City of Lights

In cinematography, the use of light can influence the meaning of a shot. For example, film makers often portray villains that are heavily shadowed or veiled, using silhouette.

Techniques involving light include backlight(silhouette), and under-lighting(light across a character form

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Cinematography is an art form unique to motion pictures. Although the exposing of images on light-sensitive elements dates back to the early 19th century,[1] motion pictures demanded a new form of photography and new aesthetic techniques.

In the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator emerged. With the advent of artificial lighting and faster (more light sensitive) film stocks, in addition to technological advancements in optics and new techniques such as color film and widescreen, the technical aspects of cinematography necessitated a specialist in that area.

Cinematography was key during the silent movie era - no sound apart from background music, no dialogue - the films depended on lighting, acting and set.

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Lighting Digital Video



White balance. As the DV standard has a low color-resolution, it is important to control and know how to filter and white balance the image on set. It has been proved difficult to adjust color in post with a good result, although it has been done. Regarding lighting, be aware of the possibilities the white balance setting on the camera have, and use gels on the lamps, and sometimes on windows to create a neutral image.

In return for these shortcomings, DV-cameras can be more light-sensitive than most film stocks, and therefore require less light intensity, to give the same image. (PD150 is about 320ASA versus Kodak's 50D's 50ASA. One would need about 8 times more light, to get the same image at the same F-stop). Although high ASA film is available.

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Match cut: The exact opposite of a jump cut within a scene. These cuts make sure that there is a spatial-visual logic between the differently positioned shots within a scene. thus, where the camera moves to, and the angle of the camera, makes visual sense to the spectator. Eyeline matching is part of the same visual logic: the first shot shows a character looking at something off-screen, the second shot shows what is being looked at. Match cuts then are also part of the seamlessness, the reality effect, so much favoured by Hollywood.