For a comprehensive yet concise explanation of what great cinematography involves, look no further than to two-time Oscar winner and DP Roger Deakins on his approach to shooting movies.

Cinematography is the art and craft of capturing moving images.

But that art and craft is made up of multiple elements, many of which involve technical details. The following components of cinematography are each essential to the craft:

Aspect ratio is the ratio of an image’s width to its height. Since the inception of motion pictures, aspect ratio has varied greatly. With the introduction of high-definition video in the 1990s, though, it has become industry standard to use the 16:9 aspect ratio.

Some famed Cinematographers of the past like two-time Oscar-nominated Gordon Willis relied heavily on static shots where the camera would stay in a single location as it captures the action in front of it.

But as cameras have become lighter and more mobile, it’s become easier than ever to use camera movement as another element to help inform the storytelling process in filmmaking.

Have you ever noticed that in some shots, you can see in detail everything in the frame? And that at other times, perhaps only what is in the foreground or background is discernable?

This aspect of cinematography ties back to depth of field and focus. Citizen Kane (1941) is a famous example of shooting a film in deep focus to allow everything in frame to be crisp and clear, and it’s the purview of the Cinematographer to decide what they want to say with depth of field in every shot.

The type of film stock used for a movie was once a key consideration in cinematography, as the inherent nature of a particular type of stock could impact how the captured image would look in terms of exposure, graininess, and other filmic qualities.

Given that modern-day filmmaking has largely shifted into the digital space, this particular aspect of making movies is no longer a main concern, as a film file can be altered to achieve any stock effect.

Filters are not a necessary component of cinematography, but their use can help in affecting a certain wanted look. For instance, color filters can help to heighten particular hues or block others. Diffusion filters can be used to smooth out any noticeable blemishes on the Actors or to create a specific lighting effect.

This video offers a quick yet extensive explanation of cinematography.

Lens choice can make a huge impact on the look of a film. It is through a particular lens that a Cinematographer can achieve deep focus, a zooming effect, or other specific visual qualities.

Lighting choices can greatly impact the emotional effect of any given film. Film noir, which enjoyed its heyday in the 1940s, relied on low-key lighting to emphasize the oftentimes dark and even criminal tales being told on screen.

In contrast, high-key lighting, which minimizes shadow and darkness, is the usual go-to for broad comedies and other genres that tend to be more optimistic or upbeat.

Special effects are hardly a new aspect of the filmmaking process. The Georges Méliès short A Trip to the Moon (1902) is a perfect example of just how long special effects have been used to help tell cinematic stories.

However, with the introduction of computer-generated effects, Cinematographers now have more options than ever in terms of having available resources to get a desired shot. Special effects can be in-camera effects, practical effects, or digital effects. Pending the type of effect, a Cinematographer will collaborate with other filmmaking professionals to ensure that the shot is achieved as envisioned.

This video takes a look at the stylistic choices that Oscar-nominated Cinematographer Rachel Morrison often makes on her films.

The Cinematographer, who may also be referred to as the Director of Photography, is the person who heads up all decisions relating to the visual component of a film.

Among those responsibilities are the consideration of the following factors:

• Camera Placement
• Camera Movement
• Composition
• Focus
• Lighting
• Equipment

A film is only a live performance without a camera to capture it for future viewing and enjoyment. But where a Cinematographer chooses to place the camera in relation to the action or conversation can heighten the meaning of a particular scene.

For instance, perhaps the scene being shot is a date at a restaurant. If the Cinematographer decides to place the camera far from the couple at dinner, the audience may sense that they are spying on an intimate moment. Or the space between the camera and couple might be used to mirror the emotional distance between the two individuals on the date.

Conversely, should the Cinematographer decide to place the camera right at the dinner table, the effect could be one of claustrophobia. That one or both of the individuals on the date feels pressure to be or act a certain way. With every single shot, the Cinematographer is making a choice about how the camera placement will influence the emotional weight of the scene.

Camera movement – or the choice for the camera to remain stationary – can also change how an audience views a film. Consider the difference it would make while shooting a car chase if the Cinematographer decided to keep the camera in a single location instead of following the action.

Would the scene hold as much intensity if the audience watched the chase from a distance as the cars gave pursuit instead of staying in the thick of the conflict with the vehicles?

That is why action and adventure movies typically involve a great deal of camera movement to maintain that feeling of rapid motion both from a storytelling point of view, as well as the literal change of one location to the next by the characters.

Why would a Cinematographer make the choice to not move the camera? This tactic could work well in a courtroom drama, as a static camera could be used to heighten tension. With nowhere to escape, the audience is immediately forced to watch and wait while both sides argue their case to convince the jury to hand over a guilty or innocent verdict.

All to say, the decision to move or not move the camera all depends on what works better for the scene.

One of the most important choices that a Cinematographer makes for every single shot is its composition—or what will be seen in it³. Composition refers to how each shot is framed and all the elements within that frame. This aspect of cinematography plays a crucial role in determining what the audience knows and when they know it.

While important in all genres of film, composition can be especially critical in horror movies. Let’s say a young teen is walking through a supposedly abandoned house by himself. A Cinematographer might make the decision to tightly frame the Actor so that the audience has no idea of what’s around him or what danger might be lurking until it confronts him.

Or the Cinematographer might choose to have a wider frame that shows each room that the protagonist walks past. And while he may not see the murderous villain hiding in the corner, the audience does! Both options can heighten suspense, yet each differently informs how the audience will react to the story.

Just starting out on your cinematography career? DP Bradford Young offers some invaluable advice.

At first glance, the issue of focus might appear very cut and dry. A film should always be in focus, right? Otherwise, the audience may become frustrated by the blurry images and assume that the production must have suffered from a filming mistake.

But for a Cinematographer, playing with focus can actually enhance the impact of the story being told. Let’s say that the scene in question is an older person who is retelling a tale from her youth. A Cinematographer might intentionally make that flashback somewhat blurred or hazy to mirror the protagonist’s fond yet fuzzy recollections of the past.

Focus can also be used to emphasize certain elements in a scene. Take a seemingly mundane shot such as someone sitting at a table and paying their bills. However, behind them is a window.

A Cinematographer might choose to put the focus on the background element of the window to show the character’s long-lost spouse walking to the front door, thus highlighting the impending emotional reunion between the two. At the same time, the person at the table might be slightly unfocused to reinforce their ignorance regarding what is about to happen.

While the Gaffer – or Chief Lighting Technician – is in charge of the execution of the lighting design, the Cinematographer typically is the person who decides what that design will be.

Lighting has become such a fundamental component of supporting a film’s story that many people take for granted its use in different genres. As mentioned, to highlight their lighter tone and emotion, comedies are often filmed with high-key lighting that removes any areas of darkness or shadows. In direct contrast are thrillers or noir films, which tend to favor low-key lighting to emphasize the moodiness and mystery of the stories being told.

Regardless of genre, lighting is always a fundamental consideration that a Cinematographer can use to subtly influence the tone of the film and the audience’s emotional response to it.

While the job of a Cinematographer involves making many artistic choices, all of those choices can only be executed through the use of technical equipment. From cameras and filters to dollies and lenses, a Cinematographer has at their disposal a wide array of devices that can help to realize their vision on film.

A Cinematographer is responsible for deciding what equipment can best serve the needs of their production. That being said, depending on the size of the production, a Cinematographer may likely have an entire camera department that can help in making those decisions and bringing the vision of the Cinematographer to life. That is why one of the most important decisions that a Cinematographer can make is who they want to collaborate with on the film.

It should also be noted that the relationship between the Director and Cinematographer can also greatly influence the look of the film.

Some Directors may choose to largely concentrate on the performance of their Actors and other filmmaking elements, allowing the Cinematographer complete discretion regarding the visual storytelling aspect of the movie. Other Directors may collaborate very closely with the Cinematographer and regularly offer their input as to how the film should look.

A film is simply not a film without cinematography. Or a television show. Or a commercial.

No form of visual entertainment happens without deliberate consideration of how it is going to look. And beyond the basics of how to capture those images, cinematography involves evoking an emotional response to those images.

We’ve gone over what a Cinematographer is responsible for, and while there’s some overlap, what those responsibilities are differ from the execution of them.

So let’s talk about what exactly a Cinematographer does once hired onto a project⁴!

This might sound like a given, but this duty goes further than face value. For instance, what if Raging Bull (1980) hadn’t been shot in black and white? Or Blade Runner (1982) was shot entirely in natural daylight?

Both would be entirely different films and not just because of how they would look. It’s because the look of the film helps to inform both the world is it portraying and the themes its story is conveying.

For every shot in a film, the Cinematographer must decide what camera will be used and where it will be placed. They must also consider the type of lens and filters used.

In many cases, the camera may not be static during that shot, so considerations such as panning from one side to another, tilting up or down, or dollying towards the action must also be planned.

Should a character in a particular shot be cast in shadow or front and center in the light? Should an entire room be visible to the audience or obscured to hide someone or something?

These are just a few examples of what a Cinematographer must think about for each shot – how to make the lighting work to successfully pick up images on camera and what are the narrative needs of each scene.

In less than five minutes, Cinematographer Sean McDaniel provides his take on the job of the DP.

The Cinematographer might have in mind how they want to position the camera and set up the lighting for a particular shot, but the reality of filmmaking is that it’s not a great shot if the Actors aren’t captured successfully in it.

That doesn’t necessarily mean having an Actor perfectly centered in a shot, but that’s why the Cinematographer will often attend rehearsals to see how the Actors are moving in a particular shot and adjust their set-ups accordingly.

A scene’s location can be a help or hindrance in filmmaking, and a good Cinematographer will know how to make it the former.

As an example, let’s say a production is filming in winter. While a prairie landscape covered in snow might be stunning in person, that same location may fall flat on screen because of the lack of texture and color. The Cinematographer will know how best a location can support the acting, story, and other cinematic elements.

The Director is typically thought of as the leader of the filmmaking team. That’s why a Cinematographer’s primary job is to realize, through their technical and creative tools, the vision of the Director.

That being said, no one is immune from needing a little guidance from time to time – and that includes the Director. An accomplished Cinematographer knows that their knowledge and expertise can be a great asset and that sometimes means offering a differing opinion that ultimately is the better one for the production.

Oscar-winning Cinematographer Wally Pfister gets into the specifics of what takes place during the previsualization process, as well as how he approaches visual effects.

Both storyboards and shot lists are fundamental aids to the work of a Cinematographer.

With rare exception, the Director, Cinematographer, and the rest of the production team know what each and every scene in a film will look like prior to walking on set… All on account of the storyboards that are created during pre-production.

Storyboards provide a visual guideline for how each shot will be captured during principal photography, and their importance cannot be overestimated.

It’s critical that the Director and Cinematographer are in agreement about how the film will look once they move into production. By viewing and discussing the storyboards beforehand, they can resolve ahead of time any miscommunications or differences of opinion they may have about the film’s look.

Not only do storyboards help to solidify the creative vision behind a film, but also they assist in making sure no time is wasted on set trying to figure out the who, what, where, and how to shoot a particular scene.

The relationship between storyboarding and cinematography is a close one. This video demonstrates how the former influences the latter.

Similarly, shot lists are fundamental to a well-oiled and smoothly running film set. No matter if you’re shooting a super indie film or huge blockbuster movie, time is very much money when it comes to filmmaking.

A shot list clearly and concisely tells the entire production crew what they should expect to shoot every day on set. This allows all the various departments to move with expediency from one set up to the next based upon the day’s shot list.

Given that the Cinematographer is the person in charge of each shot, it’s vital that they have a well-drawn-out shot list to work with during their time on a production.

In the earliest days of cinema, the Director of the film was often also the Cinematographer or Camera Operator, as the position was typically called at that time. This is because the medium was just beginning to find its way, and so a filmmaking unit might have been just one or two people, requiring them to wear multiple hats.

But as filmmaking began to flourish and became more sophisticated, the need to separate responsibilities was more apparent. And so the role of Cinematographer was created.

As the visibility of this position grew, more than a dozen of film’s earliest Cinematographers, among them Robert Newhard and Victor Milner, decided to organize and form the American Society of Cinematographers in 1919.

The American Society of Cinematographer’s purpose: “To advance the art of cinematography through artistry and technological progress, and to cement a closer relationship among Cinematographers to exchange ideas, discuss techniques and promote cinema as an art form.”

Just two years after the formation of this still-running organization, the first ASC credit in a film was given to another founding member, Joseph H. August, for Sand in 1920.

Ever since, the prominence of cinematography in film has only continued to grow. Its importance is evident not only through recognition at ceremonies such as the Academy Awards, but also by the growth of higher education programs focused solely on the craft of cinematography.

Multiple film schools across the United States and throughout the world now offer classes for aspiring Cinematographers. Given the dual nature of the profession, one that encompasses both artistic vision and technical competence, the role of Cinematographer can be a highly fulfilling one for a person passionate about both pursuits.

Another two-time Oscar-winning Cinematographer, Janusz Kamiński, explains his filmmaking philosophy.

For those looking to make cinematography their professional pursuit, you will certainly develop your own way of shooting movies that is unique to your sensibilities and style.

That being said, it never hurts to get some advice when you’re just starting out and cultivating those sensibilities!

Cinematography is more than just setting up a camera and shooting what’s in front of it. It’s about making audiences feel something about what you’ve shot. So before you begin the work of storyboards, shot lists, equipment choices, and all those other details, determine the emotional concept first.

Cinematographers are collaborators. You might have the look and feel of a film perfectly envisioned in your mind, but that doesn’t mean others can read it. Therefore, make sure to source references such as paintings, photographs, buildings, music, etc. that you can use to convey to others what you want.

Pre-visualization is the time to experiment and explore. Especially if you have any particularly ambitious shots you want to attempt, now’s the time to see if they’re feasible or even affordable for the production.

Very rarely are Filmmakers, Cinematographers included, given everything they would like for a project. You will likely be limited by time, money, locations, and even crew. But these limitations should not be looked at as deterrents to a great film. Instead, use them to foster ingenuity and imagination!

However, don’t be afraid to speak up when you feel like it is within reason to ask for more. Especially once on set, you may find that a particular setup simply isn’t going to work. Rather than wasting time, energy, and money on a shot that ultimately cannot be used, be vocal that you need additional time or other accommodations to get the shot you want.

The technology of film is constantly evolving, and it can get overwhelming if you think too much about all the many options out there from cameras to lenses to filters and more.

Yes, it is important to have the equipment you need to capture the images you want, but at the end of the day, it’s more important to focus on achieving the emotional impact of those images, which may have very little to do with the equipment on hand.

Complicated lighting doesn’t necessarily mean better lighting. Cinematographer Geoff Boyle explains.

No matter how much planning you do for a shoot, unexpected circumstances are bound to arise. In some cases, it might mean footage that ultimately can’t be used for the film. But be open to the happy accidents and unforeseen events that may actually improve upon your original idea for a shot.

It’s perfectly fine and often the standard for a Cinematographer to work with a Camera Operator on a shoot. However, as a shot is unfolding, it can be incredibly difficult for the Cinematographer to instruct the Camera Operator in real-time to push in, change the framing, or adjust another component. That’s why some Cinematographers choose to be their own Camera Operators so that they can more easily make those adjustments on their own.

Again, it cannot be overestimated how collaborative of an industry that filmmaking is. The Cinematographer will be working side-by-side with several individuals, chief among them the Director, but it’s important to not overlook the relationship with the Production Designer.

That particular person is responsible for the style and logistics of the actual space being created or built out for a film. That will inevitably impact how and what the Cinematographer is capturing. So be sure to foster a positive, respectful, and communicative relationship with the Production Designer.

Everything in a shot counts. While in real life our eyes focus on only one or two elements in our line of sight, audiences are bound to notice much more when they are watching any given shot in a movie. Make sure everything captured within a frame has a reason for being there.

What the Cinematographer captures is what the audience will eventually see. As a result, it’s the Cinematographer that decides exactly where the audience will be from moment to moment in the world of the film.

Consider with every shot if what is being captured is the best way of telling that specific story to help audiences understand what is going on around them.

A movie can be beautiful, thrilling, horrific… But is it worth watching? Why should an audience devote two or more hours to sitting through it? As a Cinematographer, it’s important to constantly be asking yourself if this is a movie you would want to watch. If not, why would anyone else?

If you’re curious about the more technical aspects of cinematography in film, this video provides an in-depth look at how Gordon Willis achieved some of his most acclaimed work.

If you’re looking to enter the field of cinematography, there’s no better way to get a jump on your education than by familiarizing yourself with some key terms of the craft:

A type of shot that films a scene from an aircraft, drone, crane or other high, overhead apparatus. Also called a bird’s-eye view shot.

Part of the often used three-point lighting system in filmmaking. A backlight is a light that emanates from the back of the set. Creates separation between the subject and background.

A type of shot that frames a character’s face and sometimes shoulders. Used to convey the character’s expressions and emotional state.

A way of filming a shot through use of a particular lens that allows all elements in the shot, including the foreground, background and in-between, to be in focus.

A type of shot that uses a camera affixed to a wheeled apparatus to allow camera movement on a single plane. Also known as a tracking shot.

A type of shot that films a character with a tilted camera. May be used to reflect the character’s imbalanced state of mind or an imbalanced world.

A type of shot that frames only a part of a character’s face, such as the eyes or lips.

A type of shot that is typically used as an establishing shot, especially with a scene taking place in a new location or environment. Used to convey scale and distance. Also called an extreme wide shot.

Part of the often used three-point lighting system in filmmaking. A fill light is a secondary light that helps to soften the harsh shadows created by the primary light, or key light.

A type of lamp that creates a diffused light.

A technique used when the camera is not affixed to a tripod or other stabilizing apparatus. Rather, it is held by the Cinematographer or Camera Operator for a deliberately shaky effect.

A type of shot where the subject is filmed from above.

A type of lighting scheme that produces little contrast between the darks and lights in a shot.

Part of the often used three-point lighting system in filmmaking. A key light is the primary light source in a shot.

The relationship or balance between the key and fill lights used in a shot.

A type of shot that includes the character’s full body, as well as some of their immediate surroundings. Also called a wide shot.

A type of shot where the subject is filmed from below.

A type of lighting scheme that produces strong contrast between the darks and lights in a shot. Results in deep shadows and is sometimes referred to as chiaroscuro lighting.

A type of shot that frames a character from the waist up. Most frequently used shot in filmmaking.

A system used to orient the viewer within a scene. Follows the rules of keeping the action in a scene advancing along a straight line and keeping the camera on just a single side of that action. Also called the axis of action.

A type of shot that frames two characters with the camera placed behind the shoulder of one character who is directly facing the other character.

A type of camera movement with the camera affixed to a stabilizing apparatus. While on this apparatus, the Cinematographer can move the camera from left to right or right to left.

A type of shot that allows the viewer to see what a character sees from their point of view.

A type of camera that is carried by a Cinematographer or Camera Operator to move with a character or through a set without the shaky effect of a hand-held camera.

A popular filmmaking lighting scheme that uses key, fill, and backlights. The key is the primary lighting source with fills to reduce the harshness of the key and backlights to create depth in the shot.

A type of camera movement with the camera affixed to a stabilizing apparatus. While on this apparatus, the Cinematographer can move the camera from up to down or down to up.

A type of shot that frames two characters. Usually a medium shot.

A type of shot where the subject is magnified by manipulation of the lens.

Photo via Shane Hurlbut’s Hurlbut Academy.

As film and video equipment are both readily available to cinematographers, the decision over which to use can come down to a number of factors. Let’s take a look at some of these…

It’s often not difficult to distinguish between film and video. This is chiefly because each format has its own, distinct look. Film tends to carry an organic, unique aesthetic that allows filmmakers more contrast and deeper colors. This appearance is due to the chemical process that’s required to develop film. Video, on the other hand, produces sharper, cleaner images without the natural grain of film. However, through filters and cutting-edge post-production methods, today’s technology has enabled many video cameras to closely imitate the look of the film.

Film has always been known for how well it captures skin tones and color gradients. As mentioned, film development’s chemical process is key to its ability to capture even the slightest variations in color, providing a depth that can be difficult to replicate digitally. Video offers flexibility and accuracy in presenting color, but the end result can sometimes seem like more of a manufactured look, as compared to film’s organic aesthetic.

Film is remarkable for having a dynamic range, often highlighting details and nuances that wouldn’t appear so to the naked eye. Over the years, Video has progressed to the point of creating dynamic ranges like film, but those are offered in the high-end models of video camera. If a production’s budget is tight, finding a video camera that can match film exactly could prove to be challenging.

Also seen as “resolution,” image quality in film and video are measured differently. In video, images are captured using pixels, which, depending on how high or low (4K, 8K, 1080p, for example) resolution, can drastically affect the way things in a movie are seen.

Videos are recorded directly onto easily-handled digital media, such as SSDs, SD cards, or other storage devices. Video offers convenient handling and transportation, as well as immediate playback. Film on the other hand, involves the use of film stock, which needs to be manually loaded into a camera. Once footage is shot, the film needs to be removed, processed, and scanned for the post-production process.

This is an area in the debate between film and video that clearly favors one side over the other. Because the processing and scanning processes can get costly (not to mention price of film stock itself), the cost of shooting on film adds up quickly. Film cameras also require more maintenance than video cameras. Conversely, Video tends to be less expensive overall. There are no processing costs and digital media can be erased and recorded over multiple times, which can add up to a tremendous savings when compared to film.

It’s helpful to understand the different types of film and video cameras available for filmmakers. Let’s take a look at a few options for each…

The Panaflex is a much-used, highly-dependable 35mm camera that is renown for its high-quality optics. Major motion pictures such as LAWRENCE OF ARABIA, JAWS, and HALLOWEEN and many, many others⁶ have been shot using the Panaflex.

Known for shooting in slow-motion and high-speed, the Arriflex 435 is an adaptable camera that has seen much use in features and commercials alike. OPPENHEIMER, the LORD OF THE RINGS films, and the BOURNE INDENTITY, also among others⁷ were shot using an Arriflex.

Most popular in the 1980s and 1990s (although still in use), the Aaton XTR is an easy-to-use 16mm cameras that can provide a “you are there” sense to the viewer. CAPTAIN PHILLIPS, THE HURT LOCKER, and MARCH OF THE PENGUINS⁸ used the Aaton XTR to tell their cinematic stories

The extremely-popular RED cameras offer dynamic range, high resolution, and are extremely adaptable to post-production needs. THE SOCIAL NETWORK, the HOBBIT, and FLIGHT were shot using the RED camera⁹.

A camera with great versatility, color fidelity, and image quality, the Sony has been used for both high-end films and television productions. Works shot using this camera include BLUE ANGELS, CIVIL WAR, and THE COVENANT¹⁰

The Arri Alexa is known for its color science, dynamic range, and superb image quality. THE REVENANT, DOCTOR WHO, and the X-FILES are among films and TV show that used the Arri Alexa¹¹.

Truly great cinematography doesn’t just support a film’s storytelling, it actively enhances the cinematic experience. Here are a few examples of cinematography elevating a movie’s overall effect…

For an intensely dramatic scene, actor Robert Blake delivers a monologue while next to a window. Outside, it’s nighttime and raining heavily. Cinematographer Conrad Hall used a key light on the opposite side of the glass to create shadows of water droplets on the actor’s face, giving the distinct impression of tears running down Blake’s face. The profound moment in the film is amplified by this lighting technique.

For the incredibly complicated World War I movie 1917, Roger Deakins was tasked with making the film appear as though it was all accomplished in one continuous take. The movie itself is a shining example of allowing the cinematography to be the chief storyteller behind the picture. While there are many standout sequences we could use as an example to support this, watch this Battlefield Run Scene that take places near the film’s climax as an exemplar of the astounding camerawork this movie offers. It’s simultaneously harrowing and breathtaking.

Stanley Kubrick’s terrifying film THE SHINING resonates for several factors. Not the least of which is the camerawork, which takes on an unforgettably creepy presence of its own throughout the film. In one particularly terrifying and haunting scene towards the end of the film, Jack Nicholson stalks his wife and young son with an axe. They lock themselves in the bathroom, but that’s not stopping Nicholson from breaking the door down with an axe. Watch how cinematographer John Alcott syncs his camera with Nicholson’s violent chopping movements. A deeply unsettling scene becomes even moreso.