# data[].attributes.body
In blender I started to model a sandy desert environment although I’ve been successful at creating the wavy ness of the sand dunes I’m having difficulties trying to make it vast and life. With the help of my fellow peers and YouTube I am confident we can make this happen with the knowledge we already know.
with the desert I wanted full control of how the sand feels so I’ve chosen to recreate the textures with nodes instead of textures so by building custom materials I was able to have full control

# data[].attributes.body
To texture and get a unique new texture ill be using substance painter to create more life into my objects substance painter allows you to recreate texture from a template or by scratches it allows you to have a dedicated section to create brand new materials you are able to add small details to an objects for example the imperfections and scratches that can be seen on any products. To do this I first needed to UV unwrap properly but I have yet to learn this, so the preview image is a mess even though I have successfully exported the object as a OBJ file. If I was to correctly UV unwrap, I would have the freedom to stop overlapping and create textures properly.

# data[].attributes.body
- Wakes up (Weather forecast reports to be sunny)

- Opens curtains to reveal the bad weather (Torrential Rain)

-  Gets ready again (fast) Dressed to survive the bad weather

- Runs out door and straight back in soaked from the rain (feeling defeated)

- Turns Thermostat on to dry clothes ((weather changes))

- Notices it has cleared up and puts clothes on rack to place outside (turns thermostat back off and notices it is changing the weather)

- Plays with thermostat  to see the capabilities (dramatic weather changes)

- Gets an idea

- Sat out in garden enjoying nice weather (using the power of the thermostat to their advantage)

- Neighbour notices over there fence, shocked at what they see (Still bad weather from their point of view)

# data[].attributes.body
This graph demonstrates the structure of our plot from start, middle and end. It visualises the tension and the series of events throughout the story:

# data[].attributes.body
The Fly : Short Film

When carrying out some research for inspiration for our short VFX film, one of the first films that came to mind was 'The Fly'. This is a short film comedy with a simple concept of a man getting irritated by a fly in a car to such an extent that he eventually ends up destroying the get away car that is supposed to be used for a bank robbery. This was a very simple yet effective piece of storytelling with comedic elements throughout. We thought it would be nice to bring some of these techniques into our short film as we go forward into the Planning/Development and Pre-Production stages.

# data[].attributes.body
For this project, I will be using Auto-desk Maya for my 3D model work. Maya is a 3D computer graphics application that is used to create models, animations and more. It has many features and is one of the best programs within the industry. Containing everything that will be useful for video games such as 3D elements. With the recent push for better modelling tools, I have decided that I will be using Maya for this project.

# data[].attributes.body
Blender was one of the software that I drifted to when hearing about a VFX film, it offers many industry leading tools at an unbeatable price. Free. Which is so attractive towards low budget studios. The man in the high castle a tv show aired with amazon prime used blender to create vast array of building depicting Nazi Germany making it very photo realistic which is the very reason I wanted to create environments using blender proving you don’t need very expensive software to create the same outcome

# data[].attributes.body
Portal No Escape : Short Film

Another short film that inspired us was "Portal no escape". This is a short film based around the game Portal, that most of the team members grew up with during our teenage years. The idea of the story and actions being relatable made us think of new ideas and how else we could relate to our very broad target audience. This particular film is very dependant on VFX and the story, actions and visual effects are very restrictive as it is based on a concept that already exists.

# data[].attributes.attachment_link.title
Portal: No Escape (Live Action Short Film by Dan Trachtenberg)

# data[].attributes.body
When looking into films we could take inspiration for, one Film Director came to mind. That person being Edgar Wright, the man behind the "Cornetto Trilogy" and other films such as "Baby Driver". He is most known for his use of "quick cuts" within his films to show a passage of time within a few seconds. When considering the length of our film, I thought that using this sort of technique could be effective as we need to keep the film short to about 1 minute.

We'll look further into usage of this style of filming in the Production and Post Production stages of our project

# data[].attributes.body
All of our planning and development for this project has been completed within our Trello account:

# data[].attributes.attachment_link.readable_text
Your browser was unable to load all of Trello's resources. They may have been blocked by your firewall, proxy or browser configuration.
Press Ctrl+F5 or Ctrl+Shift+R to have your browser try again and if that doesn't work, check out our troubleshooting guide .

# data[].attributes.attachment_link.description
Your browser was unable to load all of Trello's resources. They may have been blocked by your firewall, proxy or browser configuration. Press Ctrl+F5 or Ctrl+Shift+R to have your browser try again and if that doesn't work, check out our troubleshooting guide .

# data[].attributes.body
We managed to find some free time and took this opportunity to sit down as a team and mind map a good name for this short film.

# data[].attributes.body
We chose Discord to communicate as a team online. This is a helpful tool for us to collectively discuss our ideas and visions easily and freely without having to co-ordinate meetings and travel arrangements.

# data[].attributes.body
We looked into good cinematography techniques. This would help us think of interesting ways to tell our story through the camera lens.

As we researched further into cinematography it was interesting to see that you can convey different emotions and themes just from the positioning and movement of the camera shots.

# data[].attributes.attachment_link.readable_text
On paper, you're ready. You took the courses. You read the books. But do you know all the key cinematography techniques? The things that come from being on set?

Perhaps you've been working Director of Photography for years. Would a quick refresher on some of the 30 best cinematography techniques and tips hurt?

We've compiled some of the best tricks of the cinematography trade into this one post that will get you jobs, keep you working, and keep your work inspired.

So whether it's on paper or on set, we're gonna make sure you're ready to shoot.

Let's jump in!

Watch: Advanced Filmaking Techniques

What is cinematography?

Cinematography definition

It can be hard to simply define cinematography and all of its nuances. Technically, cinematography is the art and the science of recording light either electronically onto an image sensor or chemically onto film stock for a film or video production. Functionally, cinematography is understood to encapsulate everything having to do with the camera - its movement, the images it captures, the light it receives, etc.

Masterful lighting and cinematic techniques gave The Third Man some of the best cinematography ever

What does a cinematographer do?

A cinematographer or director of photography (shortened to DP or DoP) is the crew chief that presides over the camera and light crews on a film or video production. They usually get involved throughout the entire production lifecycle and liaise closely with the director to create the images you see onscreen.

So what exactly does a cinematographer do?

Dissect the screenplay

Research film techniques and cinematic techniques that relate to the subject matter and elicit the intended emotional responses from an audience.

Creates shot lists, floor plans, and lighting diagrams

Manages the camera and light crews

Make decisions about cinematic elements such as lenses, filters, lights, and other camera/lighting requirements.

Responsible for making decisions about aspect ratio, digital effects, image contrast, and frame rates.

Make decisions about camera movements and film lighting techniques to prompt a specific emotional responses from an audience.

Often liaises with the director and colorist during the color-grading phase on a project

That's the job of the cinematographer in a nutshell. As we move forward through these 30 best cinematography techniques and tips, let's keep in mind what the real aim of the job always is: telling a story visually.

Top 7 Cinematography Techniques & Tips

CINEMATOGRAPHY TECHNIQUE 2.1

The best cinematographers think outside the box

When Stanley Kubrick set out to film Barry Lyndon, he and his longtime cinematographer John Alcott wanted to break new ground and needed to develop new cinematography techniques.

They wanted to shoot the entire film with natural light. A pretty daring and ambitious film lighting idea.

For an indoor candle-lit scene, they wanted to ACTUALLY film by candlelight. This would have pushed the film stock of the era too far.

So Kubrick and Alcott borrowed a special lens made by NASA to complete their scene.

​Cinematography Example: Unique camera techniques were used to create this stunning shot

The result of this solution is nothing short of painterly.

Finding the next great camera technique may just be a matter of devising a creative solution to achieve your visual goals.

CINEMATOGRAPHY TECHNIQUE 2.2

Story over spectacle
​

"There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film - you jump out, you think about the surface, and you don't stay in there with the characters and the story."

- Roger Deakins

Who are we to argue with Roger Deakins, one of the greatest cinematographers of all time?

Remember you are always telling a story. A visual story, yes, but a story all the same. That means not getting too preoccupied with developing a distinct "cinematic style" and instead focus on story.

The irony:

Doing that will unveil your own unique voice, just like it did for Deakins.

Watch Deakins share his advice and cinematography techniques for DPs:

Some of the best cinematography ever became practically invisible in its service of the story. Gordon Willis, the genius director of photography behind moody oscar winning classics like The Godfather and Manhattan, took an entirely different approach to All The President's Men.

​DP Gordon Willis used light to show that in the newsroom, light would uncover the truth

Perhaps the greatest cinematography technique you have will be your ability to recognize what will serve the story.

CINEMATOGRAPHY TECHNIQUE 2.3

Study great cinematography

Remember to stay inspired. Study great cinematographers.

Even the greats studied the greats.

When asked how he made Citizen Kane Orson Welles said "John Ford, John Ford, and John Ford".

This was in reference to Ford's own classic Stagecoach, which pioneered not just the western (no pun intended), but some of the dramatic chiaroscuro film lighting and camera technique.

​John Ford's cinematic technique in Stagecoach had a big influence on a then young Orson Welles

It's safe to say Orson Welles considered Ford's work to employ some of the best cinematography techniques ever. Ford's great cinematography was so powerful for Welles that it led him to to create his own all time classic.

And groundbreaking film lighting techniques.

CINEMATOGRAPHY TECHNIQUE 2.4

Manage your time effectively

The camera and lighting crew is often the biggest crew on a film set.

You are going to be interacting with all of those department heads, and you are directly (or indirectly) in charge of all of them and their work.

This means always having a plan and executing it. Which means having and respecting storyboards and a shot list. Using the proper tools are cinematography techniques unto themselves.

Why?

You will ALWAYS be under the gun for time. Just like money, there is never enough.

The 1st AD will be asking how low until picture is up constantly. Because the Producers will be asking HIM how long until picture is up constantly.

So before you even step on set, know the coverage. Know the set-ups. Know the lighting plans. Know it all backwards and forwards and how you'll move efficiently between them.

In film school you probably learned how to light.

But did you learn how to light fast? Or how to efficiently adjust when daylight is almost gone? When you might not make the day and you feel the the entire production waiting as you get a little fill on the lead actress?

Be ready.

But how?

Be prepared.

The crew will often look to you to move forward. Don't let them down.

Use shot list software to know the ins and outs of every shot. In the video below, DP and ShareGrid cofounder, Brent Barbano, walks us through his process of creating a professional shot list:

It doesn't stop with the shot list. The shooting schedule is just as critical. Communicate with your AD so you can prioritize the order you'll be shooting which scenes. That means working with film scheduling software and seeing how logistics will affect everything you do.

Here's Brent Barbano how cinematographers should work ADs to understand the shooting schedule:

CINEMATOGRAPHY TECHNIQUE 2.5

Be an artist (but a reasonable one)

While you shouldn't get too precious with your work, and alway serve the story, be versed in visual art and design terminology.

It can be great shorthand with your Director and Production Designer, as well as others.

Time is of the essence and great cinematography need not be painstaking. At the same time, treat your shots, and each frame, like a work of art you want to get right.

Even if you're doing it on the fly, make sure your framing works from a purely visual standpoint. There are many excellent camera techniques you can implement to achieve this.

Take some time to familiarize yourself with great artwork. The tools of creating powerful images may have changed, but the basic principles have remained the same for hundreds of years.

CINEMATOGRAPHY TECHNIQUE 2.6

Take creative chances

Push yourself creatively.

We touched on this a bit in other cinematography techniques, but emphasis never hurt.

The overall idea here is to emphasize that taking risks can pay off. If they are calculated ones that you run by others.

Don't be afraid to break some of those rules that instructors drilled into heads. Dogmatic cinematography techniques can be detrimental to innovation. Some rules were made to be broken.

Plus...

Playing it safe leads to getting into the habit of average/mundane shooting.

Your best cinematography might appear when you think out of the box.

Pick your spots, of course. If you get too crazy all the time you might have some issues staying employed.

CINEMATOGRAPHY TECHNIQUE 3.1

Know the script

Seems like another 'no brainer'.

But...

Far too often camera crews and even DoP's don't know the script backwards and forwards.

And you can see the same mindset at play in online forums and groups where the focus is skewed so heavily towards gear and technical cinematography techniques versus the art of visual storytelling.

Being a cinematographer is as creative as it is technical.

Make sure the ideas you bring to the table are grounded in a knowledge of the scripted material.

We know debating fancy new camera and gimbals are fun, but the best DP's aren't just gearheads.

DP Gregg Toland innovated and truly "changed the game" with light and shadow on Citizen Kane

A great early example of a DP and Director innovating together and serving the story is Citizen Kane.

DP Gregg Toland kept his depth of field, and used light and shadow to direct the eye, creating a more dramatic look.

Without a focus on how to serve the story, such innovation would have been rendered meaningless.

So?

Make notes in your script. Bring up visual suggestions, questions, and ideas.

Have conversations about styles to emulate, other film's this story reminds you of.

The better you know the project the better you'll be able to help serve it.

CINEMATOGRAPHY TECHNIQUE 3.2

Use the right gear for the job

Not every shoot will need a fully decked out Alexa package with cinema zooms. Sometimes a shoulder mounted ENG camera is exactly what a project needs.

Get familiar with ALL types of cameras and lenses. Not just the big ticket cinema stuff. Being precise about what you need is one of the most important cinematography techniques you'll develop.

Because if and when the director asks for something out of the ordinary you'll need to be ready with not only suggestions, but also the requisite knowledge to implement them.

Knowing how to achieve the same end goals will make you favorite of producers as well.

Which likely means more jobs.

CINEMATOGRAPHY TECHNIQUE 3.3

Perform camera tests

Learn how to do traditional camera tests with a chip chart, color chart, and human models, and then do them once you get your hands on the camera.

With proper testing, you can see exactly how the camera reacts before you get on set and determine a lot of lighting and shooting strategies beforehand.

As opposed to on set where you'll have a dozen people waiting for you to get to know the camera.

You might have learned to do this in film school. But we're putting it here because we don't want anyone to take it for granted.

Sometimes certain basics fall by the wayside. This is one you should never let that happen to.

FOR THE BEST CINEMATOGRAPHY, BE SURE TO TEST:

Different camera settings (ISO, working stop, LUTs, color spaces, etc)

Filters

Lighting choices (color temps, diffusion, direction, brightness)

CINEMATOGRAPHY TECHNIQUE 3.4

Make a shot list

You'll want to make a shot list right after a tech scout to determine what lenses you need. A well organized shot list is going to be one of your best tools on set.

In StudioBinder, you can create a new shot list. From there you can spin off new shots, group and sort your shots by type.

You can even add pictures from your scout directly into the app, which will create a storyboard you can show your director.

How to Create a Shot List

You can also quickly add and organize shots on the go.

Many other cinematography techniques are dependent on your ability to understand and utilize tools like this first!

As a shot list example, take a look at how lifestyle and adventure filmmaker Matt Komo planned out a 24-hour film production using StudioBinder's shot list feature.

How to Plan Your Shot List

CINEMATOGRAPHY TECHNIQUE 3.5

Location, location, location

We mentioned John Ford before, but another thing he helped institute was shooting on location for maximum visual impact.

Ford's cinematic technique: Shoot epic locations like Monument Valley

Ford shot countless westerns in Arizona's stunning natural landscape of monument valley.

He knew the location well, and the towering red rocks helped him frame his shots perfectly.

Find good locations. Understand what the light will look like there at different times of the year, or day (more on that later).

The better your locations, the better your look with potentially less work from you and your crew.

CINEMATOGRAPHY TECHNIQUE 3.6

Storyboards, moodboards, and never say "fix it in post"

Well, you can say it. Sometimes it's fun to say.

Just try not to depend on it.

The best cinematography typically comes from your locations and lighting and not with DaVinci Resolve. Post production software will not be listed amongst our cinematography techniques.

Plus, whatever you can't capture naturally on-set, might takes way more time and money to recreate in post.

The best way to make sure to get the best look the first time around? Give yourself TIME to create it.

That'll mean planning the shoot carefully, and committing to your game plan on set. If you don't think you'll have time, use screenshots from existing films and tv shows and create a storyboard or moodboard in StudioBinder and share it with your team as a previz.

If it looks good here, chances are it'll work for you on set.

Remember, you are being hired for your expertise in cinematography techniques.

Your producer will love you for saving him thousands. Post fixes are way more expensive than having the Art Department touch up a flaw.

CINEMATOGRAPHY TECHNIQUE 3.7

Check and double-check the call sheet

The triple check the call sheet.

Why?

Because otherwise you could be late. Or in the wrong place.

You might get through film school without ever seeing a proper professional call sheet.

Does this really belong among other cinematography techniques?

Maybe. Maybe not. Do it either way.

If that's the case, look at some now. Check out the call sheet function in StudioBinder and get to know what you'll be looking at.

This is what production will send you EACH day. You'll want to know where everything important is on it.

They will put in important details about the next days shoot. Many of them you will be consulted on.

Some of them are just good to know. For example, how long will you have between crew call and first shot?

How long will you have to change scenes?

What time is the talent arriving? When are they done make-up? How does any of this effect your planning?

I don't know. But you should. And you WILL.

Because you're going to know all about call sheets before you even get one.

CINEMATOGRAPHY TIP 4.1

Prepare to do it all

You probably left film school with certain ideas about what a cinematographer's role on set was.

Surprise!

It won't always be that way.

On some jobs you'll have to serve as your own gaffer. And electric. And grip. And... production designer.

The list could go on.

You should have a working knowledge of every role on a set.

This isn't just in case you have to fill in. It's also so you can understand and respect the process of everyone else's work.

Knowing how long to give hair and make-up is important. Knowing that you need to allow for them to have "last looks" before you roll can also come in handy.

The set needs to flow, which means you need to be in sync with everyone else. It's ideal not to act as though you are an island.

So get to know the whole process.

And be ready to fill in...

You probably left film school with certain ideas about what a cinematographer's role on set was.

Surprise!

It won't always be that way.

On some jobs you'll have to serve as your own gaffer. And electric. And grip. And... production designer.

The list could go on.

You should have a working knowledge of every role on a set.

This isn't just in case you have to fill in. It's also so you can understand and respect the process of everyone else's work.

Knowing how long to give hair and make-up is important. Knowing that you need to allow for them to have "last looks" before you roll can also come in handy.

The set needs to flow, which means you need to be in sync with everyone else. It's ideal not to act as though you are an island.

So get to know the whole process.

And be ready to fill in...

CINEMATOGRAPHY TIP 4.2

Develop (and follow) a workflow

As cinematographer Art Adams puts it: "Block. Light. Rehearse. Tweak. Shoot. Repeat. Every. Single. Setup."

It really is that important. If you can't light the actors, use stand-ins.

Make sure they're at least same height and approximate skin tone. All the film lighting techniques in the world can't light someone who isn't there.

A key part of this is communicating that this will be necessary to the director, 1st AD, and the actors. Everyone wants to work with you, but no one likes be surprised.

If you keep a consistent workflow then you become easier to predict. Your team knows what to start doing when.

Suddenly the production starts to hum along.

​Look at this happy film crew just humming right along...

CINEMATOGRAPHY TIP 4.3

Lead your crew

Some of the most important filmmaking tips aren't actually camera techniques or film lighting tricks, but people skills.

Crews respect clear, fast decision making.

Be aware of how much work you're creating for them. They're probably happy to do the work but will become unhappy if they find themselves being told to take down a light and then they have to put it right back 15 minutes later.

So be clear and respectful. Take the blame for mistakes. Be a responsible leader.

Efficient cinematographers are the best cinematographers in the crew's eyes. Because it means good cinematography, fast setups, and finishing on time.

Keep track of who you've worked with in your crew, and who you've worked for in production in a crew database like in StudioBinder.

Learn more about how to use Studiobinder's crew contact lists here.

You don't want to lose track of anyone, or forget them.

You never know who you might need on a job, or who the next job might come from.

Utilizing and managing your team are both good cinematography techniques.

CINEMATOGRAPHY TIP 4.4

Hire the right team and listen

Remember how we mentioned that huge crew?

And how you're in charge of them?

Well, keep in mind that starting out you may not be the most experienced person on set.

In fact the most experienced person may be working for you, with years of camera experience and film lighting techniques under their belts.

Your gaffer and key grip in particular are both highly trained creative individuals. Use them to help solve problems. You don't have to figure everything out on your own.

Check your ego at the door.

This is a pretty good policy no matter what you are doing. Ego's only ever get in the way.

CINEMATOGRAPHY TIP 4.5

Don't argue in public

Try not to argue.

Disagreements happen all the time. The first thing you should try and do is see where the other person might be right.

After you've done that and there is still a fundamental 'misunderstanding'...

I'd ask for a sidebar. Take a moment to cool down, and discuss away from everyone else. Then talk it out.

Because no one ever looks good calling people out in public. Even if you are right.

Also doing the whole "Can I talk to you alone for a second" might as well be arguing on set.

So find a tactful peaceful time and place to approach this talk.

This is especially true if it's cinematographer vs. director.

Directors can get defensive if challenged in front of people, because they look like they're not in charge. Talking privately eliminates that fear of embarrassment.

Remember what we said about egos? Check them at the door.

At the same time, recognize that not everyone else will be doing that. So be careful of egos.

They are FRAGILE.

A film crew on a set is like an army going into battle. Remember who the enemy is. It's not the men and women you are in the trenches with.

Keep morale high, fight for the same things. Approach disagreements as though you want to same end result and just see different paths. Work together to find the right path.

This sort of approach will keep your set functioning well. It'll keep you working.

It'll keep you sane.

Before you get to set, have some go-to strategies for working with difficult crew. Of all the cinematography techniques in this post, that one might serve you the most.

CAMERA TECHNIQUE 5.1

Keep the frame moving

How you use your frame is one of the most critical camera techniques. Whether it be moving that frame, or moving items within that frame. You want to keep things active and visually engaging.

A director has a lot on a film set to manage. Try identifying a way to get the camera moving during a rehearsal or blocking of a scene.

If production can afford it, talk with the director about where you could use a dolly, or a jib, or even a steadicam.

Strategize on where you can insert some cost effective camera movements that will help bring the project to life.

All this is to say, that you don't need to be Michael Bay and throw a bunch of unmotivated camera movement in your projects. Check out our video below to give you some great examples of motivated creative camera movements that'll take your cinematography to the next level.

Pro TIP

The video above is part of a free 5-part video series called Filmmaking Techniques. It's e ssential viewing for visual storytellers.

CAMERA TECHNIQUE 5.2

Get creative with lenses

You don't ALWAYS need a 21mm wide shot or an 85mm close up. Slapping a wide lens on for a close up, or a long lens for an establishing shot are creative cinematography techniques that intrigue viewers.

Of course you only want to do that if it works for the story you're telling. But experimenting never hurt.

Sometimes the thing you 'tried for fun' can send you in a creative new direction. Don't be afraid to give something unorthodox a look. Time permitting, of course.

Speaking of unorthodox...

Looking for creative lens choices? Two words:

TERRENCE MALICK.

For more creative lens inspiration, make sure to check out our Mastering the Shot List video series on Youtube, where we take a closer look at the creative camera (and defining) lens choices by famous auteurs such as PT Anderson, Aronofksy, Tarantino, Tarkovsky, Refn, and Inarritu and others.
Watch Now: "Mastering the Shot List" for Creative Inspiration →
Creative lens choices can be important in creating a cinematic look, but planning this well in advance is more important.

Our video on The Lens Plot, popularized by Sidney Lumet's 'Making Movies' will help fast-track you.

What's Malick without his "creative" lens choices? Ep1 of Mastering the Shot List

CAMERA TECHNIQUE 5.3

Look through the frame

Even if you aren't looking through a monitor, it's vital that you look at your shoot through a frame of some kind. Whether it's an old-school director's viewfinder, a mobile phone camera, or just your fingers.

​Even the great Alfred Hitchcock resorted to the finger-frame.

This frame is what the audience will ultimately see, and you have to be able to picture what's going into it. Any device that helps train your eye to think of the world in terms of the frame will make you a better cinematographer in the long run.

CAMERA TECHNIQUE 5.4

Bring a quality camera to tech scouts

Bringing a still camera on location scouts is so important, we hesitate to even refer to it as one of our cinematography techniques. But it does merit some further consideration.

When all else fails, you can use your phone, but ideally you want a DSLR with the same size sensor as your shooting camera.

Most 35mm equivalent cinema cameras have an APS-C (or close to) sensor.

You should also bring a zoom that has the same approximate focal range as the lenses you'll be shooting on. You can test out different focal lengths and find exact camera positions.

CAMERA TECHNIQUE 5.5

Find ways to add depth

You probably already know that all depth in film is, essentially, an illusion. You're tricking the eye into believing that a flat picture has a third dimension it really doesn't have.

So how do you really use that in terms of story?

​In The Graduate, Ben runs towards a telephoto lens. It gives the impression he's getting nowhere.

In Jaws, the depth of field is toyed with to emphasize a moment of terror (aka the "dolly zoom.")

There are many ways you can add depth, and moving beyond one trick is essential if you want to move to the next level of cinematography techniques. Here are 5 ways you can add depth to your shots.

CAMERA TECHNIQUE 5.6

Choose a working stop

Changing stops shot to shot leads to depth of field inconsistencies, since lens sharpness changes at different stops.

Most lenses are sharpest at 2-2 ½ stops closed from wide open.

For every scene you should be able to choose a single exposure and stick to it for every angle. In some cases stick to a single stop for a whole sequence or the whole show.

Know the trade offs when you pick your stop. For example, shooting wide open almost always means less sharpness when the lens is in focus.

FILM LIGHTING TECHNIQUE 6.1

Mix color temperatures

We've mentioned some classic black and white inspirations and cinematic techniques, but what about the standard today (for the last 60 years): color!

Try using colors to create the same kind of dramatic contrasts and juxtapositions. Enter film lighting color gels:

​Mixing discordant colors can be a dramatic and effective cinematic technique

Suddenly the image catches the eye in a different manner than before. Similar to the way more classical cinematic techniques leveraged bright outlines and shadows when shooting black and white.

Wes Anderson preferred camera technique: color and center-staging

Colors pop more when they are laid alongside contrasting colors, and photographed properly.

Some of this comes down to production design, but it's also where cinematic film techniques from different departments start to co-mingle.

When it comes to identifying the right colors, having an understanding of color theory is critical. The video below will walk you through the principles, and it's part of a free 5-part video series called Filmmaking Techniques. It's e ssential viewing for visual storytellers.

Related Posts

If you're looking to take your film color theory to the next level, also make sure to pickup our free ebook on Film Color:
FREE Ebook Download: See Over 50+ Examples of Color in Film →

FILM LIGHTING TECHNIQUE 6.2

Hard light versus soft light

Hard and soft lighting techniques create very different feelings. Try experimenting with both to get a sense of what you like for what types of scenes.

A lot of people are using LED panels nowadays but it nearly eliminates all hard light (which may not be the preference). Use fresnel and pars when appropriate.

Hard lighting would definitely qualify as a sexy cinematic technique

Hard light is way easier to control than soft light. Hard lights can be softened, but soft lights can't be hardened. If you really need to control shadows and keep light from spilling everywhere a fresnel will make your life easier than a kino.

Much softer lighting used here by the Coen Bros

You don't need to always opt for what looks sexiest, of course. Remember one of our other cinematography techniques: telling a good story.

CINEMATOGRAPHY TECHNIQUE 7.1

Don't go into debt for gear

This is a good guideline in general. Going into debt is never ideal.

When it comes to camera gear there can be a tendency to try and make yourself and your work more appealing by owning all the cool toys.

Yes, it might help when packaging your services, but at some point it's not worth creating a mountain of debt over it. If you want to invest in one camera, say, and you think you can make the cost back in a few jobs, sure.

But invest carefully. Know that your quality of work, and how it is to work with you, will factor in more than how much gear you own.

The dirty little secret?

Once producers know you own some cool gear, they might hire you hoping to get it for free. Or at least heavily discounted. So after a while, your client incentive becomes a wash.

Producers. Gotta love 'em, right?

So when should you buy gear? Brent Barbano, cofounder of ShareGrid, can help you figure out when it makes more sense to buy or rent gear.

CINEMATOGRAPHY TECHNIQUE 7.2

Reel > Camera Gear

Things break. Gear gets obsolete. Spending $100K on fancy camera equipment will not make jobs come to you.

You're a cinematographer, not a rental house.

The best cinematographers can create the best cinematography from any camera they're handed.

The job is to know how to evaluate the limitations and advantages of your gear, reach into your bag of filmmaking techniques, and make the best image under those conditions.

Equipment will come and go. Your expertise and skills on-set will only get better with time.

CINEMATOGRAPHY TECHNIQUE 7.3

Know when to end your reel

This is more of a job hunt technique than a film technique.

Nevertheless, remember that people have short attention spans.

VERY short attention spans.

So when designing a reel to send out to jobs or post on crew job sites like ProductionBeast, keep it short. Many directors and producers will decide to turn it off in the first 30 seconds.

Don't take it personally. They have tons of these to watch.

Use that knowledge as a tool to create a better reel. Grab them with your best stuff first.

And then get out fast.

So even if you're one of the best cinematographers in the world, you're looking at 2:30 max.

Also don't pad your reel. Shorter and higher quality is better than a few more shots, some of which aren't the best.

CINEMATOGRAPHY TECHNIQUE 7.4

Stay on top of new tech (also drones)

Technology marches on. There will be no shortage of new toys to play with. Research them as best you can.

Know how and when to use them.

For example, aerial drones with cameras attached have gotten cheaper and cheaper, and fly-over shots that were once the providence of well-heeled studio productions are now yours.

But as amazing and EPIC as drone video footage can be, they do have their limitations. For example, did you know that most drone cameras currently don't have zoom lenses? Read more about drone cinematography techniques here and here.

CINEMATOGRAPHY TECHNIQUE 8.1

The best cinematographers...

Are equal parts artist, technician, and manager.

It's a multi-faceted job, and no number of film techniques will make up for hard earned experience.

The more you work, and the more you practice, the more likely you are to formulate those well crafted shot lists that make the entire shoot a breeze.

We know we didn't cover everything. Maybe we covered things you know and learned in film school.

Tell us in the comments below some some cinematography techniques YOU picked up in the field!

Oh, and in case you can't remember everything you read above, download our convenient, Cinematography Techniques Cheatsheet PDF below, so you can print and take it with you when you're on the move (or at least until all of these points become second nature).

Until then, break a lens!

Insert Content Template or Symbol

StudioBinder

StudioBinder is a film production software built out of Santa Monica, CA. Our mission is to make the production experience more streamlined, efficient, and pleasant.

# data[].attributes.attachment_link.title
30 Cinematography Techniques You Won't Learn in Film School

# data[].attributes.attachment_link.description
On paper, you're ready. You took the courses. You read the books. But do you know all the key cinematography techniques? The things that come from being on set? Perhaps you've been working Director of Photography for years. Would a quick refresher on some of the 30 best cinematography techniques and tips hurt?

# data[].attributes.body
We arranged a number of regular meetings with our project director. These helped us understand our brief more and how best to more forward in the project.

For each meeting we made sure to bring a list of questions with us each time so we didn't miss anything.

# data[].attributes.body
This is a list presenting all of the necessary props and equipment that are needed to enable us to be prepared moving into the Production stage:

# data[].attributes.body
How we could transform the garden into a blizzard (snowing).

# data[].attributes.attachment_link.title
Make a SUPER REALISTIC Snow Scene in After Effects Tutorial

# data[].attributes.body
When doing a bit of research into how to create snow, rain and dust simulations, Adobe After Effects is a good piece of software to use. Particle effects will allow us to have refined and controlled weather effects as it is possible to create a lot of variants such as gravity, speeds as well as a multitude of other settings to refine it further.

# data[].attributes.attachment_link.title
Create Realistic Snow! - After Effects Tutorial

# data[].attributes.body
Rain On Window tutorial

# data[].attributes.attachment_link.title
Realistic Rain Drop FX Tutorial! 100% After Effects!

# data[].attributes.body
One of our inspirations comes from the film lord of war in the opening scene was truly amazing with the use of vfx, the film used the remaining budget to film the opening scene even though they didn’t have a lot they executed it perfectly, for the time the movie blew audiences away with the use of CGI bullets and rotoscoping real hands in front of the lens we wanted to have that level of dedication in out project making sure ever scene is as polished as it can be

# data[].attributes.body
Just to see what I can do, I decided to see if I can model a thermostat just in case we need one or ever need to have a CGI one. Also, just to see how the tools feel so I created this using blender and an array of simple cubes that I stretched and squashed together I have yet to texture it but still getting the hang of uv unwrapping.

# data[].attributes.body
I have started to create models within environments to help match the themes of our changing environments within the film. I have produced a cocktail model, radio, rocks, dead trees and cactus’ all within Maya. I am also working on creating the textures and will be UV mapping these models with the application. The textures for the models will be creating using both Maya and Photoshop.

# data[].attributes.body
When looking to produce an Animatic (and potentially a film), lighting plays an important part. We would need to use the correct light in order to light each scene properly. Deciding on what type of light could be dependant on where the scene takes place, outdoor shots you would mainly use the natural lighting and consider the time of day for shooting. Whereas an indoor shot may require LED lighting mixed with natural light. When using artificial lighting you have to be careful about shadows and making sure the scene looks realistic if its a more realistic setting. The video linked uses pictures taken in an outside setting to create a 360 panorama for lighting purposes. I will be looking into this further and figuring out what kind of lights would be needed for our settings.

# data[].attributes.attachment_link.title
DIY Cheap and Easy 360° Panorama Environment Maps!

# data[].attributes.body
When I finished up all my modelling, I realised that the preview images looked quite messy. Therefore I decided to add UV maps to make the texture look clearer on the models. Then I scanned the internet for images I can use as a reference for producing the textures for my models. Below shows an image on how to actually create UV maps. The “before” image represents how messy these maps were, the “after” image shows a tidy version of the UV map which I produced, making the textures much clearer and easier to see.

# data[].attributes.body
The models have now all been completed, these models with a lot of work ended up looking very realistic which I am quite pleased about. They will make up well with our film and look realistic within the setting. Now the next step is for me to give my models to another member of the team who will edit them further within After Effects.

# data[].attributes.body
So when producing an animatic, we need to be able to capture expressions and emotions like you would in a film in order to showcase our characters and the position they are in. Looking through different animatics public on Youtube I came across this one (linked below) which is based on "Heathers the Musical", the creator takes its own unique twist on the scene, portraying the characters through expression and emotion, something we can use as a base point when developing our animatic.

# data[].attributes.attachment_link.title
Meant to Be Yours  Animatic - Heathers The Musical

# data[].attributes.headline
How to integrate the model into the shot/video?

# data[].attributes.subject
How to integrate the model into the shot/video?

# data[].attributes.body
When you complete a model within a program such as Maya, you need to import the model to render and then go into After Effects to composite into the shot/video.

Before you take it into After Effects, you need to bring the model into the scene in Maya. Place it where you want it then create a ground geometry, also you will need to match the model to the lighting within the shot/video so it looks realistic. Then create multiple render passes and layers which will make compositing easier. After rendering, take it into After Effects and use shadow matching and colour matte usage to match the 3D Render with the shot/video. By the end of this, you should have a final colour corrected shot of your 3D model in a realistic setting.

The video below is an example of the usage of Maya and After Effects together to integrate a 3D model into a shot/video. This will help us to place our own 3D models into our intended short film.

# data[].attributes.attachment_link.title
Placing 3D model in video using element3D in after effects - TINY ANIZ

# data[].attributes.body
When I was doing research into how to create 3D models and textures. I came to the conclusion that Auto-desk Maya and Adobe Photoshop were the best software to use. This also contains some great tools designed for VFX, for example an extremely simple export for your 3D models to import straight into a different program. Also I feel like going with low poly for each model will be the best option as it will make my models look more realistic and smooth. This will be important because we want our short film to look realistic, when including visual effects and models, it can make a scene look unrealistic to the audience, therefore it’s important that we are careful with how we produce these models.

# data[].attributes.body
Due to the recent Covid-19 pandemic we as a team have had to adapt to the situation in order for this project to still go ahead. This has been a very challenging time for us but we have implemented a few things to help our work go as smooth as possible.

Implementations:

- Regular Discord/Online Meetings
- Delegation of key tasks
- Making sure we stay in contact as much as possible
- focusing on our communication skills.
-Using online Tools/Software

# data[].attributes.body
This is a list of all the neccesery shots in order for our film to be complete. Listing key elements such as Location, Camera Angles/Movements and a short description. This is consistent with storyboard and script.

# data[].attributes.body
For our final report we edited it via google docs, so we can all work collaboratively on it.

In this report we talk about all of our struggles and weaknesses and how we overcome them.

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.body
As part of the development for the lighting in this film, I followed the video tutorial I found in my lighting research to produce essentially a texture which we can transfer over to Blender/Maya to light up our scenes which use visual effects. Because we are producing realistic environments in an unrealistic setting, for example a desert in a back garden, I took several pictures of my back garden at different angles to then be spliced into a panorama, then editing to create this lighting texture. The pictures below show my progress to creating this panorama. (Click image to view all images in full)

# data[].attributes.body
For our film, we needed a house with an open garden in order to create these flat realistic environments using visual effects. At first we weighed up our options on Campus, seeing what was around however they are all student accommodations, so it was hard to find a house with a flat opening to at least a "field". We then looked into Ryan's friend Ethan's house which was an option, it had a nice garden and the right house to use for our film. However with the pandemic hitting, we needed the social distance and it would be breaking the rules if we went to their house to film. Another option was my House, the picture below showcases my garden which would be perfect for these "environments" because it was flat and open, only problem would be positioning of the camera as we may have to do shots through the backdoor. We have options of where we could film and because we only need a house, it isn't that heavy on the budget, using my house or Ryan's friends would be free.

# data[].attributes.body
For our Animatic we wanted to present all of the key scenes within our film. Portraying emotions and actions as well as telling the story from start to finish. As I was in charge of this I thought it was my responsibility to gather everyone's work together into one Animatic Storyline, including sounds and effects and all of the ideas we intend to use.

# data[].attributes.body
here is a simple snow effect using after effect just by using a simple tint and cc particle system I was able to turn a green summer forest into a white winter forest. just by adjusting the white and black levels of the tint, you can apply a blending mode which was lighten this overlays the whites onto the original footage. although if I was to change anything it would have been the snow particles as its really hard to imitate the characteristics of snow. snow tends to float a lot instead of plummeting it flotes up and down then drifts this was very hard to imitate. if I had to I have to buy a plugin in called

Trapcode Particular 4 made by RED GIANT

Below is a preview of the effect:

# data[].attributes.body
Before we move ahead into the production stages we thought it would be best to produce some risk assessment forms outlining all the potential risks when filming. This will protect any legal matters in the future if anything was to go wrong eg. someone gets injured on set.

# data[].attributes.body
in our film, we may need to replicate rain this small demo will introduce small details to add for extra immersion for example if we were to have completely fake rain within our screen we would need to add this sort of effect to the windows or any glass surface.

to do this effect everything was done in After Effects using stock plugins using many distortions and particle effects on top of simple shaps I was able to get the characteristics of rain.

# data[].attributes.body
after looking at some references of snow its a lot more flaky and irregular in shape. if we look at the original one I did within the video I made it's so round and unrealistic whereas when we add a turbulence effect it creates more flaky flacks which are more true to life.

# data[].attributes.body
Using CC rain simulation we can add rain to our scene this can be overlayed into a window to show rainfall with green screen or just with an overlay blend option.

# data[].attributes.body
When producing Models and Textures within programs like Maya or Blender, It's quite easy to take a random photo from the internet and use it as a reference. This is someone that could come under copyright as we don't have permission from the creator.

Throughout the project we would need to be extremely careful about using photos online from a point of reference as its could cause legal problems. The link below links to the "Terms of Use" for textures.com which is a website known for their high quality textures, which one of the points which explains about commercial use. Taking this into account, we will most likely be producing our own textures and if we do need to use textures from an online source, to read about their "Terms of Use" before moving forwards.

# data[].attributes.attachment_link.readable_text
ARTICLE 1. Registration and use of your Account

To be able to download photos, you need to register for an account. You are responsible for your account and all the activity on it.

To be able to access and use the Service or certain parts thereof, you are required to register for an account. Accounts are for personal use only and may not be shared with third parties, unless stated otherwise. Some users are offered access through a whitelisted IP address, meaning they have access to account specific features without having to log in.

You must secure access to your account against third parties. In particular you must keep the password strictly confidential. Textures.com may assume that all actions undertaken from your account (or whitelisted IP address) is authorized and supervised by you. This means you are liable for these actions, unless and until you have notified Textures.com that someone else knows your password.

As soon as you became aware or have a reason to assume that the account has been accessed by an unauthorised third party or is otherwise compromised, you must inform Texteures.com thereof without undue delay, notwithstanding your obligations to take immediate effective measures, such as changing your login credentials.

ARTICLE 2. Free and Premium Credits

You get some credits for free every day, with these Free credits you can download small and medium sized images. We sell Premium credits for users who need to make a lot of downloads or need higher resolution images.

If you have an account, you can access the Service and download Content in exchange for credits. There are two types of credits, free credits and premium credits.

Free credits. Every registered user will get a certain amount of free credits per day. These free credits will be added to your account once a day. With the free Credits you can only download a limited selection of the Content (e.g. only the smaller sizes).

Premium credits. If you would like to gain access to the full library of Content, you may purchase premium credits. You can buy premium credits in the form of a "Subscription" or as a "Credit Pack" (see below) which will give you Premium Access. Users with premium credits will also receive a certain amount of free credits once a day. To the extent possible, the Content will be downloaded in exchange for free credits first.

ARTICLE 3. Premium Access

We sell Premium Credits in the form of Credit Packs, which are a one-time purchase of Premium Credits. We also sell Subscriptions, which replenish your Premium Credits every month.

If you would like to gain access to the full library of Content (hereinafter: "Premium Access"), you may purchase premium credits. These premium credits are sold as credit pack or on subscription basis. The exact details and applicable terms of the available Premium Access subscriptions and packages can be found in the offer (on the website) of Textures.com.

Premium Access Credit Pack. Premium credits bought in a credit pack are, unless indicated otherwise, valid for three years.

Premium Access Subscription. With a Premium Access Subscription, your account will regularly be complemented with a certain amount of premium credits. Subscriptions are available in various types (e.g. Indie, Studio) and lengths (e.g. 3 - 6 months, annually). Unless indicated otherwise, any unused premium credits do not go over to the next month.

Premium Access is non-transferable and the use of Premium Access is permitted for a single entity and at one studio or physical location at a certain time. It is prohibited to grant other companies access to your Premium Access account. Your subcontractors are allowed to use your Premium Access account on your behalf when they are located at your main business location. They are not allowed to use the Premium Access account from any other location.

Re-Downloads of Content already purchased is free while your Subscription is active, or free for 3 years if purchased using a Credit Pack.

For Content purchased with a Premium Access Credit Pack, re-downloading the same Content is free for a period of 3 years after the purchase of the Content has been made.

For Content purchased with a Premium Access Subscription, re-downloading the same Content is free for a period of 2 years after the purchase of the Content has been made and while the user has an active Subscription.

ARTICLE 5. Compensation and Payment

The prices for Premium Access are shown in USD or EUR. At time of purchase this amount may be converted to your local currency and local taxes may apply.

For the use of certain premium Services, you shall be charged a compensation. Prices are exclusive of all (local) taxes, duties and other government charges as may be applicable.

All prices are stated in either EUR or USD and may be converted to your local currency at the time of payment. You are responsible for any costs resulting from exchange rates or foreign transactions. Payment can be made by credit card, by PayPal, or as explained further on the website.

ARTICLE 6. Use of Content

You are allowed to use our photos for many kinds of projects and even sell them in combination with 3D models. However, you are not allowed to resell or give away our photos as 'textures', texture packs, materials, clipart or any other product that competes with our website. Also, the usage rights for our special content (3D Scans, PBR Materials, 3D Objects, etc) are much stricter.

Please also read the FAQ which has many practical examples. If you have questions you can always Contact Us.

Content downloaded may be used for personal and commercial use (provided the use is in compliance with these terms and conditions).

use Content in 2D or 3D computer graphics, website design, advertising banners, movies, television shows and printed media;

incorporate the Content in computer games and 3D models and 3D scenes;

sell or distribute 3D models bundled with modified versions of the Content (with the exception of Substance .sbsar or .sbs files, PBR Materials, HDR Panoramas, 3D Scans and 3D Scanned Objects, 3D Brushes, see 6.3c), but only if you add the following text to the documentation accompanying the model:

for scrapbooking work, but only if you are the end-user of the work. Resale of the Content as scrapbooking packs, scrapbooking papers, templates, etc, is explicitly forbidden (even when the Content is modified).

You are not permitted to:

sell or distribute any Content (modified or not) by themselves or in a texture pack, material, shader, scale modelling papers (pre-printed or digital), scrapbooking pack;

use Content in graphic design themes or templates sold to multiple customers on digital marketplaces (this includes stock photography, clipart, templates for websites, business cards and e-cards);

sell or distribute the Substance .sbsar or .sbs files, 3D Scans, Atlas Sheets, 3D Scanned Objects, 3D Brushes or HDR Panoramas (by itself, bundled with a standalone art asset or a 3D scene);

use the Content for creating products sold via 'print on demand' websites (for example print on demand mugs, T-shirts, mouse mats, etc);

sell or distribute skins for laptops, phones and other devices created with Content from the Website;

use the Content to print wallpaper, fabrics or vinyl wraps (with the exception of private or one-off use);

bundle Content with software such as paint programs, plugins, 3D engines, 3D programs or photo-kiosk software;

release the Content or derivative products with Content under Open Source Licences;

use Content in Second Life, Sansar or any other Linden Lab product or service;

use Content for any purpose that violates Dutch or other applicable law or regulation.

use a program (spider, leecher) or script to automatically download (all) Content on the Website.

# data[].attributes.attachment_link.description
ARTICLE 1. Registration and use of your Account To be able to download photos, you need to register for an account. You are responsible for your account and all the activity on it. To be able to access and use the Service or certain parts thereof, you are required to register for an account.

# data[].attributes.body
Before we continued our project we set about looking at film approaches and what they mean.

This was a great way to understand how to control our film to how the peice would be conveyed to the public.

http://www.math.grinnell.edu/~simpsone/Connections/Film/Approach/index.html