We’ve talked about the art of Cinematography many times on the channel before. On one end it’s a set of rules and on the other hand we get an artistic freedom. Combined creates a unique cinematography.
But when we search how to get that cinematic look, we often only think about color grading. While it’s one of the important ingredients, it’s not everthing.
Lighting is for me personally the biggest deal breaker. This sets the amateur from the professional apart. It doesn’t mean that we need expensive lights though. Lighting in film is a theory and can be applied with natural lights, decorative lights and of course studio lights.
Bokeh, cinemascope and low angles definitely help to get a more cinematic look. But if your camera work is sloppy, none of those techniques will work. With camera handling we talk about the way you move the camera during handheld shots or how your compositions look in a static shot.
A while back we made a tutorial on how to properly perform handheld camera motion. If you’ve seen that video, you know it’s not as easy as it seems. There’s an actual technique behind it.
So if you’re not comfortable doing handheld movement yet, stick to a tripod. A strong composition on a tripod is much better than sloppy handheld camera movement.
And this brings us to the colors of your video. Extreme gradings and color shifts are not a great idea. A cinematic video contains natural colors. We can call this the color science.
Cinema cameras like the RED or ARRI are seen as the standard for their color science. This means, the way colors are represented. Consumer cameras often have over-saturated greens or shifts in their reds.
These things can be fixed in post production. Either manual or completely automatic with a single click using Filmconvert’s CineMatch.