Chapter 5 - Tanner McChristian

 Since this chapter talks a lot about the different types of lenses, I'd just like to take a moment to talk about my thoughts and preferences when it comes to filmmaking. The only real difference between most lenses is the use for which they are designed. There are cinema lenses, which are designed in every way to accomodate filmmakers looking for consistency and unique looks, often forgoing features like auto focus or even electronic communication with the camera. Other lenses, often lumped into the camp of photo lenses, do the exact opposite. Photo lenses forgo uniqueness and consistency for tthe sake of speed and ease of use. Thats not to say that someone can't use photo lenses for cinema or professional video work, as nearly EVERY filmmaker has, myself included. Personally, the lens I always default to is the 18-35mm from Sigma. The lens is sharp, has good, reliable autofocus, and just enough character to not feel generic with just enough room for me to add some effects to alter the look in post production.

https://www.youtube.com/watch?v=9fWBw_VfE24

This is a great video from Hugh Sweeney talking about this lens.

Adah_Chapter5

 This week’s chapter was short and sweet. It introduced different styles of lenses and types of focus. The type of lenses used in cinematography has a great effect on the emotions the viewer feels and where they focus their attention. A wide-angle lens allows for shooting of a large area while a telephoto lens focuses on a very narrow field of view.  

https://www.canon.ca/en/Articles/2022/Canon-Lens-Guide 

The link above shows the different lenses available from Canon and information about them. 

Dien_Chapter5

 

This week’s chapter introduces us to the lenses and how important they are in a movie. I got to know about some different types of lenses: the wide-angle and telephoto. They are used differently and it depends on the scene that the filmmaker would choose the optimal one. As stated, lenses will not make a bad film into a wonderful film, but they can be of a useful storytelling tool and enhance the audience’s feeling and experience. So when shooting a scene, carefully sorting out which is the best lens to use is a vital step.

 

Here’s a good article to give more insights about lenses used in cinematography:

“The Role of Lenses in Filmmaking: Types, Uses, and Iconic Examples” — Raindance
https://raindance.org/the-role-of-lenses-in-filmmaking-types-uses-and-iconic-examples

 

Carolyn_Ch4

 “You can have an extremely shallow depth or a slightly shallow depth of field. You can create a frame where a person’s face is in focus and everything else is out of focus, or you can create a frame where just a person’s eyes are in focus and everything else, including the rest of their face, is out of focus.” 

I find the depth of field in visual storytelling to be very interesting. Whatever you choose to be in focus or out can affect they way your audience perceives the story you’re attempting to tell. 

“Depth of field is as important as your composition or picking a focal length. It’s how you set the level of intimacy in a story or how you direct where the audience should be putting their focus in the frame. It’s the emotion, the punctuation, and the eyes of the story in filmmaking.”

https://www.filmmakersacademy.com/depth-field-character-story/

This article from Film Makers Academy shows multiple examples of how your depth of field can affect your story. 

Morgan_CHP 5

 With this chapter it showed how much camera angles and lenses can shape the mood of a scene. It's not always about just pointing a camera, it's about deciding how the audience should feel when they watch it. A low angle can make a character seem powerful, while a high angle can make them appear small or large. Thinking about this made me realize how intentional directors are with certain shots. It's kind of something similar to the movie "Inception" Christopher Nolan uses tilted angles and shifting perspectives during the dream sequences to make viewers feels like the world is unstable around the characters. The way camera follows the rotation hallway fight scene doesn't just show action, it makes us feel confused of being in that environment.

Christopher Nolan

This article walks through how Nolan's team constructed a rotating set and the camera and lighting to the motion. It also choreographed the actors, so it all feels organic. It also illustrates how camera movement and perspective work deeply in service of storytelling not just to look cool. 

Carolyn_Ch5

 ”A wide-angle lens creates what is called a wide field of view. Field of view is what is visible in the frame from side to side and top to bottom. A wide-angle lens will allow you to see a large area of field of view. This can be exceptionally useful when shooting in confined spaces like the interior of a car or small room.” 

This blog post is an appreciation post to the many different camera lens and wedding photographers/videographers. Reading about different camera lens and what they are intended to focus on had me thinking about all things wedding, being that I am getting married in May of 2026. I have an article linked down below that some wedding photographers wrote about their lens and why they use them to capture people’s special days. 

https://luxefilmography.com/wedding-videography-equipment/

AbigailHenriquez_Chap5

This chapter went in depth about the different camera angles and how they can be used to convey a certain emotion or ambience to the audience that might otherwise be lacking without these impactful choices. There are so many infinite possibilities that are presented to the filmmaker when they start to understand camera angles. Reading through this chapter about camera lenses and the use of angles when creating a film actually got me to go back and consider the making of The Lord of the Rings. This film is where I learned how the filmmakers can exploit the use of angles to make a certain shot feel entirely different to the audience than it did while shooting it. One of my favorite uses of forced perspective is the scene where the characters are sitting at a table, and the table is disassembled in such a way that it looks much longer than it truly is to convey a large difference in the characters' size. I have linked the article below about how they created that scene, as well as some other magnificent shots in the franchise. These forced-perspective shots were often used to play with the audience's perspective of scale, since the Hobbits were meant to be so much smaller than the other characters; even though they were average-sized men, they had to use creative camera angles to convey this. 

Camera Angles In Lord Of The Rings: Exploring Forced Perspective And Cinematic Techniques [Updated:September 2025]

Antwan_Chpt5

 One of the most crucial ideas I'd like to take from the reading is that the lens choice can modify the emotional impact of a scene. Wide lenses are able to place the audience closer, more in touch with, an actor, whereas telephoto lenses create distance and produce the flatter, more textured aesthetic. What this suggests is that lenses are not merely technical tools—they directly inform how the story feels.

Here's an example source that expands on this idea: [https://www.masterclass.com/articles/guide-to-camera-lenses](https://www.masterclass.com/articles/guide-to-camera-lenses)

This article explains the main lens types, their lengths, and how they change perspective and emotion. It connects to the reading by showing how directors regulate space and telling through wide vs. telephoto lenses. It also mentions why directors need to be aware of lens choice, and not leave it up to the cinematographer.

Megan_Chapter5

Chapter five is all about focus and the different lenses. There are multiple types of lenses. This can include Wide-Angle lenses and telephoto lenses. A wide-angle lens creates a wide field of view. The field of view is what is visible from side to side as well as top to bottom. Telephoto lenses are also known as long lenses, and they have a narrow field of view. This doesn't allow you to see very far from side to side, only straight ahead. This chapter also talks about zoom vs. prime lenses. As well as the importance of choosing the correct lens. Something that I found interesting was learning about the field of view. 

https://livesnaplove.com/blog/camera-lenses-explained

This website covers the basics of learning about your camera lenses. It also goes over the importance of focusing your camera. This is a good website for someone to look at when they begin to use a camera. 

Haleigh_Chapter5

 This chapter focuses on lenses and focus. The most interesting thing I learned from this chapter was that a telephoto lens and a wide-angle lens can portray your subject in two different ways. A telephoto close-up lens can make your subject look attractive, whereas a wide-angle lens can make them look weird and uncomfortable. I didn't realize that emotions can be portrayed not only with the actor's emotion/acting, but also with what lens/focus you use.

https://youtu.be/EhR-cuk_O1I?si=dmc96iHct1mJ1rnu

This video goes into detail about the differences between the lenses and what each one can do. 

MeaganPiroutek_Chapter 5

 This chapter was really technical in terms of lens capabilities and equipment specifications . I did find this line interesting in regards to how many options there are. You can use a zoom in so many different ways there has to be equipment to make all the things possible. “There are thousands of types of lenses available and each one will have its own characteristics and personality.” Almost like the lens is its own entity on set.

This article from Cooke Optics gets more into the history of lens development and the reasons it continues to develop. https://cookeoptics.com/news-and-events/zoom-in-on-zoom-lenses-the-how-and-why/

Braedywardrope_Chapter4

Learning and understanding the basic aspects of a camera is not only interesting but also extremely  informal. Reading the first pages of this chapter- who knew there is so much to know about exposure? It all makes sense when explained, but it is never on the mind when looking at a photo or video a photographer took. 

I also enjoy learning about shutter speed. I think something like this is what makes a photographer unique. Learning that just the shutter speed can lighten or darken an image. 

Shutter speed is relatively simple to explain from a physical standpoint. There is a curtain in front of your camera sensor (called the shutter curtain). This curtain usually stays closed until you take a photo. When the camera fires, the curtain opens and fully exposes the camera sensor to the light that is coming through your lens. To end the exposure, the shutter closes immediately, stopping the light from hitting the sensor. (As a side note, the button that fires the camera is also called “shutter” or “shutter button,” because it triggers the shutter to open and close.)

On some newer cameras, you’ll find an electronic shutter rather than a physical, mechanical curtain. Or you’ll find both – many cameras have both a mechanical shutter and an electronic shutter. The principle is basically the same, but with an electronic shutter, the camera is electronically telling the pixels to start and stop recording the image.

In any case, using a particular shutter speed (say, 1/10 second) means that the shutter is literally open for that period of time (in this case, one tenth of a second).

https://photographylife.com/what-is-shutter-speed-in-photography

Dien_Chapter4

 

The text teaches me that exposure serves as a critical element which determines both the visual quality and emotional impact of a film. The three fundamental elements which determine image brightness and darkness in photography are aperture (iris) and shutter speed and ISO. The aperture setting controls both the amount of lens light entry and determines depth of field which defines what parts of the image stay focused. A wide aperture setting (low f-stop value) creates a bright image with shallow depth of field which blurs background elements to focus on the subject while a narrow aperture setting (high f-stop value) results in dimmer images with complete image focus. The duration of light exposure on the camera sensor through shutter speed controls both image brightness and creates motion blur effects. The camera becomes more sensitive to light when ISO settings are adjusted but excessive ISO values lead to unwanted noise in images. A director who understands these elements can create purposeful creative decisions which direct audience focus and establish the emotional atmosphere of each scene.

Here's an article to support my opinion: 

https://www.indepthcine.com/videos/exposure?utm_source=chatgpt.com

Chapter 4 - Tanner McChristian

 As somebody who consistently works as both a director and a cinematographer myself, I think this chapter absolutely nails the responsibility of both positions. Their are several working directors who consistently work with different cinematographers on nearly every project, but you can still tell that the project was being led by THAT director. This is mostly because directors like these have a particular style and are always mindful of it when working on a project. Some directors, like Gareth Edwards for example, even prefer to operate the camera themselves for maximum visual control over the final image. Understanding camera technology and machanics is absolutely fundemental to crafting a cinematic experience, and if you don't underestand that as a director, there is a good chance that you won't make it far.

https://www.youtube.com/watch?v=su4jXPNa7PA&t=698s

this is an excellent documentary by Darius Britt as he breaksdown his own feature length film, shot by shot, explaining every creative choice that he and his team made with the camera, lenses, lighting, and composition.

Antwan_ Chpt4

 I’m reflecting on the idea that directors should understand the basics of cameras, lenses, and exposure, instead of leaving those decisions only to the cinematographer. These tools are not just technical details—they are central to storytelling. A director who understands how aperture, shutter speed, ISO, or even lens choice affects the look of a film can better communicate their vision and make sure the cinematography supports the story. Without this knowledge, a director risks losing some creative control over how the audience experiences the film.

Link:
The Relationship Between the Director and the Cinematographer — Part 2 (Sony Cine)

This article explains how important it is for directors and cinematographers to work closely together on technical and creative choices like lighting, lenses, and camera movement. It shows that when directors know enough about these elements to join the conversation, the result is stronger collaboration and a more unified visual style. This reinforces the idea from the reading that directors should see cameras and lenses as part of their own storytelling toolbox, not just technical equipment.

Adah_Chapter4

 This chapter discusses the basics of the camera (exposure, aperture, ISO, etc.) and why they are so important to cinematography. I found the section about color balance particularly interesting. “Our eyes and brains can balance these colors automatically. However, a camera cannot.”  Lights will portray different levels of “coolness” or “warmth” based on the temperature of the light. Ironically enough, lights that appear to be blue (a “cool” color) have a higher temperature than lights that appear to be more orange (a “warm”) color.  

The author of this book recommends that the viewer set their own white balance vs using any auto or preset white balance features. This can be done by putting a white balance card or a piece of white paper in front of the camera and adjusting the settings in the camera so that the paper appears white. When a warm light is used, the camera will add blue to balance out the color of the light. Conversely, if a blue light is used, the camera will add orange.  

https://youtu.be/QFdYL6aUrSs?si=Cybdxu8sbAOO0Ek4 

The video linked above shows how to adjust the white balance on the Canon Rebel Camera.  

Haleigh_Chapter4

 This chapter discussed ISO, exposure, shutter speed, and other related topics. I was most interested in learning about exposure. Overexposure means the photo has too much light, which can sometimes make the subject completely unnoticeable or turn white. Underexposure means the photo does not have enough light, which makes the image very dark, and sometimes black. Proper exposure means there is just enough light vs dark balance to make the image look its best. 

https://youtu.be/Edvpu_939l4?si=OTLP3h0QKngzpUB0

This video goes over ISO, Shutter Speed, and Aperture at a beginner level. It does well at explaining what each feature does and how to use it. I will definitely be trying some of these techniques in the future. 

Megan_Chapter4

 This chapter is all about how to use the different tools and settings on the camera. A few things talked about were exposure, adjusting light, and shutter speed. This chapter went into depth on the settings to adjust all of these things. The area that stood out to me was when the Author was talking about exposure. Exposure is the amount of light that is captured by the image. Exposure means how bright or dark the image is. Its important to make sure that your exposure is good so that your image turns out. Overexposure is when too much light is in the image. There is also under exposure which means not enough light was captured. As well as proper exposure which means that the level of light matches the camera setting. When taking pictures its important to make sure that your settings are correct. This way you will get images of higher quality. 

Here is an article that goes more into depth about exposure. This explains what you can do to get the perfect exposure. As well as other settings that are used on cameras including shutter speed. 

https://www.cambridgeincolour.com/tutorials/camera-exposure.htm

Connor_Chapter 5

 This chapter was an interesting read and learning about different lenses and how they make different shots and perspectives was fascinating. While I can't specifically list any off the top of my head, I imagine many of my favorite shots in a film were shot with a specific lens type which brought out its unique qualities.  

https://www.whitewall.com/eu/magazine/inspiration/basics-of-photography/lenses-and-their-effect/different-types-of-lenses

"Different lens types allow for greater creative control over a shot, whether it's by altering the field of view, controlling the background blur, or improving image quality in challenging conditions. The key difference lies in the lens's focal length and aperture, which are tailored for specific photographic effects and subjects." 

Morgan_Chpt 4

 What stood out to me was how the camera isn't just a tool to record what happens, it also tells part of the story itself. The Aruther argues that thing like camera angles, movement, lens choices, and how much to include in the frome work together to communicate emotion, power, and vulnerability. Without a word spoken. I especially reflected on how low-angle shot can make a character seem powerful or dominant, a high-angle shot can make the same character feel weak or vulnerable, so much is conveyed just by where the camera is placed.

https://www.filmmakersacademy.com/blog-camera-emotions-techniques.com

This article shows how filmmakers use visual tools like framing, lens type, and camera movements to create mood and emotional connections, proving that what camera does is just as important as what characters say.

Antwan_Chpt3

 One of the main ideas that stood out to me in this chapter is how important it is for the audience to see a character’s eyes. The chapter says that “the eyes are the window to the soul,” and I think that’s true. When we can clearly see a character’s eyes, we feel more connected to them. It helps us understand what they’re feeling, even if they’re not saying anything. On the other hand, if a character is wearing sunglasses or turned away, it can make us feel distant or even suspicious of them. I chose this idea because it’s simple, but very powerful. I didn’t realize how much of an emotional impact eyes have in film until reading this. Now, I notice it more when I watch movies, and I can tell when the director wants us to connect with someone—or not.

I found a great article that talks more about this idea: https://www.studiobinder.com/blog/eye-line-match-in-film/. It explains how filmmakers use eye contact and eye-line direction to make the audience feel something. It also gives examples from movies like The Silence of the Lambs, where the camera gets really close to a character’s eyes to build tension and connection.

This helped me understand why directors make certain choices with the camera. Something as small as showing or hiding someone’s eyes can totally change how we feel about them. From now on, I’ll pay more attention to this when making or watching films.

MeaganPiroutek_Chapter4

 This chapter got super technical with a lot of the camera settings. I won’t lie some of it is awful confusing for me, but I know when I get into the practice of using these settings, it will become second nature. One thing I really liked is how the author points out ways of filming and using these settings to portray different feelings in the film. For example, the feeling of hallucinating or adding affect to a fight or chasing using the shutter speed. he also talks about how the grain or noise in a picture can be used for artistic reasons like creating a dirty or gritty look.

Here is an article that I found that goes more in depth on shutter speed and ways it’s used and film to portray different scenarios . https://www.shutterangle.com/2012/cinematic-look-frame-rate-shutter-speed

AbigailH_Chap4

 The part of this chapter that caught my attention was when the author spoke about how directors often underestimate how much of a role they should play in lens choice. I find this particularly thought-provoking, thinking about things like "in which of my favorite movies was the director less involved with the camera lens decisions?" and then this brings around a follow-up question, "could the movie have been even better if the director had input their opinions for the camera lens?". We go on to read more about the details of how a camera lens can change certain things about movies, like the exposure, color, and the depth of field. Previous to reading this chapter, I honestly had very minimal knowledge about cameras and their lenses. So, I chose to do a little research on one of my favorite directors, Greta Gerwig, to find out how much of a role she has in making these lens decisions, and it turns out she plays a major part in them. I think that this is part of what makes her movies so incredibly special, like Lady Bird, Barbie, and Little Women (2019). 

I linked an article below talking about some of those very intentional choices that Gerwig made with the camera when creating one of my all-time favorite movies, Lady Bird. 

Cinematography Analysis Of Lady Bird (In Depth) - Color Culture

Antwan_Chp2

 The second act being described as a “journey” makes a lot of sense because it’s where the audience really experiences the story unfold. I would expand on this by saying that the second act isn’t just about conflict—it’s also about growth. Without the struggles and obstacles, the character would never change in a meaningful way. This is why the setup in the first act is so important: it gives the audience a baseline of who the character is, so when we see them pushed in act two, the growth feels real. A film with no first act leaves us without any emotional stake, but when done right, act two shows us the character actively transforming through their choices. According to Industrial Scripts in their article on the Three Act Structure, the second act is the confrontation stage where conflict escalates, and it only works if the first act has clearly set up the world, characters, and goals.

https://industrialscripts.com/three-act-structure/

The article explains how the three-act structure works and why each act is essential. It emphasizes that act one sets up the characters and their world, act two is the confrontation or journey where conflict escalates, and act three delivers the resolution. It also highlights the importance of turning points, like the midpoint, which keep the second act from dragging. The article reinforces the idea that the second act must be built on the foundation of the first act, and that rising conflict keeps audiences engaged. It makes clear that without a strong setup, the journey in act two won’t have the same impact.

Antwan_Chp1

A key idea from the text is that filmmaking works best as a team effort rather than one person trying to do everything. The director does not need to be an expert in every area such as writing, cinematography, or editing, but they do need to understand the basics of each role in order to share their vision clearly. This makes it easier for the whole crew to work together toward the same goal—telling the story in the strongest way possible. Filmmaking has often been called a team sport because it depends on the skills of many different people working together. When a director understands what others do, they can give direction that helps experts like cinematographers or production designers create their best work. Actor Michael Keaton once said, “Filmmaking is the ultimate team sport,” which shows how important collaboration is. An article on Philip Bloom’s site also explains that collaboration in film allows people to “specialize in a specific area of production,” which raises the quality of the project overall (Philip Bloom). In the end, it is this teamwork and clear communication that gives a director true creative control, since every decision on set adds to the same story being told.

 https://philipbloom.net/blog/a-focus-on-collaboration-why-its-important/?utm_source=chatgpt.com

Connor_Chapter4

 This weeks chapter was utterly fascinating to read and I was completely engrossed in the descriptions of various lenses, lighting, and angles. One portion in particular that stuck with me was early in the chapter when the author discussed how important it is for filmmakers to be working with all aspects of camera use that cinematographers do. In my opinion, it would not only help with directing, but also gives another positive and fresh ingredient to a film.

"Directors working with cinematographers is essential because it aligns visual storytelling with the director's overarching vision, ensuring a cohesive and impactful film by translating emotions and narratives into a specific aesthetic through camera work, lighting, and shot selection. This collaboration ensures that the film's visual language—including mood, atmosphere, and framing—effectively enhances the story and creates a seamless, immersive experience for the audience."

https://thecollectivepitch.com/blog/film-director-comprehensive-look-into-roles-responsibilities

This article goes into further depth about not only this topic, but also other responsibilities that a director has in the filmmaking process.

AbigailH_Chap3

 The goal is not to create a mesmerizing frame, but rather to make the camera invisible." When reading the text, this line caught my eye, and I carried it with me in my thoughts for the rest of the chapter. This got me thinking of the sheer challenge of the statement, how much skill and practice to get the audience so immersed that the audience feels that the camera is invisible. This feels like a slightly daunting task, honestly, but the concepts that we learned in this chapter kind of helped me understand the techniques to use to work my way there. Additionally, I started to think of movies where I don't think the camera was invisible; in fact, in some movies, the camera being presence is really important. I haven't seen that many found footage films, but the ones I have seen have presented this idea to me that the camera is an important being within the film. Take, for example, the Blair Witch Project. This found footage movie is divisive because it breaks many of the traditional concepts that this chapter teaches us about. But the writer also expresses that these rules can be effectively broken. In the Blair Witch Project, the characters often address the camera, and the shots are shaky and amateurish in feeling, yet that adds to the story in an intentional way. 

I linked here an article that addresses the camera work in the Blair Witch Project. I thought about it a lot while reading this chapter. Blair Witch Project Camera Angles: Analyzing Horror Techniques And Film Techniques [Updated:September 2025]

Adah_Chapter3

 This chapter was all about the rules of composition and how to break those rules. The “Rule of Thirds,” Symmetry, “Leading Room” and “Looking Room,” “Bird’s Eye View,” and “Dutch Angle” may be new terms to some of us, but we’re already unconsciously aware of them. Or . . . if we’re not aware of them, we certainly are when they are executed improperly. These rules allow us to maintain visual balance and avoid chaos in our films. Rules are meant to be broken of course, and the author of Visual Storytelling urges us to do so. The overarching theme I noticed was that breaking such rules produced a more extreme, often negative, feeling (here I'm using negative to mean things like uneasy, scary, insecure, hostile, etc.).  

Using “Leading Room” as an example: The author mentions that the rule is to put more space in front of the figure. This tends to make the audience more comfortable because they can see what is in front of the figure. On the other hand, putting more space behind the figure makes the audience feel uneasy because it hides what is in front of them. By taking rules that are meant to keep the audience comfortable and breaking them, we can manipulate how the audience feels.  

Here’s a short article that shows how Wes Anderson breaks the Rule of Thirds in his movies. 

https://medium.com/@hulyaungor/breaking-the-rule-of-third-in-wes-anderson-c65f53ca942 

Maci_Ch3

Even though this chapter is all about composition of films, the key thing that stuck with me is "Remember that every decision you make will carry emotional weight." 

As someone who is not familiar with film making, even in the slightest, I have never been aware of the camera angles and heights affecting the emotional weight of a film like they do. As a watcher, I have definitely picked up on the emotional cues the director is executing, but never put two and two together. If you want the character to seem weak or vulnerable, a high angled shot that is above the characters eyes will portray them as that, and if you want the character to seem powerful, a low angled shot that is below their eyes will give that effect. 

https://www.studiobinder.com/blog/types-of-camera-shot-angles-in-film/

This article describes the types of camera angles in films and provides examples! I found the examples fun to watch. 

Dien_Chapter3

 

This is also an interesting chapter about making films. The reading shows us how to be successful when shooting a scene with the camera. One thing that many of us neglect is that the frame that the actors appear on the screen does matter as it impacts the audience’s experience. From this, I got to learn a new interesting term used in film production: the “The rule of thirds”. This is a really useful tool for all directors and filmmakers when they outline the scenes during the films and how to put the characters properly in the frame. What I found particularly insightful is how this rule goes beyond just aesthetics—it becomes a storytelling device. For example, as stated in the text, with a low-angle camera, the characters would appear to be more powerful and dominant. Conversely, with a high-angle one, the characters would likely show their vulnerabilities or weaknesses. Personally, I like the sentence: “the eyes are the window to the soul” when it is applied to shooting a scene. It is obvious that the more the audiences see the characters’ eyes, the more they will relate to their story and the plot.

The StudioBinder article “What is the Rule of Thirds — Definition and Examples” explains how this classic filmmaking technique helps create balanced, engaging shots by dividing the frame into a 3×3 grid. It shows how directors use—and sometimes break—the rule in films like Mission Impossible: Fallout and The Avengers to guide audience focus and enhance storytelling.

https://www.studiobinder.com/blog/what-is-the-rule-of-thirds/?utm_source=chatgpt.com

Haleigh_Chapter3

 In this chapter, we learned about the rule of thirds, symmetry, the power of the eyes, and camera angles. I enjoyed learning about all of these things. I think the one that intrigued me the most was the camera angles. I didn't realize that they could make the characters appear differently. In the book, it mentions how a low-angle shot can make the character seem "powerful and dominant." Whereas a high-angle shot can make the character seem "vulnerable or weak.' I don't think I have ever noticed this in films before, but I think I will be paying more attention to it in the future. 

https://youtu.be/nfHvSnILXl0?si=xQOQeZZSbbRbt_-p

This video goes over different movies that have been released and how the camera angles portray certain feelings during the films. I think it's interesting to see movies in this video that I have seen with a new perspective on scenes that I did not notice before. 

Braedywardrope_Chapter3

    "Lastly, have fun! Composition is your voice as a filmmaker, so don’t be afraid to take risks … just know why you are taking them." This chapter was extremely interesting and very informal. I liked learning about the thirds rule, but also liked learning about how angles truly change the way the audience feels and connects with characters and the film. What really stuck out to me was learning about headroom. It made so much sense learning about it, especially because this is something I notice in photos or in film. Reading about how little things in film like being zoomed into a character's face, or seeing their eyes, makes us empathize with them. 

1. Too little headroom can make subjects appear cramped and uncomfortable, while too much can create a sense of emptiness or disconnection from the action.
2. Headroom is closely tied to other compositional elements such as rule of thirds, which helps position subjects more effectively within the frame.
3. In medium and close-up shots, managing headroom is especially important to maintain focus on the subject's expressions and actions.
4. Different genres may have specific conventions for headroom; for example, dramatic scenes might utilize less headroom for intensity, while comedies may allow more for a lighter feel.
5. Cinematographers often adjust headroom dynamically during filming to reflect changes in emotion or narrative pacing.

Here are 5 facts about headroom I found from an article. 

https://library.fiveable.me/key-terms/film-and-media-theory/headroom

Chapter 3 - Tanner McChristian

 Composition is such a crucial part of crafting an image within cinematogaphy. Granted, it of course goes hand-in-hand with lighting, set design, and other techincal aspect of filmmaking. Personally, I've always been attracted to films that utilize like and contrast to emphasize their frames. One of the most iconic shots of the last decade to me has consistently been the incredible sunset shot from "Sicario," as a team of CIA, FBI, and Delta Force operatives embark on a mission dusk, disappearing below the horizon into the dark. The film was shot by Roger Deakins, who's known for his excellent work over a long career. He's even dabbled in similar shots before, specifically in a chase sequence in "No Country for Old Men," nearly 10 years prior. And it's not just the awesome lighting thatt makes the shot so mesmerising, its the slow, patient movement of the camera while the characters walk across the the frame only to disappear into tthe shadows. I could talk about this movie all day lol.

https://www.youtube.com/watch?v=cIvGRytmRaw

Here's a great video on composition from D4Darious, an award winning indie filmmaker on youtube. It was a big help for me whenever I started to take composition a bit more seriously.

Megan Ch.3

This chapter is all about composition. I had never really considered all the various components that go into filming. One of the most important is the Rule of Thirds. This allows you to understand where to place objects in the frame. This frame indicates where to place objects and makes it easier to position people. Another important key element is symmetry. A symmetrical frame is something that should always be obtained so that the angles do not look off. The leading room and the looking room are where the subject is. It allows you to determine what direction they are walking. Many elements make up a composition; however, these are just a few. 

https://www.studiobinder.com/blog/rules-of-shot-composition-in-film/

This website goes into depth about composition. This website gives you examples and allows you to learn step by step. It is a great tool to have when learning what all makes up a composition. 

Morgan_chapter 3

  With this chapter it explains how things are arranged in the frame like leading room, where faces are placed, and what's in the foreground was designed to guide where our eyes go and how we feel about charactersnor scenes. It made me think about how even simple framing chocies can make people feel close to someone or sense that something's off.

https://library.fiveable.me/directing/unit-3/principles-visual-storytelling/study-guide/PBBfzNtTfMT03tuc

I found this website that backs this up by saying filmmakers use things like lighting, camera angles , and how items are arranged to speak to our emotions without us even realizing it.

MeaganPiroutek_Ch3

 I love the psychology of image composition! While this chapter dug deep into the technical components, one definitely stuck out to me as a favorite - eyes. He states in the early part of a chapter that images can bring a visceral reaction we are not actively aware is happening. So by toying with the eye contact of a character, we can effectively connect (or disconnect!) them to our audience. " if this is a moment in the film where you want the audience to feel a connection to the character, the audience must be able to clearly see their eyes." We have already learned in this textbook how that connection is a critical factor in the film. The eye contact seems like an extremely effective tool to develop that connection.

This article from Entertainment Post, "Exploring the Impact: The Importance of Eye Shots in Movies" dives deeper in to reasons for serious eye contact in films. Whether its to build suspense, empathy or to reveal a subtext, the eyes continue to be the window to the soul even when shown as a window to the soul through a screen.

Connor_Chapter 3

 This weeks chapter provided some interesting insight I never thought about before. I am of course referring to the portion of Chapter 3 that talks about how camera angles and your character's eyes can give the audience a connection to the protagonist and other characters while not showing the antagonist's eyes subconsciously gives the viewer more justification to root against them. The examples from The Terminator films given in the chapter show a defining example of this.

https://www.nycastings.com/mastering-the-gaze-how-eye-contact-elevates-film-acting-iconic-scenes-explored/#:~:text=Eye%20contact%20in%20film%20acting%20is%20a%20nuanced%20tool%20that,narrative%20and%20the%20viewer%27s%20experience.

Subtle cues from a character's eyes can communicate their internal state without a single word of dialogue. 

• Intensity: A steady, unmoving gaze can project focus and inner strength. Cinematographers can use specific lighting techniques to emphasize the eyes and heighten this dramatic effect.
• Deceit or discomfort: Averting one's gaze, or shifty, darting eyes can signal that a character is lying, uncomfortable, or hiding something.
• Connection and desire: Long, lingering glances can build a sense of intimacy and connection between characters, such as the silent communication in the film In the Mood for Love.
• Fear or surprise: In animation, the iris can be shrunk to exaggerate expressions of fear or surprise. 

Carolyn_Ch.3

     This chapter helped me figure out a question I have always had growing up but never looked it up for myself: What are the grid lines used for on an iPhone camera? The Rule of Thirds Grid comes with the many features of an iPhone camera; it’s helpful for starter film makers who have a low budget. Using a device you already own to make film or any other type of video and photography is a blessing within itself. But to get to the final point out of all of this, the Rule of Thirds Grid is a useful tool to any type of film making. Symmetry, meeting points where the grids lines cross over, centering, headroom are all ways of using a simple grid to your advantage. I enjoy how using this grid makes filming video shots or taking photos simple and easy for beginners. 

https://iphonephotographyschool.com/rule-of-thirds-tips/

    This website provides tips to using the rule of thirds on an iPhone camera. Along with the tips, beautiful examples are provided of photos taken using only an iPhone camera. Seeing these photos only emphasizes my statement that the iPhone is a good starter camera to those who already have the device. 

Adah_Chapter2

Ok, so this chapter covered a number of things, including the role of the protagonist in a story. The author mentions the difference between an active protagonist and a passive protagonist: “An active protagonist is a character who actively pursues what he or she wants. A passive protagonist is a character who waits for what they want to come to them.” The consensus I’ve seen based on this chapter and other articles I've read on the internet, that we do not want a passive protagonist. The passive protagonist is not engaging and has a harder time connecting with the audience.  

https://mystorydoctor.com/writing-a-passive-protagonist/ 

The article above delves into the passive protagonist and how to change it into an active protagonist. I also appreciate that the article mentions the difference between an actual passive protagonist and a protagonist who has a more passive personality.