Cinema Technique

Cinema technique
Georges Méliès (left) painting a backdrop in his studio

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
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
"phantom rides."
In 1897, Robert W. Paul 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 Diamond Jubilee in one
uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated
by a worm gear driven by turning a crank handle, and Paul put it on general sale the next year.
Shots taken using such a "panning" 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.
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 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.
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 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,
"The Technique of Film and Video Editing: History, Theory, and Practice," 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 technical
considerations involved in creating compelling black and white imagery, offering a comprehensive
understanding of the technique.
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 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 "Casablanca" (1942), "Raging Bull' (1980), and "Schindler's List" (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.
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 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.

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Cinema technique

Georges Méliès (left) painting a backdrop in his studio

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