Five C's of Cinematography: Motion Picture Filming Techniques

I recently picked up Five C's of Cinematography: Motion Picture Filming Techniques by Joseph V. Mascelli, and it has become one of my go-to books for understanding the art of cinematography. As someone passionate about film and video production, I found this book to be a fantastic resource for anyone looking to deepen their knowledge of the technical and creative aspects of filmmaking. Clear and Detailed Explanations: What I love about this book is how it breaks down complex cinematography techniques into digestible, easy-to-understand concepts. The Five C's—Camera Angles, Continuity, Cutting, Close-ups, and Composition—are explored in great detail, giving you the foundation to create professional-level shots. The language is simple and approachable, but it doesn’t sacrifice depth. Packed with Practical Advice: The book is full of real-world examples and practical advice, which I found to be incredibly helpful. Whether it’s about choosing the right camera angle for a scene or understanding the importance of lighting in composition, each chapter is full of useful tips that I could immediately apply to my own work. Incredible Visuals: There are numerous illustrations and visual examples throughout the book, which really helped me grasp key concepts more effectively. As a visual learner, the combination of clear text and images helped me understand the principles of cinematography in a more hands-on way. Timeless Wisdom: Even though the book was originally published decades ago, the principles it teaches are timeless and still incredibly relevant today. It covers the basics that every cinematographer should know, while also touching on advanced techniques that elevate your work. Conclusion: Overall, Five C's of Cinematography is an essential read for anyone interested in filmmaking or cinematography. It’s an incredibly well-rounded guide that covers the core principles in a way that is both educational and inspiring. Whether you’re a beginner or an experienced filmmaker looking to refine your skills, this book is a must-have. I can’t recommend it enough!

Boy, this is gonna sound like an after midnight infomercial but here goes... Do you have no money to attend a prestigious film school for cinematography? Do you consider all filmmakers to be "touched by God" to be talented? Have you always wondered how to truly shoot a scene, a music video, a film but didn't know where to start? If you answered YES to all three questions the answer is: GET THIS BOOK. I kid you not. I read a lot of cinema books, especially on film theory and on cinematography they're essentially the only thing you need, and don't let 'em ever tell you that you NEED film school. I fell into that trap for a long time, a mind trap. Thinking I needed film school to "KNOW" or "grasp" how to make any kind of cinematic art. It's all BS and I'll tell you why. Sure, you can blow off a 100K+ on a film school where you WILL indeed learn from the masters - and that's something you have to decide for yourself if that's the path you want to take. You'll make connections and gain a networking of peers, though it doesn't always mean you'll get a "job" anywhere - whether it's a professional set or a TV station. The reason is that a BODY OF WORK is what matters. The sooner you can create it, the better your chances are at being noticed and taken seriously anywhere. This book - is FILLED with information that essentially breaks down CINEMATOGRAPHY to its fundamentals. Think of cinematography as a LANGUAGE. Afterall, it is a language - cinematic language. One must know the alphabet and understand the syntax of any language in order to properly speak it. Cinematography is NO DIFFERENT than learning a new language. It's only a 100 years old and it has an alphabet and a syntax which is LEARNABLE to anyone seriously considering learning it. I'll give you an example of one of my favorite passages out of the book right now. "The camera angle chosen for each shot is determined by how the players and the action should be depicted at that particular moment in the narrative. Simple progression from long shot to close up may not always provide the most suitable type of sequence. For instance, subject matter or dramatic content of the story may require that the camera first record a close-up, in order to isolate, emphasize, or introduce a small object. An extreme long shot may be required to portray scope, grandeur, complexity; so that the audience fully appreciates the vastness, beauty, or conflict involved in the story. The over-all action of each sequence should be broken down before shooting and the type of shot required for each portion or the action determined in advance. Establish the setting with a long shot, or extreme long shot - if vast in nature. Move into a medium shot to introduce the players as a group, and use close-ups for individual screen filling shots of each. Employ long shots to show the players in relation to the background, and to allow them space to move from one place to another, as the action progresses. Use medium shots, particularly two-shots, to show important inter-action between players. Utilize close-ups to emphasize a particular action, or to isolate a player or action by removing all else from view. Use extreme close-ups for full-screen shots of very small objects or actions. Progress inward as the action develops. Move back to re-establish the over-all scene, to depict new developments, to introduce a new player or allow the players to move about. As example, contrast an extreme long shot of a missile launching with an extreme close-up of the firing button! Think in terms of dramatic impact on audience as well as visual variety." Now, if that isn't basic fundamental cinematography well summarized in two paragraphs, then I don't know what to say. And that is only a paragraph out of some 244 page book. Mascelli goes in depth throughout EACH aspect of cinematography, essentially breaking down why everything works the way it does and when to use it. Now sure, if you have no patience to even read this attentively, move on to something else - but if you dedicate the time and the effort to read everything attentively, take notes, underline, re-read passages, and truly grasp what's being said - you've already taken a huge step in understanding this craft. All it takes now is to go out and practice it. What's also great is that in reading this book you can read each section and just go out and practice filming those given things. It's about sharpening the eye, and it's about understanding that it's NOT TALENT, it's LEARNING this craft like anything else in life. Ridley Scott directed over 2000+ commercials in 15 years and he said it's about sharpening that eye. I'm also reminded of a quote by Christopher Doyle from FilmCraft: Cinematography . He said, "I am an anti-intellectual about the process because I think once you start intellectualizing, you scare the kids away from making their own mistakes. It also implies that we are above everyone else. I despise the hierarchy and sense of privilege, and the implication that it takes so much research and effort and correct knowledge to be what we are. I disagree. I happened into what I am doing. I am not an art student. Apparently I am partly color blind. I was never an assistant. Someone just gave me a camera and I am here."

The books offers a lot of novice as me. I'm still reading and learning

Excellent

If I could I'd give this 3 and half stars, but the sytem won't let me. At first I was very disappointed by this book, because much of the material seemed very basic to me. But as I got into the later chapters I realized there is a pretty good amount of information for not only cinematographers and camera operators, but also directors and editors. True, it is dated in terms of the writing style and photos (man are they funny), and the structure/organization of the book is more encyclopedic rather than like a how-to book (a complaint of a previous reviewer who clearly doesn't understand writing style vs bad writing). However, I think every film maker will find something useful. This book covers composition, framing, camera angles, and continuity techniques more than any other book out there. For that reason I think it is a solid addition to any film maker's library. The other two books I would add to it would be Kris Malciewicz' Cinematography (3rd edition) for all the technicals about lighting and gripology, and finally John Alton's Painting with light. (see my reviews of these books). This trio of books will give anyone a solid foundation in cinematography.

Un libro que vale mucho la pena leer. Indispensable para todo el que aspira a realizar cine o algo relacionado con los medios audiovisuales.

Ought to have bought this years ago!

Das Buch ist in der Tat eine Bibel. Ich war mir des Alters dieses Werks gar nicht bewusst und habe mich anfangs über die seltsame Schreibe und die Uraltfotos gewundert. Mittlerweile ist klar, das Buch ist auch nach 30 Jahren uneingeschränkt gültig und empfehlenswert. Alle klassischen Techniken werden anschaulich (in einfachem Englisch) erläutert und mit Beispielen aus Filmen sowie eindeutigen Illustrationen unterstrichen. Es funktioniert auch wunderbar als allgemeines Nachschlagewerk, denn nicht alle Techniken wird man immer direkt benötigen, aber wenn man mal in den Genuss einer Massenszene kommt, dann schaut man einfach noch mal nach : ) Das Wichtigste ist aber, dass die "five c's" NICHT die "camera" enthalten. Nur zu gern werden Filmemacher nach der eingesetzten Kamera befragt, als ob diese signifikant den Film ausmachen würde.

Un libro decisamente da leggere e studiare per chi è interessato a migliorare le proprie conoscenze in materia di videomaking a livello di composizione, montaggio, significati sottintesi e molto altro ancora. Si passa dal concetto di fare video a quello di comporre video prendendo in considerazione l'arte della cinematografia. Una cosa è certa, dopo avere letto (e sopratutto studiato i concetti di questo libro) la qualità delle produzioni video passa ad uno stadio successivo davvero molto interessante. Lo consiglio vivamente a chiunque è interessato a dare quel tocco estetico in più (e non solo) alle proprie produzioni.

As a visual artist and self-taught filmmaker, this book hit me like a beam of light through a dusty lens. The Five C’s of Cinematography isn’t just about technical rules—it’s about the soul of visual storytelling. Mascelli breaks down the grammar of cinema with clarity and depth, turning abstract ideas into practical, filmable choices. From camera angles to continuity, each “C” is like a tool in a sculptor’s hand: simple in form, powerful in effect. It may be old-school, but it’s eternal. Whether you're shooting anamorphic or on your phone, this book teaches you how to think in images. A must-have for anyone who sees the camera not just as a machine, but as a brush.