Comment améliorez-vous l’ambiance de votre film avec la cinématographie ?

This is too basic. I would recommend if you need to understand how cinematography can make your film memorable and iconic, watch the works of some of the greatest cinematographers. Emmanuel Lubezki, Rodrigo Prieto, and my absolute favorite Christopher Doyle. These are just a few. Once you start learning from the works of one, you will embark on a journey of exploring visual mastery. This should open your eyes and mind to looking at the world in so many ways than you did ever before.

Don't try to make all the images pretty or impressive. That's how the big guys make expensive movies boring. It's not about pretty pictures, which can distract from the human drama when used indiscriminately. Make sure you capture the feeling in the eyes; compose the shot so what you need to see is seen and what you don't need to see is not seen. Don't make all the shots look the same unless there's a good reason for it. Don't make all the shots look different unless there's a good reason for it. Leave the rest to your colleagues.

Imagine a rectangle: wider or narrower. The choice affects what the audience sees. Wider ratios like 2.35:1 give that epic, cinematic feel. Think of big action sequences or stunning landscapes. Narrower ratios like 1.85:1 are more common and feel like everyday life. They're used for a lot of movies. So, aspect ratio helps filmmakers set the vibe and style of their film. It's a creative tool that shapes the viewer's experience, like choosing a canvas for a painting.

Oftentimes new cinematographers think the best image means the most technically correct, but I don't agree. The best image is the one that serves the story. Imperfections make something interesting. Obviously something like aspect ratio is an important creative choice, but as a cinematographer, every decision you make should be driven by the story not by "what looks good".

As a scripty I notice all kinds of different shots that come after the aspect ratio notes and not just to make sure the shots of a scene continuously flow into the next but the placement of the camera makes a huge difference. Ask yourself if a low angle shooting up into the faces of the actors making them seem bigger or taller appropriate for the scene or would a high angle causing the subject to appear small juxtaposed to the background relay the overall feel more effective? There are obviously over 360 angles to choose from so explore the options before committing the the fast easy shot to move on.

Video editing is understanding the essence of the script,& nitpicking the most well-lit and perfectly designed shots. Aligning your message with the director's vision to create a story that captivates, entertains, and brings about a positive impact in society. The 'technique' is important, but the key is an intriguing story & plot. "As they say the film is rewritten on the edit table!" In a nutshell, it's all about collaboration and bringing about the best in each other to achieve success in editing a perfect film. I end with a quote from one of the senior-most editors : “Once things have passed & become irretrievable, we tend to see them with a hazy, golden glow.”― Walter Murch, The Conversations: Walter Murch & the Art of Editing Film.

The lighting style can directly influence how an audience perceives a scene combined with camera movement, the score, production design and editing. There are rules that can be followed but also rules that can be broken for more dramatic effect or to throw the audience off, if the story requires it.

Lighting in cinematography is like the magic wand of filmmaking. It's how they paint with light to create the mood, atmosphere, and focus in a movie. Think of it like this: you've got actors, sets, and a story, but without the right lighting, it's like trying to read a book in the dark. Lighting helps set the tone – whether it's a warm, cozy scene in a romantic movie or a tense, eerie moment in a horror flick. Cinematographers use light to draw your attention to characters or objects, or to create shadows and highlights that add depth and drama. So, lighting in cinematography is like the secret sauce that makes a film visually stunning and emotionally captivating.

Lighting is the most powerful mood-setting tool. Use different types of light (e.g., natural light, artificial light, cool light, warm light) to create a specific atmosphere. Soft, diffuse lighting can create a sense of warmth and relaxation, while intense contrasting lighting can create tension or excitement. The direction of light can also affect mood. Front lighting can make characters seem friendly and approachable, while side or backlighting can create shadows and mystery.

Lighting, to me, is the single most important aspect of cinematography. It's what sets the mood, what brings a viewer into the world or pulls them out of it. It creates mystery, suspense, euphoria. New cinematographers often focus their efforts on making sure they know everything about every camera, but to me the best cinematographers think lighting first, camera second.

Color palette will give a sense of hole in a film. When used properly, it connects the sequences in a very unique way, and makes the film feel like one single piece. It's very subtle, but it helps a lot to keep all visually compact. A help form the color grading will always push the film to a mood. But color grading tents to go to where your color palette is set to. So paying attention to it from preproduction is an essential part of the final grading. Don't rely only in the grading. Prepare your color palette from the beginning. another interesting thing is, depending on the journey of the hero, color palette can vary. Yet more about lightning, but color also plays a big role on the story and where it is heading to. Light, or dark.

One thing I really agree with is the effect of color on the mood and how it drives the theme of the film. Loved the color and overall look in the Shining, Clockwork orange and more recently Top Gun Maverick

I totally agree with this. A colourist is to a cinematographer what an editor is to a director. So much of a film in made in the grade afterwards. One simple change to the grade can drastically change the mood of a film. You want to take your work to the next level? Master the art of colour.

Being a dedicated fan of independent cinema, I've delved into the realm of web series and recently discovered a gem in "Color's of Kerala Crime Files." What drew me in was its distinctive rustic and earthy visual style that resonated with me deeply. It's a testament to the fact that achieving such captivating visuals onscreen requires the expertise of a talented colorist. Their ability to manipulate and enhance colors truly brings the magic of storytelling to life, adding depth and emotion to every scene in the series.

camera angles also projects the film in a interesting way to see them in theaters. I'ts come to my attention that using low wide angles for wide shots (depending on what you waht to tell) makes the audience feel more into the film itself, from where they are sitting in the theater. Many big films where cinematography plays a role in the narrative structure, not only the acting, but the photography (doesn't happen in all cases), tent to use this shots in order to make the room feel part of the experience. Lots of examples for it. We all know that angles speaks about psychology of the scene, but if you push it a little more towards the experience of the crowd in the theater, from their point of view, makes a difference.

Camera angles and movement play a significant role in creating the mood of a scene. When using low angles, characters can appear powerful or menacing, while high angles convey vulnera­bility. Camera movement can have a significant impact on a scene's energy and atmosphere. Tracking shots, for instance, inject excit­ement and dynamism, while static shots evoke stability and introsp­ection.

I don't agree with this in terms of just experimenting with angles for the sake of it. It's important to note that the cinematographer's first job is to enhance the story and their second job is to make it look good. If a certain camera angle doesn't inform the story or what the character is feeling then it shouldn't be there. Everything must have a reason.

I am a believer in knowing the rules and practicing the basics. Become a master of the basics. Because then you can break the rules, and that's where the real fun in storytelling begins.

Crafting in a film is a very important thing to make a difference. And there is a lot of craft in camera moving. The moving of the camera makes the audience feel part of the scene. Depending on the narrative of the scene, the more interesting the movement, the more it makes the scene grow. I personally love very difficult camera movements. Simple scenes can grow if using a very interesting camera move. And mixing camera move with some VFXS to connect other elements in the scene, for me it is art. Lots of examples, like the one form Contact, where the kid runs from the hallway to the mirror, made that scene bigger.

Altering the speed of the camera (slow-motion or fast-motion) or using different frame rates can affect the emotional impact of a scene. Try to use some movement while taking a shot that gives an extra element to the scene.

There is so much more to camera movement than just "static" or "moving". Some questions to ask yourself are - if the camera is moving, then how? Is it on a tripod, is it handheld, or on a steadicam? What direction is it moving in and why? Are we following a person or an action? If the camera is static, what are we focusing on? If the camera is still, what do we imagine is happening outside the frame that we're choosing not to show the audience? There are so many things to consider with camera movement beyond just "to move or not to move".

This article is too facile for anyone other than an absolute beginner, and even for them it just trots out cliches etc. Not recommended.

Enhancing a film's mood through cinematography requires a deep understanding of the story, characters, and the emotional journey you want to take your audience on. Collaboration with the director, production designer, and lighting team is essential to achieve the desired visual atmosphere.

There's a beautiful sequence in "Jaws" where Spielberg uses the dolly zoom (or Vertigo effect) to convey Chief Brody's sudden realization of the shark's presence. The background seems to stretch away, while the character remains stationary, effectively communicating the gut-wrenching fear and realization. I bring up this scene because it has a little bit of everything in this article, once you learn the basics you can notice how directors paint their scenes with their specific touch.

There is a very important notice that many of directors and cinematographers don’t pay attention to that ! Camera Lens … If you choose a right lens for your camera, you can make change in mode of your scene for example if you select wide lens for scene of running of two characters, their movement will be slowly. in against of that if you choose a tele photo lens their movement will be too fast. For different goals, you can use the difference between these two type of lens. It is one of the best way for changing mode with cinematography!