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What our customer's say!

"Great book", This is a wonderful book that gives a professional approach to those who want to be professionals.

"neccessary book ", This book is great. That's all there is to it really. Anyone who is interested in cinematography and making films should own it.

"Wooohooo", It is soooo nice to have a book like this. I refer to it all the time. It covers just about everything I ever wanted to know about placing and moving and framing, or to sum it up, USING a camera to visually achieve the most emotional draw from an audience. While it doesn't have technical aspects like using a light meter, it is very technical, however it doesn't just give you a list of rules to follow that you can later learn to break. It teaches why those rules work, and how to break them. But it doesn't stop there. It explains why you can break the rules and how to apply this creativity to your film.

It is full of examples that you can watch for yourself. It is pretty much a book that no one considering cinematography as a career should be without!

"Good for the REAL basics", This is no doubt a very BASIC book on Cinematography from 1965 (but still applicable today)- yet if you are unfamiliar with the basic Five C's of shooting, then it is a good tool for learning these rules. I recommend it for film students new to camera work. But if you have been working with shooting for awhile, it may be a little too basic.

"How can one make art without knowing the rules?", The Five C's of Cinematography is basically a rule book on the form of motion picture making as it relates to camera angles, movements and editing. This book is the "bible" or rule book of the techniques of film making, such as painting has composition rules itself. A true artist not only knows the rules, but understands the rules of why it is used. The Five C's does all that, it shows and explains the what therefores and hows. It even shows the wrongs in a clear fashion, which is amazing since this is a book of still images about a medium of moving images.

The best artists knew the rules of their art, and either followed them or break them to get the effect they wanted. If one does not know the rules, one can not realize the effect they are creating by breaking the rules. That is why most modern artists of today seem muddled and unfocused and Picasso still evokes and moves one. Picasso knew the rules. This book will help one know the rules of film.

The images and wording may be dated, even quaint, but once one looks past such superficial cosmetics, the information is a gold mine of a very large vein in information

Read this reviews before You buy...

"Read and heed for better production", Written more than forty years ago, you can only add to this book. The techniques discussed are classic, timeless, and undisputed. That which can be added to the book is a result of having a solid grasp of the book. In other words, break the rules with a purpose that works.

Read the book then read it again, and again. If you are an experienced filmmaker, use it for reference and as a reminder. The book creates an awareness of what works, what doesn't, and why. A thorough understanding of the principles will allow you to side-step many pitfalls in pre-production, production, and post-production.

Because of the amount of information presented, I think the book would work well as a curriculum textbook. Setting up the techniques in a lab/studio situation would be to the benefit of almost everyone entering the motion-picture/video field. Until then, get the book, read it, and heed it.


"Get it as your 3rd or 4th Cinematography", 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.

"Outdated? No way", The reason this book stands the test of time is for the same reason classic movies do. This book reaches back to a time when techniques that are now standard and routine were invented and created and will give you a better understanding of the vision of what film makers back in the day were trying to create and communicate. After you read this you'll watch movies like Citizen Kane, Gone With the Wind, Casablanca and all of Hitchcock's movies in a whole new light. Sixty five years later Citizen Kane is still the standard by which movies are judged. Old movies like these are a gold mine of (for the time) cutting edge cinemagraphic information.

"Has some useful information but overall not very good.", This book had a bit of useful information here and there, but it is extremely unorganized and unhelpful in the way it gives you its information. The book is also a bit outdated, however basic cinematography never gets completely outdated. Not awful but not great.

"An excellent primer", Decades after its first printing, this is still a rock-solid primer for understanding the basics of cinematography. It could probably stand to be updated with some newer images (all the stuff that's in here looks quite dated), but Mascelli's techniques are still as useful today as they were when the book was first printed.

My only real complaint is that it's not wire- or spiral-bound, so there's no way to set it down while you're setting up shots to actually go through the motions of what you're learning.