Cinematography is the art of movie photography that involves capturing multiple images in quick succession to create the illusion of motion. Early experiments in cinematography in the 1870s and 1880s by photographers like Eadweard Muybridge and Étienne-Jules Marey led to the development of technologies capable of capturing multiple frames per second. Over time, the role of the cinematographer evolved to focus more on operating the camera while the director oversaw the overall shots. Modern cinematography incorporates techniques like the use of color and digital photography. Effective cinematography requires properly balancing the amount of light entering the camera lens to avoid images that are too dim or bright. Cinematography styles are also tailored to the

1. Cinematography
Cinematography is the art of movie photography. The difference between photography and
cinematography is that standard ass photography is a single picture used to show a single image
whilst with cinematography, you take multiple images (to make it congruent you’ll need to keep it
above 25 frames per second, otherwise you’ll start to see a just rather than a steady flow between
the different shots).
I’ll give you some examples of the earliest experiments with cinematography but spare the details
as I’ll be blabbering on forever.
On June 19, 1872, Eadweard Muybridge successfully photographed a horse named "Sallie
Gardner" in fast motion. The recording used a series of 24 cameras all with 21 inch spacing’s
between them to cover 20 feet. He set them off at different times so that he could capture each
part of the horses stride.
In 1882, Étienne-Jules Marey invented a chronophotographic gun, which was capable of taking 12
consecutive frames a second, recording all the frames on the same picture.
The second experimental film, Roundhay Garden Scene, filmed by Louis Le Prince on October 14,
1888 in Roundhay, Leeds, England, is now known as the earliest surviving motion picture.
Early cameras were jointed to tripods. Therefore, early camera was effectively fixed during the
shot, and hence the first camera movements were the result of mounting a camera on a moving
vehicle (mainly trains).
In the infancy of motion pictures, the cinematographer was usually also the director and the person
physically handling the camera. As cinematography progressed, it became more common practice
for the director to oversee whilst the cameraman worked the shots. When we skip forward to a
more modern look at cinematography we see the inclusion of colour and of digital photography,
ditching the old.
It’s important to note that without a decently balanced amount of light hitting the lens footage can
be either too dim or too bright. Having a light source such as a flashon the camera or a lamp can
be a good solution, but can be tricky to make the light look natural. Also, to make things dimmer try
to cover windows if in a room or you could use a dimmer lens in natural light. In addition, digital
cameras have features such as ISO that permit more and less light into the lens.
When it comes to television it’s interesting to note that when it’s NTSC (American) format it’s 60
Hz, so it runs at 30 frames per second, whilst with PAL (UK) It’s 50 Hz, so it runs at 25 frames per
second.
Cinematography within Thriller films tend to be tailored to either more dynamic, or more reserved
shots. What I mean by this is that during an action scene, the camera will move and jump at speed,
whilst on the flip side, if it’s to be a scene of someone sneaking around; the cinematography will
consist of soft pans and will remain more fixed.