How To Judge Cinematography

As we watch movies, there is one thing that sometimes gets overlooked or disregarded: The cinematography. While some may focus more heavily on either the use of lighting or the consistency in camera angles, very few take time to evaluate how the overall look was achieved.

The way the film is lit, whether it be natural light, studio lights, or otherwise; as well as what styles of filming are used (re-shots, POVs, etc.) all play an integral part in determining the feel of the movie.

This article will talk about several different ways to assess the cinematic quality of the photography in a given movie. We will also discuss why certain shots work and do not work for the story being told, as well as some tips and tricks to apply to your own style.

Look at the editing

As we discussed earlier, cinematographers have advanced camera techniques that they use in filming their scenes. These are sometimes referred to as “lens styles” or “visual style” of shooting.

However, aside from these technical aspects, what really sets great shots apart is how the editor cuts together the pieces to make the scene feel complete.

Whether it be creating suspenseful moments by cutting between two characters before something big happens, or using quick cuts to show progress towards an event, there are many ways to do this.

It is important to know when and why certain edits work so you can emulate them.

Is there cinematography?

As we have seen, some people define “cinematic” as something with a long take or continuous shot. But this definition is too broad! There are definitely styles of filmmaking that fit the bill, but it must be done right.

A good cinematic style will use medium-long shots (shots where you can see part of the character) set off by closeups or longer takes. It is very important to understand how to use these types of shots in order to identify if a movie has good cinematography.

It is also important to know what makes for strong editing. A weak edit is when one element comes up twice or more quickly than another. This creates an uncomfortable sense of momentum, which is not comfortable for the viewer.

There should be enough variety in filming modes such as Steady Shot, Helicopter Shots, Medium Long Takes, and so forth to make the film feel natural. Avoid films with very little diversity in shooting styles, especially outside!

These things all contribute to the strength of the film’s editing, and thus its ability to tell a story effectively.

Pay attention to the lighting

A good cinematographer will constantly be experimenting with light sources, how they are used, and what effect they have on the scene. They may use natural light, studio lights, or even laser beams in the production of the movie!

As you watch films, look out for different types of light being utilised. You should at least know the term ‘lighting’ so try to understand where the light comes from and how it is balanced.

The intensity and type of light can make a big difference to the feel of the film. For example, bright sunlight gives an airy feeling whereas strong indoor light creates more depth.

There are many ways to learn about lighting for filming including reading books, watching documentaries, talking to experienced professionals, and looking into the styles and techniques of famous cinematographers.

Watch for textures

A key part of cinematographic imagery is creating interesting patterns with your settings, backgrounds, and characters. There are many ways to do this, but one of my favorite styles is using different types of patterning with shades of gray in terms of color schemes or as actual tones.

This was very popular during the golden era of Hollywood filmmaking and still works well today! One example of this would be when Daniel Craig’s James Bond looks at the wall before he enters the room in Spectre (film 2016).

Bond examines the wall and then makes his entrance into the space surrounded by these patterns that create an effect similar to looking through a glass window. It gives you a sense of suspense because you want to know what will happen next.

Another way to use this technique in your own work is to emphasize parallel lines and diagonals. These patterns add depth to the picture and make it feel more three dimensional. An easy way to do this is to place your character somewhere with lots of hard edges or shapes such as a wall, table, or door. Then have them walk towards something soft like a bed, couch, etc.

These types of shots also give off a feeling of calmness due to the nature of the line designs they contain. They convey a sense of serenity which can help set the tone for the rest of the scene.

Pay attention to the composition

A good cinematographer will constantly be looking at how the pieces of their film are put together by way of creating interesting compositions, filming for length versus time, and understanding exposure.

They also use natural light or artificial lighting to best effect. When shooting in both settings, they will figure out which one is better suited for the scene and find ways to use them both.

When editing, the DP will consider what looks best in the camera and cut down on excessive or missing parts. They may also add special effects like lens flares or reflection screens after bringing in additional lights.

In addition to all these things, there’s one more aspect of great photography that most people don’t know about. This is developing an eye for color.

A professional photographer knows what colors look good together and which ones clash with each other. For example, red and green never work well together, but blue and orange always do. More nuanced shades such as gray and brown require you to evaluate whether they make the image stronger or weaker depending on the setting.

Is there a director of photography?

As discussed earlier, a good DP will leave you with lots of room for interpretation in terms of what they choose to do with their camera. This is especially true during filming as the directors’ vision can shift at any time.

However, it is important to note that not every cinematographer has a “director of photography” position. Some DPs work alone or have small teams that are mostly covers for them!

The term “DP” usually refers to someone who works directly with the other camera departments (grip, light, sound) and the editor to create the final look of the film. There is no one person who fits this description since all those people contribute heavily to creating the movie.

Is there a production designer?

A good cinematographer is not necessarily someone with lots of flashy, elaborate camera setups that require hours to set up and film. They do not have to use expensive equipment either.

A good cinematographer knows how to create their own style through using products they are familiar with and learning new tricks from them.

They are also experts in lighting, so whether or not there is an overall theme to the movie (no matter what genre it is) they know how to use light effectively.

Overall quality is another important part of a good cinematographer. Even if everything else about their work looks great, then nothing says professional like excellent grade photography.

Grades refer to the level of photoshop and video editing done to the footage after filming. The higher the grade, the more advanced those tools are. Grades can be adjusted depending on the needs of the filmmaker but most people leave them as-is due to how professional they look.

Is there a composer?

As we discussed, cinematographers are very creative individuals that create shots using natural light or artificial light, lighters, gels, reflections, and sometimes even lasers!

Their artistic touches add depth and dimension to the film by creating unique settings and compositions. They also use music in some of these setups to enhance the feeling of the scene.

A good way to evaluate their work is to look at their ouf of field pictures and set pieces. These can be during filming or post-production depending on what stage of production you find yourself at.

You should try to identify the main themes of each movie, whether it’s love, death, life, etc. The studio may not have hired the right person if they cannot tell which scenes fit into which theme!

Also, looking at the overall flow of the film will help determine if everything fits together well and if the story makes sense.