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Cinematographer

Seeing the World Through a New Lens

The Cinematographer is responsible for the overall composition of the on-screen image, including camera framing, picture composition, movement, and lighting. Their expertise and creative choices greatly influence the visual storytelling and the atmosphere of the film.

What is a Cinematographer?

At the heart of cinema is cinematography. In a professional film, the creative and technical choices about how the camera is used will most often be a dialogue between the director and the cinematographer, who operates the camera and makes all of the creative choices come to life.  Depending on this relationship the creative choices may lie more with the director or more with the cinematographer.

Christopher Doyle

I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.

Christopher Doyle

For the purposes of IB Film, it is important that the cinematographer role is responsible for the creative and technical choices related to the role, although collaboration with the rest of the team is essential (even more so for the collaborative film). 

So, what are these choices? What falls under the role of cinematographer?  Read on.

What is Cinematography?

Cinematography is the art of capturing an image on film.  To do this effectively, a cinematographer must take all of the following factors into consideration:

 

Camera Movement

To Move or Not To MoveEvery choice the cinematographer makes about how the camera does or does not move has an effect on how the audience will interpret the meaning of the scene.

 

Framing & Composition

Proxemics and Framing are often confused. They are inter-related and complimentary elements that go into the designing of our shots.

 

Lenses & Depth of Field

Seeing the World Through a New LensCinematographers use lenses to help shape the world of their film. In addition to framing, light, camera position and movement, the choice of lens gives the cinematographer...

 

Lighting

Cinematography is Painting with LightJust like the medium of the painter is paint, and the medium of a welder is metal, the medium of the cinematographer is light. How we control light, how we reflect...

 

Proxemics & Shot Types

"I'm ready for my close-up"Norma Desmond, Sunset BoulevardAhot types and proxemics play crucial roles in the viewer's perception of the narrative, allowing filmmakers to convey deep emotion and meaning...

 

Tone

The tone of a film is it's emotional core.The tone should carefully shape the audience's experience, but also their understanding of the film's central themes.

 

Color

Color is a power which directly influences the soul.-Wassily Kandinsky

 

Blocking & Staging

Movement is at the center of cinema. Instructing how the actors move is primarily the role of the director. How the camera moves is primarily the role of the cinematographer. 

Film Stock

In addition to the considerations above, another consideration of the cinematographer is film stock. Although you will be shooting video for this course, films have historically shot on, well, film.  While you will not be choosing which film stock to shoot with, you may choose to emulate a certain stock in coordination with the director and editor in the color grading of the film.  Choice of film stock is also something that could be relevant to an analysis of film.

Cinematography in Practice

Consider the following images from Ripley (2024) as examples.  While writing this page, I caught the trailer and was immediately taken with the gorgeous cinematography. In the images below you can see how the cinematographer must make make creative and technical choices for every single shot, but there is also the film as the whole to consider.  What do you notice about some of the similarities and differences in the shots?

Cinematographer’s Role at Different Stages of Production

Brainstorming

One of the cinematographer's primary responsibilities in IB Film is to define the visual concept of the film in collaboration with the director. You can learn more about brainstorming here:

 

Brainstorming

Brainstorming can be done independently, but it can also be effective to work with multiple brains.This page will guide you through the concept of brainstorming and provide multiple resources for developing your ideas.

Pre-production

After the script is complete they brainstorm with the team, engaging in discussions about how the elements of film can be used to tell the story, reveal themes and shape the mood of the production.  At this point the director will want to think about the casting of the film, plan blocking, and think about various aspects of what they will need to construct and/or establish their mise-en-scéne.  During pre-production the director also casts the film. This is an often overlooked and under-appreciated aspect of the role for new filmmakers.

Cinematographer's Role in Pre-production

  • Brainstorm with the team regarding ideas, genre, concepts and group intentions.
  • Research the chosen genre and any influences for the production of the film, identifying conventions and techniques in relation to the creation of image.
  • Go over the script and storyboard and make notes about how these might be presented visually.
  • Collaborate with the director about how mise-en-scène, locations and lighting will be handled.
  • Collaborate with the editor about how transitions, effects and coverage will be handled.
  • Create a shot list for each scene.
  • Scout for locations and create notes regarding image and lighting concerns.
  • Carry out test shoots using different focal lengths, camera placement, lighting techniques, and so on.
  • Make a checklist of equipment for the shoot.
  • Carry out planning and research for particularly tricky shots or sequences, for example, learning how to use green screen or create the “vertigo effect”.
  • Create diagrams of each location showing lighting design, camera placement and movement.

For more information, see our Pre-produciton Page:

 

Pre-produduction

Good films come from good planning. While luck can be a good friend of the filmmaker, planning is insurance against when things go wrong. Plan for things to go wrong. They will.

Production

During the production process, the cinematographer will focus on the work of placing and moving the camera as well as lighting.   This includes working with the director to synthesize the staging of the camera with the blocking of the actor, adjusting and moving lights and making sure the image is in focus and well exposed.  Here are some of the cinematographer's responsibilities during the production phase:

Cinematographer's Role in Production

  • Prepare all filming equipment and make sure it is there and ready for filming.
  • Set up and design all lighting to create mood and atmosphere.
  • Set up and operate camera, as well as any additional film equipment, such as a tripod, dolly, crane etc.
  • Communicate with the director regarding choices made and help solve any problems encountered during shooting.
  • Make daily production notes with a description of choices made, changes to the original plan and any issues that arose during the film shoot.
  • Make sure that footage is secure and back-up copies are made and stored in a group production folder.
  • Communicate with the editor and sound person regarding choices of footage captured that may affect their roles.

In addition, it is is critical that the cinematographer follow the protocols for leading the shooting sequence.   A discussion of this can be found on the page below, but this guide can be instrumental in making sure you have recorded what is necessary for the shot.

 

Production

Where the Rubber meets the RoadTransitioning from pre-production to production can be scary at first. However, if you have a strong pre-production process and a collaborative team, this can be the most rewarding and exciting part of the process. 

Post-Production

During the post-production phase it is critical for the cinematographer to work with the editor to discuss which shots to use and, where appropriate, where to color correct for consistency.  A cinematographer may also collaborate on the color grading as these choices are directly related to the manner in which the film was shot.   It is also important to make sure that your important choices for cinematography are evident in the final cut of the film. 

Cinematographer's Role in Post-Production

  • Collaborate with the director and prepare for any scheduled re=shoots as a result of the editing process.
  • Collaborate with the editor regarding choices in coloring or image alteration in post-production.
  • Screen a first draft of the film and provide comments/feedback to the director/editor.
  • Attend a test screening to a new audience and make a note of reactions and/or suggestions.

For more information, please visit our Post Production Page: 

 

Post-production

The final phase of production brings the film together. Working towards the film's final form may take some unexpected turns towards the end. 

Writing about Cinematography

Here is a list of vocabulary from the pages above that you should thoughtfully and selectively include when writing about cinematography; both for your analytical writing  in the Textual Analysis  and the Comparative Study , but in the reflective analysis' in the Film Portfolio's Portfolio Pages  and the Project Report for the HL Collaborative Film.

Shot Types / Proxemics

Extreme Wide Shot or Extreme Long Shot (EWS/ELS): These shots might have an entire geographic area or city as their subject, or the subject may occupy just a tiny part of the frame.  When used to introduce a new location in a film, it is known as a establishing shot. 

Long shot or Wide Shot (WS/LS): A WS/LS is a shot that shows the entire subject and its wider surroundings or context. Good for establishing location or conveying a sense of space. 

¾ Shot / American Shot (AS): Shows subject from the waist up at an angle between a wide shot and a medium shot.

Close Up (CU): When the subject is a person, a close-up often is used to frames their face, sometimes cutting off parts of hair, forehead, or chin. This is most often used to highlight emotions or reactions.  When the subject is an object, it is often the case that this object is important in that moment or that it will become important later.

Extreme Close Up (ECU): Very tight framing focusing on a very small part of the subject, like a person's eyes. This can draw attention to small details or push a sense of intensity.

Over-the-shoulder shot (OTS): Frames one subject from behind and slightly to the side of another subject who is the focus. Helps establish an exchange between characters.

Bird's Eye View or High Angle shot (BEV): These shots can make subjects seem smaller or weaker, or simply give an overview of a location.

Worm's Eye View or Low Angle shot (WEV): These shots can make the subject seem more powerful.

Canted or Dutch Angle (C/DA): Canted shots can give the audience a sense of distress or insecurity due to the fact that the camera is tilted to the side.  This is often used in horror films to suggest an uncomfortable and otherworldly feel, but can be used at moments of tension in other films as well. 

Point-of-view (POV) shot: Frames what a character sees from their visual perspective, allowing viewers to experience a scene through that character's eyes.

Camera Movement

Kinesis: The term kinesis comes from the Greek word κίνησις (kinesis) meaning "movement" or "motion."  It is central to camera movement; but it is also central to the very meaning of cinema; both ‘cinema’ and ‘kinesis’ come from the same linguistic origins.  In the context of cinema, it refers to how motion is orchestrated within the frame; both by the camera as well as the characters and anything else that moves in the frame. 

Zoom: A Zoom is when the camera remains stationary but the focal length is adjusted to make it seem as if the camera is getting closer or farther away.  However, since the camera doesn't move, the foreground and background maintain in a  consistent relationship to each other.  In this way, zooms can seem somewhat mechanical or unnatural.  This can often have an effect of making the subject seem trapped within the frame.

Dolly In / Push:  A shot that has the camera move physically closer to the subject.  Similar to a Zoom, but the effect of moving closer to the subject often gives the audience the feeling of being drawn into their world or emotional state rather than a sense of being confined.

Dolly Out / Pull: The reverse of the Dolly In / Push.  It is the physical movement of the camera backwards and can often create the feeling of a growing distance or isolation of the subject.

Pan: The camera swivels horizontally from a fixed position, in most cases from a tripod.  As a horizontal movement it is frequently confused with a Trucking Shot.

Trucking Shot: Like a Pan, a trucking shot is a horizontal movement, but the position is not fixed.  In most cases it moves parallel, often on a truck or a dolly to remain parallel to it's subject. Because of both the similarity of name and movement it is easy to confused with the Tracking Shot.

Whip Pan: A Whip Pan is a fast pan that literally whips the camera back and fourth from one position to another.  Often times, there can be an edit hidden in the blur created by the fast movement. 

Tracking Shot / Follow Shot: They sound the same and there are some similarities, but the Tracking Shot is not like the Trucking Shot, the tracking shot often follows its subject, but tracking shots go forward or backwards on a dolly/track (similar to pushes & pulls).  The term 'tracking shot' is also often interchangeably with the term Follow Shot.

Tilt:Where a pan turns on a horizontal axis from a fixed point, a tilt turns on a vertical axis from a fixed point.  

Pedestal: The pedestal moves up and down similar to a tilt, but instead of moving from a fixed point, the camera moves physically up and down like an elevator. In many cases the camera is attached to a crane or jib arm and may include a slight tilt.

Arc: An arc shot goes around a subject and can be used to reveal something, subvert the 180 rule, suggest a character is learning something new  or losing control. 

Dolly Zoom:  The Dolly Zoom is a complex movement of the camera moving in the opposite direction of a lens as it zooms in or out. The effect is also known as a 'vertigo zoom' (as it was initially used in the film Vertigo) and has the effect of the world warping around a character as they stay largely in the same place. 

Framing & Composition 

Framing: Framing refers to the way the camera defines the edges of the image.

Composition: Composition refers to the way the image is arranged within the context of the frame. 

Rule of Thirds: The rule of thirds aligns with how the human eye and brain tend to process visual information. We are naturally inclined to focus on the intersections of the imaginary grid lines, as they create a sense of balance and stability.

Leading Lines:  Leading lines are physical lines in the mise-en-scéne that direct the viewers eye toward a subject. 

Balance: Balance has to do with how subjects relate to their backgrounds in the frame, suggesting order or disorder in many cases. 

Symmetry: Symmetry refers to how the image balances itself within the frame, the degree of similarity between the left and right halfs of the image, and/or the top and the bottom.

Depth: Depth is an important framing technique in filmmaking because it creates a sense of three-dimensional space in what is essentially a two-dimensional medium. In order to immerse the viewers into this 2D world, filmmakers often use shallow focus to separate the foregrounds from the backgrounds and make their worlds feel more three dimensional and immersive.

Subject Emphasis / The Dominant: The Dominant refers to an element within the frame that grabs the viewer's attention.  This is done through subject emphasis; this can be done with any of the framing techniques above but it can also be done using other techniques as well;  color, lighting, contrast, for example.  

Open Framing: Open Framing gives the impression that the world extends beyond the frame. The composition allows for offscreen space to feel active and present and characters may move in and out freely. The camera may follow action and employ what feels like either a documentary or observational style.

Closed Framing: Closed Framing feels self-contained and controlled. Elements of importance are kept neatly within the frame. In a closed framed shot, you will likely find more meticulous composition. It may use more symmetrical balance and certainly more limited movement in or out of the frame.  This is frequently used to suggest that the characters are trapped, controlled, or part of a carefully constructed reality.

Lenses & Depth of Field

Focal Length: Focal length is measured in millimeters. This tells us how much of the scene a lens captures and how objects appear in the frame. Short focal lengths show a wide view and make space look stretched, while long focal lengths zoom in tightly and compress distance so objects look closer together. The numbers below include the range of focal lengths associated with some specific types of lenses.

Prime Lenses: Prime lenses have a fixed focal length, meaning they do not zoom in or out. They are known for their sharpness, wide aperture capabilities, and typically produce high-quality images. Prime lenses are available in various focal lengths, such as wide-angle, standard, and telephoto, allowing filmmakers to achieve different angles of view and perspectives.


Zoom (aka Variable) Lenses: Unlike prime lenses, zoom lenses have a variable focal length, allowing filmmakers to adjust the magnification and field of view without changing the lens. Zoom lenses offer versatility and convenience in capturing a range of shots, from wide-angle to telephoto, by simply adjusting the zoom ring.

Wide-Angle Lenses (10-35 mm): Wide-angle lenses have a shorter focal length, capturing a broader field of view and creating a sense of depth and space. They are commonly used to capture wide shots, landscapes, and scenes where the filmmaker wants to emphasize the environment or create a distorted perspective.  If used in a close-up shot, they can capture more space around the subject.

Fish-Eye Lenses (8-16mm): The Fish Eye lens is an extreme wide, and will distort an image such that the center of the frame will appear much closer to the camera than the edges of the frame.  If used close to the subject, a Fisheye lens might often be used to achieve a humorous, distorted, uncomfortable, or a combination of those effects.  In a wide shot, outdoors, the fish eye can give an even more immersive sense of landscape and space. 

Standard Lenses (35-70mm): Standard lenses have a focal length that roughly matches the human eye's perspective, providing a natural and realistic view. They are often used for capturing dialogue scenes or everyday situations, offering a balanced and un-exaggerated representation of the subject.

Telephoto Lenses (85mm and above): Telephoto lenses have a longer focal length, allowing filmmakers to capture distant subjects or achieve a narrower field of view. They compress the perspective, making objects appear closer together and creating a sense of magnification. Telephoto lenses tend to flatten the world around them in this way.
Anamorphic Lenses: Anamorphic lenses are used to achieve a widescreen cinematic aspect ratio. They squeeze the image horizontally during capture and require additional post-production processes to restore the correct aspect ratio. Anamorphic lenses are preferred for creating a unique and cinematic look, characterized by horizontal lens flares, oval bokeh, and a distinct widescreen aesthetic.

Macro Lenses: Macro lenses can be telephoto or wide angle; they are designed for capturing extreme close-up shots of small subjects with high magnification. They allow filmmakers to capture intricate details and create a sense of scale. Macro lenses are commonly used in shots requiring close-up visuals.

Tilt-Shift Lenses: Tilt shift lenses have two lenses that are placed at a slight angle to each other, allowing more control over planes of focus, and are often used in filmmaking to present a world that seems 'miniature'. 

Depth of Field: Depth of field refers to the range of distance within a scene that appears acceptably sharp in an image. It is determined by the Aperture, the distance between the foreground and the background, and the focal length of the camera. Understanding how different lenses affect DoF is useful for understanding how cinematographers can manipulate space, whether it be isolating a subject against a blurred background or maintaining sharpness throughout an expansive landscape. 

Shallow Focus: Images with a shallow depth of field have a more limited range of focus.  Notice in this shot, how the hand sharply stands out from its background - adding emphasis and drama. Notice also the sense of space that is created - how much distance exists between the hand and the face behind it.

Deep Focus: Deep focus puts everything on the same focal plane, but also compresses space so that it looks flatter. 

Distortion: Most lenses have a slight curvature which bends the light as it enters the camera.  Distortion happens when a lens bends straight lines so they don’t look straight in the image; wide lenses can make lines bulge outward (this is called a barrel distortion), while telephoto lenses can pull them inward (this is known as a pincushion distortion). Most of the time the distortion isn't noticeable, but it depends on the distances of your subjects, the size of the space, and the magnification of the lens.  It's also not always a bad thing; for example, the only reason to use a fish-eye lens would be to have a magnified, distorted view of the environment or subjects.

Lighting

Motivated Lighting: Motivated lighting refers to lighting that makes sense within the context of the film.  This might refer to artificial or directed light that we can read as coming from a light source we can easily identify - the sun, the moon, a lamp, etc. 

Unmotivated Lighting: Unmotivated lighting, on the other hand, refers to light that is used to illuminate the scene but does not necessarily have a logical source within the context of the scene.  Unmotivated lighting is used all the time; often times when the most important light sources are motivated we might not notice that a secondary source is unmotivated.  Moreover, not all films rely on the sort of realism that calls for motivated lighting.

Three-point lighting: One of the most common arrangements of lights in a film is known as three point lighting.  Even though it requires a specific arrangement of lights, it is important for creating an image that feels more three dimensional than it would with less light sources. 

Key light: The key light is the primary light source that creates the critical separation of light and shadow on the subject. The direction, color, quality, intensity, and temperature of the key light are usually the most important for setting the tone or mood of the image.

Fill light: The fill light is a softer light used to fill in the shadows created by a the key light. The fill light reduces contrast for a more balanced, less contrasted look and prevents part of the subject from falling into shadow.

Rim/Hair Light: The last light in this set up is positioned just behind and (often but not always) above the subject, creating a halo or rim effect around hair and edges. This light adds shape and depth, and often creates a line of light around the subject, separating them from the background. 

Quality: The quality of light refers to its hardness or softness.

Soft Lighting: Light that has diffused or bounced to produce softer, subtler shadows with less contrast. This type of lighting often is used to create a more flattering, comfortable visual style.

Hard lighting: Light that produces clearly defined, hard-edged shadows with high contrast. This kind of lighting is most often use to emphasize a more dramatic tone.

Backlighting: Backlighting, or lighting a subject frm behind, serves as a way to separate them from the background, often with a halo effect. The backlight can create an outline around the character to reinforce their dominance on the screen.

Frontal Lighting: Frontal lighting comes directly from the front; the same direction in which the camera is pointing. This is often unflattering and makes subjects look flat due to a lack of shadows. 
 

Side Lighting: Side lighting is the bread and butter of lighting; it can be handled in so many different ways, but the main function of side lighting is to make the actors feel more three dimensional on the flat screen of cinema. Lighting from a 45 degree angle from the front fo the face is considered to be the most flattering, and is known as Rembrandt Lighting (as the painter Rembrandt Van Rijn established through painting his subjects by candlelight at the same angle). 

Top Lighting: Diffused or soft top lighting is frequently used for a more ambient light or to suggest moonlight for night scenes, but hard top lighting is used less often in film as it can often be unflattering; When it is used, it often suggests a certain menace as it tends to hide the eyes within shadow.  

Halloween Lighting / Underlighting: When the light is placed below the subject, it creates odd shadows on the face that (if you squint) resemble that of a jack-o-lantern.  Therefore, l is more commonly known as Halloween lighting. Naturally, this type of lighting is most common to horror films, but can be used in other genres as well; but mostly to create an unsettling feeling in the viewer.

Luminance: Luminance measures the amount of light reflected or emitted by a surface. It indicates the brightness of an object or area within a scene.
Foot-candle (fc): Foot-candle is a unit of measurement used to quantify the intensity of light falling on a surface. It represents the amount of light that illuminates an area one foot away from a single candle.
Lux: Lux is another unit of measurement for light intensity. It represents the amount of light that illuminates a one-square-meter surface located one meter away from a light source.

Color: Color theory and Color psychology play a large part in creating a lighting set-up, although thinking about the overall color scheme of the film is also under the purview of the director and editor.  Red may signal danger, but it might also suggest passion.  Blue might signal sadness, but also calm.  Yellow might suggest joy, but just like any other color, it could be used ironically or in a misleading way.  The meaning of color might be influenced by culture and time, so cultural context is important here as well.  Color of the light is also an important consideration with regards to how color is used in mise-en-scene and in the color grade of the film.  Colored light is often manipulated through the use of gels - or transparent colored filter.  It is also important to distinguish the color of the light from the color temperature...

Color Temperature : Color temperature is a measurement of the color tone of light, often described in terms of Kelvin (K) degrees. It is relevant in filmmaking because it determines the visible color tone of scenes and must be considered both to get proper exposure as well as determine the warmth/coolness of a scene.  For more natural looking shots it is important to white balance the camera. In addition to making the scene feel warm or cool (and all of the emotional connotations that go with that) there is also the very real functional quality as well of replicating real world situations. Adjusting color temperature is important for matching lighting to achieve consistency and realism in scenes. 

Tungsten/warm light - Around 2800-3200K, this light source mimics incandescent bulbs and gives off an orange-tinged warm glow. Commonly used for interior lighting.
Daylight balanced - Around 5500-6500K, this mimics natural outdoor sunlight and renders colors as they appear to the human eye. Cameras are calibrated for this temperature.
Cool/daylight - Above 6500K, light continues to take on a cooler, bluer tone similar to overcast skies. Used for interior scenes meant to look bright.
Shade - Around 7000-8000K, the blueish tone of light in shaded outdoor areas on sunny days. Renders colors as cooler than they appear.
Open shade - Around 8000-10000K, the very cool blue-white tone cast by light filtered through trees on bright, sunny days. Alters colors.


Contrast: As the name implies, the contrast in lighting has to do with the overall ratio of light to darkness in an image. 


High key lighting: Overall bright, even lighting with little contrast between lights and shadows. It is often bright and airy and suggests a more natural look.
Low key lighting: Overall dark, moody lighting with deep shadows and only small, bright areas of illumination on subject. It often creates a mysterious, tense mood.
 

Shadow: As we consider the many way that meaning is created when light hits a subject, we can also consider how meaning is created where it doesn't.  Placing shadows can create mystery, build tension, or focus the audience's attention.  Cinematographers can shape light by being intentional with the focus of the light and the use of flags (black or opaque materials used to block light).  

Filmmaker Intentions

It is important to keep in mind that the Filmmaker Intentions that guide each role must have their own creative and/or technical goal; and the cinematographer has a lot of latitude in the creation of the image of the film. 

Examples

Here are some examples of filmmaker intentions that a cinematographer might include.  A given role may focus on a singular technique or weave together multiple techniques. 

  • Shaping emotional tone through lighting
    • Creating a sense of intimacy, isolation, menace, or any other emotion through low-key or high-key lighting
    • Using motivated light sources to ground the scene in realism or unmotivated light sources for emotional qualities.
    • Making use of color temperature and/or contrast to suggest psychological states.
  • Using framing to direct attention.
    • Using depth of field and/or framing to control what the viewer is paying attention to on screen.
    • Using the concept of ‘the dominant’ to direct the viewer's attention through framing/lighting.
    • Creating a feeling of freedom or claustrophobia through open/closed framing techniques.
  • Establishing power or relationships through camera placement
    • Using camera height or angle to suggest a sense of dominance, submission, or equality
  • Expressing character psychology through camera movement
    • Using a controlled, smooth movement to suggest a sense of stability or inevitability
    • Using a handheld or erratic movement to convey anxiety or chaos.
  • Creating a specific visual rhythm or visual world
    • Matching shot duration and movement style to the pacing of the story
    • Establishing a consistent visual language that supports genre or tone
    • Intentionally breaking visual consistency to mark a turning point or disruption
  • Inspiration and Homage
    • Following in the footsteps of specific cinematographers to capture a similar emotional, tonal, or aesthetic quality.
    • Integrating the work of several cinematographers to create a synthesized style.

Visual Evidence

Throughout each stage of production, the cinematographer should be collecting visual evidence relevant to their role. 

 

Visual Evidence: Cinematographer

The Cinematographer's Work is at the Heart of Visual Storytelling How can you create visual evidence at every stage of production to support your filmmaker intentions?

Tags: cameras, proxemics, camera movement, lenses, lights

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