Learn Movie Making Basics: A Beginner's Guide to Cinematography and Filmmaking

Making movies can seem daunting, but the core skills are surprisingly accessible. Many aspiring filmmakers delay their start, believing they lack sufficient knowledge. However, the fundamentals can be grasped quickly, allowing you to begin creating films with the resources you have available right now.

The Essential Truth: You Can Start Now

The quote “The whole of movies can be learned in about a day and a half. I kid you not.” - Orson Welles, highlights a vital truth. Luca Guadagnino, director of "Call Me By Your Name" and "Challengers", echoes this sentiment: “There is nothing you can learn in longer than a week about filmmaking technically. What are the lenses? What is the camera? What do different angles mean? You can be taught everything in three days.” The message is clear: don't wait for perfect knowledge. Start creating with what you have and learn as you go.

Your First Film: Embrace Limitations

If you have a cell phone camera and a story to tell, you are ready to make your first short film.

Resourcefulness: The Indie Filmmaker's Superpower

Take an inventory of every resource you have available to you right now. Locations, actors (or family and friends willing too), props, costumes, and any cameras or microphones. Then take this list and write your script ONLY using these resources you’ve already listed. Don’t expect to make a Hollywood blockbuster on your first outing as a filmmaker. Play into the strengths you already have and write about what makes your life experience unique. Everyone has an unfair advantage of some kind available to them, you need to find yours. Think of your favorite films and find a way to take a genre or core idea that you love and apply it to your own script while still keeping it small scale. If you love titanic, don’t go out and try to sink a ship. Write a similar romantic story in the setting you have available. Pick a genre you love and work inside of some established cliches or tropes and find a way to spin it in a unique way. Another hidden superpower of low-budget indie filmmaking is that you have complete, total control over your creative decisions even if they’re limited by your resources.

Camera Basics: Essential Settings

These are the essential things you need to know about your camera starting out:

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Frame Rate: Frame rate is how many frames (or pictures) your camera takes per second. Higher frame rates make motion look smoother.
Exposure: Exposure is how much light hits your camera’s sensor. It affects how bright or dark your picture will be.
ISO: ISO controls your camera’s sensitivity to light. A higher ISO makes your camera more sensitive, so it works better in low light but can add grain to your photos.
Aperture: Aperture is the size of the opening in your camera lens. A larger aperture lets in more light and makes the background blurrier, while a smaller aperture lets in less light and keeps more of the image in focus.
Shutter Speed: Shutter speed is how long your camera’s shutter stays open to let in light. Faster speeds get rid of motion blur, while slower speeds increase motion blur.
White Balance: White balance adjusts the colors in your photo to make sure white things look white, depending on the light source. It helps correct color so your pictures look natural.

Mastering these settings is crucial for capturing the desired look and feel for your film.

Frame Rate: Capturing Motion

Frame rate refers to the number of images the camera sensor captures during one second, typically 23.98, 24, 25, 29.97, 30, 50 and 60fps. Usual PAL rates are 25 and 50 frames, and NTSC 29.97 and 59.94, although 24 is often used to give a true cinema look. When edited on a 25 or 29.97p timeline, 50/59.94fps can be slowed down to half speed.

Shutter Speed: The 180-Degree Rule

Shutter speed is adjusted based on frame rate. A good rule-of-thumb is to follow the '180-degree rule' and set a shutter speed of approximately double the frame rate. So for 30fps, set 1/60th sec, or for 240fps set 1/500th sec.

Focus and Sharpness: Achieving Clarity

With camera resolution rapidly evolving, 4K streaming becoming increasingly popular and ever-larger TV screens gracing homes around the world, it's more important than ever to achieve sharp, accurate focus. A revolution in auto focusing, Canon's Dual Pixel CMOS AF is a sensor-based, phase detection system that locks on to and tracks subjects. You can adjust the speed and response of the system, use clever face detection algorithms, and even use the camera's touchscreen to tap-to-focus. When using manual focus lenses, meanwhile, Canon's Focus Guide feature gives a clear indication of which way to turn the focus ring, as well as providing an obvious visual signal when the subject is in sharp focus. With a little trial and error, you'll quickly find which best suits the moment.

Aspect Ratio: Shaping the Viewer's Perspective

The majority of feature films are shot in 16:9 Ultra High Definition (UHD) 4K with a resolution of 3840 x 2160, 19:9 DCI 4K or Cinema 4K at 4096 x 2160. Lots of filmmakers, however, love the wide look of the classic CinemaScope, where the footage is intentionally distorted to create a very wide image. This is usually done with a special anamorphic lens on the camera and corrected in post-processing to produce the different vertical and horizontal dimensions of the picture. Some advanced Canon cameras allow anamorphic lens correction, so you can view the footage in a corrected widescreen format. "For the beginner, aspect ratio is a very cheap way of elevating perceived aesthetic," says Patrick. "The simple press of a button can elevate footage that looks quite pedestrian to cinematic levels of perceived quality. "A lot of documentaries now vary the aspect ratio and have 4:3 archive, 16:9 footage and 2:35 CinemaScope interview footage. It's a cheat, frankly, but one I always recommend to directors because it's a lovely place to compose. Aspect ratio is a great storytelling device."

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File Formats: Balancing Quality and Size

Video shooters are offered a range of file formats to choose from, with some offering better quality at the cost of larger file sizes. Canon's Cinema RAW Light format offers a significant reduction in file size without sacrificing image quality, and gives the widest dynamic range. Using Cinema RAW Light allows flexibility in grading, accurately setting white balance, sharpening and adding noise-reduction in post. "I treat Cinema RAW Light like any other file," says Ollie. "I just ingest it straight into the system, put it on the timeline and start working. "The RAW image doesn't have a gamma applied, so you can make it Rec.709, Canon Log 3, Log 2 or Log," he continues. "You can make adjustments to ISO, gamut, gamma, white balance, tint, highlights, shadows and sharpness."

HDR: Capturing a Wider Range of Brightness

Most standard screens can't reproduce the full range of brightness that a camera is capable of capturing, so many filmmakers record in standard dynamic range using the Rec.709 colour space. HDR complies to the Rec.2100 standard for screens that can display a far greater range of brightness, so shooting HDR in PQ or Hybrid Log Gamma (HLG) settings is essential. Cameras such as the Canon EOS C300 Mark III, EOS C500 Mark II, EOS C700 FF and EOS C70 all offer HDR capture internally. Footage recorded in PQ and HLG does not require grading, and HLG is also backwards compatible with Rec.709 standards for viewing on standard monitors, resulting in a faster workflow.

Solo or Crew?: Intimacy vs. Creative Freedom

Deciding whether to shoot solo or with a crew often comes down to budget, but there are wider considerations too, explains Patrick. "It's something I'm always having to be involved in decisions about," he says, of his experience in documentary filmmaking. "A lot of directors and producers worry about the intimacy and the footprint of a documentary crew, so the smaller your team, the better. "Having said that, a knowledgeable crew can give you creative freedom. When you have people to support you, and the technologically challenging bits of the job are taken on by someone else, that enables you to focus just on the creative, lighting and storytelling side." DoP Patrick Smith finds that when it comes to documentary filmmaking, a smaller crew is often beneficial. "Particularly now with Covid-19, you've got to be aware of your footprint. I'm encouraged, especially if I'm going into people's houses, to have as light a touch and as light a footprint as possible," he says.

Cinematography Techniques: Visual Storytelling

Cinematography techniques are the visual methods filmmakers use to tell a story through images. They include camera placement, shot composition, shot size, focus, lighting, camera movement, and on-set workflow choices that shape how a film looks and feels. Strong cinematography balances creative choices with practical planning and execution on set, such as taking advantage of motivated lighting. Many essential cinematography techniques focus on intention and workflow rather than expensive gear. Mastering these techniques helps filmmakers create consistent, expressive visuals at any scale.

Three Important Cinematography Rules

Before we examine the camera shots you’ll need in your toolbox, let’s break down three essential film rules and elements.

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Practice the 180 Degree Rule: The 180 degree rule is a filmmaking guideline that sets an imaginary line between characters in order to ensure consistent orientation. If you “cross the line,” you may disrupt the audience’s understanding of spatial relations in the scene.
Use the Rule of Thirds: The rule of thirds is the process of dividing an image into thirds (nine boxes) in order to control composition. There are many different strategies for composition; it’s generally a good idea to highlight key points of emphasis by having them framed at intersections of lines.
Master Mise en Scène: Mise en scène - translated from French for “setting the stage - is the arrangement of things in a scene, including everything in front of the camera (props, costuming, set design, lighting, hair and makeup, actors, and more).

Essential Camera Shots

Now that we’ve examined some important film rules and elements that structure cinematography, let’s look at some different types of shots.

Close-up: A close-up is a shot taken at a close proximity to a subject or object; if it’s a person, it should be from the shoulders to the top of the head. The close-up connects us to characters, or shows us a clear look at an important element of the mise-en-scène.
Extreme Close-up: An extreme close-up is a shot taken at such a close proximity to a subject or object that its outer portions are cut off by the frame. Extreme close-ups are used to communicate small details that might go unnoticed; or to highlight specific bodily features, like the eyes.
Long Shot: The long shot, aka full shot, is a type of camera shot in which a character’s entire body reaches from the top to the bottom of the frame.
Extreme Long Shot: The extreme long shot is a subtype of the long shot in which a character’s entire body is shown from an extreme distance. This type of shot helps to establish a character within a setting.
Medium Shot: A medium shot is a waist-level shot that’s captured at a medium distance to one or more subjects. This type of shot is a good middle ground between a close-up and a long shot.
Medium Long Shot: The medium long shot is a type of medium shot in which a character’s body (from the top of their head to their knees) stretches from the top of the frame to the bottom of the frame. For this reason, the medium long shot is sometimes referred to as a ¾ shot. It can be seen used with anything from hyper stylized cinematography to simple high key lighting.
Zoom Shot: A zoom shot is a type of camera shot in which focal length is adjusted to give the illusion of moving closer to, or further away from a subject. Dolly zoom shots combine focal length adjustment with a dolly shot camera movement in order to create a vertigo effect.
Aerial (Bird’s Eye) Shot: An aerial shot - also known as a birds eye view shot or an overhead shot - is a type of camera shot that’s taken from a high vantage point. This cinematic techniques can be achieved handheld; with a gimbal/crane; or with a drone.
Dutch Angle: A dutch angle is a type of camera shot in which the camera is tilted on the x-axis; often looking up at a person’s face, which can create a disorienting or unsettling feeling for the viewer. The tone can really change depending on the incorporation of side lighting, soft lighting, warm lighting, etc.
Point of View Shot: A point of view shot is a type of camera shot from the first-person perspective of a character. This type of shot puts us behind their eyes and connects us to what they’re seeing.
Over the Shoulder Shot: The over the shoulder shot is a type of shot in which the camera is placed over a subject’s shoulder. This camera technique is often used to shoot dialogue.
Tilt Shot: A tilt shot is a type of camera shot in which a fixed camera swivels up and down on a vertical plane. This type of shot uses motion to redirect the audience’s attention to an element of the scene either at the edges of, or outside the frame.
Camera Pan: A camera pan is a type of camera shot in which a fixed camera swivels left or right on a horizontal plane. Like the tilt shot, the camera pan uses motion to redirect the audience’s attention to an element of the scene either at the edges of, or outside the frame. The use of bounce lighting during a technique like this can really accentuate a moment.
Tracking Shot: A tracking shot is a type of camera shot that uses motion to “track” a moving subject. This allows us to “follow” them as they travel throughout the scene.
Crane Shot: A crane shot is a type of camera shot that is taken by being mounted on a crane. This allows cinematographers to access angles and motion that would otherwise be difficult to achieve.

Learning Resources: FilmSkills

FilmSkills has partnered with Emmy and Academy Award winning filmmakers to produce professional online filmmaking courses that combine in-depth videos based on industry best practices, constantly-updated illustrated tutorials, downloadable resources, projects, and exercises. FilmSkills lessons are packed with current, in-depth information about each topic, making it easy to learn and absorb. In-depth video tutorials shot on Hollywood sets feature Emmy and Academy Award winning and nominated filmmakers. Packed with behind-the-scenes photos, anecdotes, and real-world tips and techniques, beautifully-illustrated articles bring difficult concepts to life. Practice the skills you learn at home with hundreds of DIY projects. The FilmSkills Safety Training Program integrates OSHA standards with on-set safety requirements to meet California IATSE guidelines.

Overcoming the Procrastination: Just Start Shooting

Learn the basics of your camera and just start shooting. There’s only one way to get better and that’s by putting in the reps and getting lots of hands on experience. Look up any questions you have during the process on YouTube and then keep moving. Don’t get stuck in tutorial hell consistently learning without taking action. Start now, then solve your problems as they come.

Don’t be like me and waste time, get out there and start making films (good or bad) right now and find ways to iterate and improve them over time. Progress is messy and every project isn’t going to be perfect but you have to finish them and then move onto the next regardless of how you feel. Quit thinking that successful filmmakers are prodigies. They started out in their life knowing just as little as everyone else. Don’t let anyone mystify the process of making films. Ordinary everyday people make films every day and you can too! You just have to make the decision to become one of them right now.

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