1123:(1942),
1026:Brussels
1000:, Nice,
998:Bordeaux
937:Roundhay
829:zoetrope
731:. These
694:gráphein
569:See also
560:Glossary
520:Roadshow
161:a series
159:Part of
4779:digital
4777: (
4645:Bipacks
4592:hanging
4590: (
4545: (
4432:Zooming
4420:Shallow
4410:Racking
4337:Panning
4332:Tilting
4235:Reverse
4192:Italian
4087:Low-key
3929:Related
3903:delayed
3898:limited
3636:Casting
3619:process
3547:process
3304:Bibcode
2194:(1898).
2141:optical
2099:removed
2084:sources
2038:craning
2026:panning
1951:removed
1936:sources
1669:Fujinon
1641:Filters
1636:Filters
1413:removed
1398:sources
1359:Aspects
1168:colored
1072:removed
1057:sources
1018:Bologna
782:History
687:γράφειν
510:delayed
505:limited
105:scholar
4757:Visual
4478:Insert
4458:B-roll
4384:Follow
4272:Aerial
4245:Single
4182:Medium
3846:visual
3567:Option
3411:
3332:
3314:
3242:
3211:
3180:
3153:
3123:
2947:
2937:
2890:Screen
2871:
2805:
2765:
2713:2 June
2685:
2660:
2575:(2006)
2567:(1992)
1744:f-stop
1742:, not
1740:T-stop
1676:Lenses
1620:, and
1258:(MOS)
1010:Naples
709:use a
677:kínēma
670:κίνημα
457:visual
107:
100:
93:
86:
78:
4405:Focus
4364:Dolly
4354:Shaky
4240:Trunk
4229:(POV)
4117:Sound
4102:Stage
4067:Flood
4057:Cameo
3841:sound
3831:Music
3766:Sound
3584:pitch
3330:S2CID
2945:JSTOR
2803:S2CID
2274:, in
2227:matte
1892:SMPTE
1577:65 mm
1573:35 mm
1569:16 mm
1330:pixel
1323:HDCAM
1172:color
1135:Color
1022:Forlì
1014:Genoa
941:Leeds
741:pixel
665:
590:Pitch
452:sound
439:Music
112:JSTOR
98:books
4425:Deep
4267:Tilt
4107:Soft
4092:Mood
4062:Fill
3951:Film
3893:wide
3881:list
3770:Cost
3562:Hook
3409:ISBN
3354:help
3240:ISBN
3209:ISBN
3178:ISBN
3151:ISBN
3121:ISBN
3054:2019
3025:2019
2993:help
2973:2019
2935:ISBN
2869:ISBN
2844:2019
2787:Isis
2763:ISBN
2740:2018
2715:2016
2683:ISBN
2658:ISBN
2449:and
2447:grip
2357:and
2276:NTSC
2143:and
2082:any
2080:cite
1934:any
1932:cite
1836:The
1659:Lens
1565:8 mm
1396:any
1394:cite
1302:Sony
1288:CMOS
1282:and
1254:are
1229:and
1055:any
1053:cite
1006:Rome
994:Lyon
894:Film
850:and
796:and
712:lens
585:Hook
575:Film
500:wide
84:news
4077:Key
3322:doi
3276:doi
3018:PBS
2927:doi
2898:doi
2795:doi
2313:'s
2280:PAL
2093:by
1945:by
1846:1:1
1789:In
1607:to
1589:ISO
1459:".
1407:by
1066:by
1024:);
935:in
811:An
723:or
67:by
34:or
4841::
3431:.
3370:.
3346::
3344:}}
3340:{{
3328:.
3320:.
3310:.
3270:.
3266:.
3234:.
3203:.
3135:^
3100:.
3042:.
3016:.
3010:.
2985::
2983:}}
2979:{{
2943:.
2933:.
2921:.
2894:10
2892:.
2863:.
2830:.
2824:.
2801:.
2791:97
2789:.
2777:^
2731:.
2706:.
2151:.
1867:,
1860:.
1817:.
1759:A
1722:A
1624:.
1616:,
1247:.
1020:,
1012:,
996:,
939:,
778:.
163:on
4781:)
4594:)
4549:)
4520:e
4513:t
4506:v
4028:e
4021:t
4014:v
3496:e
3489:t
3482:v
3435:.
3417:.
3389:.
3374:.
3356:)
3336:.
3324::
3306::
3284:.
3278::
3272:2
3248:.
3217:.
3186:.
3159:.
3129:.
3086:.
3071:.
3056:.
3027:.
2995:)
2975:.
2951:.
2929::
2904:.
2900::
2877:.
2846:.
2809:.
2797::
2771:.
2742:.
2717:.
2691:.
2666:.
2392:"
2254:)
2250:(
2172:)
2120:)
2114:(
2109:)
2105:(
2101:.
2087:.
1972:)
1966:(
1961:)
1957:(
1953:.
1939:.
1434:)
1428:(
1423:)
1419:(
1415:.
1401:.
1293:(
1093:)
1087:(
1082:)
1078:(
1074:.
1060:.
697:)
691:(
680:)
674:(
647:e
640:t
633:v
512:)
498:(
459:)
450:(
134:)
128:(
123:)
119:(
109:·
102:·
95:·
88:·
61:.
38:.
20:)
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