RE-FRAMING CINEMATOGRAPHY

Should We Re-Define Our Practice

Australian Cinematographer Article

Submitted by
Daniel Maddock

Thursday, 14 December 2017

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This year (2018) marks one-hundred and thirty years since Frenchman Louis Le Prince recorded his
family walking around in a garden at the back of his house in Leeds, England. Le Prince was the
first inventor to produce a recording of a believable motion-effect using a single camera and a
single strip of film in 1888.

The original twenty frames still in existence of the Roundhay Garden Scene shot by Le Prince in
1888 kept at the National Science Museum in London since 1931.

During the next two decades of cinema almost every possible variation of cinematography practice
was produced for the first time. The first animated film (Pauvre Pierrot; English - Poor Pierrot,
Emile Reynaud, 1889), the first cinema screening (La Sortie de L'usine Lumiere; English - Workers
Leaving The Lumiere Factory, Auguste & Louis Lumiere, 1895), the first female filmmaker (La
Fee Au Choux; English - The Cabbage Fairy, Alice Guy, 1896), the first use of miniatures (A
Railway Collision, Robert Paul, 1900), the first use of a double exposure and superimposition
(Scrooge, Walter Booth, 1901), the first use of special effects (Le Voyage Dans La Lune; English -
A Trip To The Moon, Georges Méliès, 1902), the first example of a studio (Rescued By Rover, Cecil
Hepworth, 1905), the first use of glass plate painting or virtual imagery (Missions of California,
Norman Dawn, 1907), and the first use of the word cinematographer (Afgrunden; English - The
Abyss, director - Urban Gad, cinematographer - Axel Graatkjaer, 1908). In the following few
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decades preceding the invention and application of sound recording in feature-film production (first
used in 1928 for Lights of New York, though applied much more successfully the following year for
Alfred Hitchcock’s Blackmail) different aspect ratios including a widescreen format (Abel Gance
pioneered a 4:1 aspect ratio using three cameras for Napoleon in 1928), camera movement through
use of a dolly, handheld operating, swinging the camera off ropes et cetera, force perspective effects
such as the Schufftan Process, impressionistic lighting as well as naturalism (cinematographer
Eugene Schufftan first used many realist techniques for the film Menschen am Sonntag; English -
People on Sunday, 1930, far before the French New Wave would be credited with pioneering
Cinéma Vérité in the late fifties and early sixties), split-screen, fast and slow-motion effects,
montage, and many other techniques were also used for the first time. In fact, it could be argued that
most any practice in cinematography, or cinema imaging, used today has a similar, even if only
conceptually so, example from the first forty-years of cinema (1888-1928).

Since the introduction of computers to the filmmaking process there has been much upheaval to the
industry, especially to cinematographers. The perceived loss of control and authorship over the
images has been widely discussed especially in reply to the outcome of awards such as the Oscars.
Many have debated the role of the cinematographer as technology has introduced new possibilities
such as digital-colour-grading, high-dynamic-range imagery, and greater degrees of computer-
generated-imagery. The question of who is now responsible, or, authors the images of a film where
many hands are changing those pictures or creating entirely new pictures have been present for a
while in the literature and the dialogue. With Oscar wins in the Best Cinematography category for
the feature films Avatar (dir: James Cameron, d.p: Mauro Fiore ASC, 2019) and Life of Pi (dir: Ang
Lee, d.p: Claudio Miranda ASC, 2012) the contention of a seemingly simple question, ‘what is
cinematography,’ came to the fore. As an industry our worries are misplaced in technological
advancement. In the first decades of cinema Norman Dawn would add to or obscure the imagery
captured by his camera using the glass-plate-painting shot he brought to cinema. To put it simply,
the team that created the most recent example of our changing practice, The Jungle Book (dir: Jon
Favreau, d.p: Bill Pope ASC, 2016), has done very much the same thing but instead of taking a
photograph and integrating computer-generated-imagery (or analogue matte-painting) into that
photograph the team starts with the CGI and the photograph is the smallest part of the final image.

The film features a sole live-action actor, 13-year-old Neel Sethi, who portrays the
human boy Mowgli. Only those pieces of the sets that Sethi directly interacted with
are real; beyond them, all environments, and the entire cast of supporting animal
characters, are CG constructs. (‘Welcome to the Jungle,’ Michael Goldman,
American Cinematographer, 2016, p. 32.)
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Physical lighting is used on the blue-screen stage. The physical lighting matches the design first
created virtually for the CG image by the cinematographer Bill Pope, ASC. (2016. ‘Jungle
Capture.’ Definition Magazine, 06/2016, 22-28)

The final image is a composite of a digital environment, lit and lensed by the cinematographer, and
a physical actor and partial physical environment also lit and lensed by the cinematographer.
(2016. ‘Jungle Capture.’ Definition Magazine, 06/2016, 22-28)

The ACS currently defines a cinematographer as…

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 …a person with technical expertise who manipulates light to transfer visual
information by the use of a camera into aesthetic moving images on motion picture
film or electronic recording systems. (Australian Cinematographers Society, 2016).

The ACS along with other society’s around the world now offer awards for ‘virtual-
cinematography.’ As with other society’s (including the Society of Motion Picture Arts and
Sciences - Oscars) the awards categories and processes evolve with the industry (at one time there
were awards for both black and white cinematography and colour cinematography). However, most
definitions of the cinematographer or cinematography state that it is practiced with the use of a
camera and lighting. The definitions now relate the camera as an object that carries celluloid film or
electronic systems in order to record motion; but, they do not yet describe the use of virtual imagery
for this process despite awarding it. The same reluctance is present in many film-schools
worldwide.

In November, 2014, the Institut des Arts de Diffusion (IAD) hosted an international conference in
collaboration with the Belgian Society of Cinematographers (SBC) and IMAGO: The Federation of
European Cinematographers, about the influence of technology on the methods of teaching
cinematography. This conference was covered by cinematographer Ashley Barron for AC
Magazine.

Of all the topics discussed, however, ‘Cinematography for VFX’ seemed the most
controversial with many unable to answer the few questions about its education.
Most seemed to be of the belief that only green and blue screen work should be
taught briefly but anything further should be an elective… (‘Cinematography in
Progress,’ Ashley Barron, Australian Cinematographer, 2015, Issue 65, p.11)

There are schools that offer education to emerging cinematographers in areas such as virtual
cinematography, pre-visualisation, digital lighting and so on; the Global Cinematography Institute
being one of them. However, the vast majority are stuck in a mire of ‘traditional cinematographic
techniques.’ This shows a great lack of understanding of the history of art and practice. As
mentioned in the begging of this article the ‘virtual’ production of imagery for cinema, especially
where it is made to be integrated seamlessly with live-action cinematography has been around in
one form or another since the very beginning of cinema and therefore is traditional. The ACS has
offered awards for the practice of virtual cinematography. It would now be an important move to
include this practice, in some way, in the definition of cinematography itself. For, with this re-
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framing of cinematography, to include what has always been present, the ACS will drive change in
the film-schools in this country. This is important for our art, it’s education and our artists. The
cinematographer needs to have authorial say not only in the colour-grade but in the creation of
computer-generated-imagery where it relates to cinematographic process (such as lighting, colour,
movement, composition and so on). We are authors of the cinematic image for the purpose of story-
telling however the image is created or captured.

END. 1299 words.

Daniel Maddock is an Australian Cinematographer, Photographer and Academic who is also

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