The chapter discusses the film's photography style, known in filmmaking as cinematography, which describes not only what is filmed, but how it is filmed. Cinematographers are responsible for three factors: the photographic aspects of the shot, the framing of the shot, and the duration of the shot. Cinematography also determines the range of tonalities, manipulates the speed of motion, transforms perspective, and controls what is seen in each frame.

After reading this chapter, you should be able to understand:

1. The filmmaker controls all visual elements such as colors and textures by manipulating film stock, exposure, and developing procedures. These different techniques are frequently manipulated in both production and post-production.
   
   
2. The motion picture is a unique medium in which the pace of a shot can be controlled. The speed of motion on screen depends on the relationship between the rate at which the film was shot and the rate of projection.
   
   
3. Perspective relations in film involve determining the scale, depth, and spatial relations of the scene. This is determined by focal length. You should understand the different types of lenses and the different effects they have. (The shorter the focal length a lens has, the greater the depth of field).
   
   
4. CGI can be used to shape many aspects of production from the spectacular to the mundane, as seen in TheLordoftheRings. Different projection systems and use of mattes can create special effects.
   
   
5. The frame of a film is not just a neutral border; it produces a certain vantage point onto the material within the image. The frame is important because it defines the image for the audience. There are several things to remember about framing:
   
   
   1. The size/shape of a frame is determined by aspect ratio; the most common ratio is 1.33:1 but can vary according to format.
      
      
   2. The frame makes the image finite and determines what the audience is privileged to see. For this reason, the cinematographer must consider the off-screen as well as the onscreen space.
      
      
   3. The frame implies not only space outside itself, but also a position from which the material in the image is viewed. Camera positions, including angle, level, height, and distance are what change the perspective of the viewing image.
      
      
   4. Mobile framing means that within an image, the framing of the object changes. This can be accomplished with camera movements: pan, tilt, tracking, crane, or hand-held shot.
      
      
   5. Mobile framing functions in three primary ways: spatially, temporally, and with patterns.
      
      
6. Every shot has some measurable screen duration. Throughout the history of the cinema, some filmmakers have preferred to use shots of greater duration than the average. Called long takes, these lengthy shots constitute a major resource for the filmmaker. The mobility of the frame often reduces the static qualities of a long take.