NOTES: Camera distance, camera angles and basic camera movement I. CAMERA DISTANCE -­‐Shot Types There is a convention in the video, film and television industries that assigns names and guidelines to common types of shots, framing and picture composition. Shot is a very important ingredient of composition. The term "shot" refers to the appearance of what is in each frame. This is determined by how far the camera is placed from the subject or by using an adjustable lens to achieve the effect of distance. The shot is also determined by the camera's angle and movement relative to the subject shown in the frame. Each shot, like each word in a written text, has a purpose. The choice of shots is determined by purpose and, therefore, by genre, topic and audience. The distance is measured by how much of the human body is seen. The list below briefly describes the most common shot types. EWS (Extreme Wide Shot) or ELS (Extreme Long Shot)
The view is so far from the subject that the human body isn't even visible. Often used as an establishing shot. If a person is in such a shot, their whole body is visible from head to foot, and they may even look small and far away. An EWS or LS is most commonly used as an establishing shot. An establishing shot provides important information about the setting, environment, or context in which subsequent events will take place. It is often the first in a scene or sequence. WS (Wide Shot) OR LS (Long Shot) The subject takes up the full frame, or at least as much as comfortably possible. A wide shot or WS, called a long shot or LS in the American film industry, shows a comprehensive view from a distance. If a person is in such a shot, their whole body is visible from head to foot. MS (Medium Shot) A medium shot or MS is midway between a WS (or LS) and a close-­‐up. An MS of a person is usually shot from the waist up. As well as being a comfortable, emotionally neutral shot, the medium shot allows room for hand gestures and a bit of movement. MCU (medium Close-­‐Up) Half way between a MS and a CU, a medium close-­‐up or MCU is closer still. An MCU of a person shows from mid-­‐chest to head. CU (Close Up) A close-­‐up or CU of a person shows head and shoulders. A certain feature or part of the subject takes up the whole frame. Close-­‐ups are not simply complements to medium and wide or long shots. Their power of emphasis gives them a special place in film. They can show whatever is most significant at any given moment and focus our attention on it. A CU or BCU may reveal human emotions, may reveal private information, or increase tension. ECU (Extreme Close Up) or BCU (Big Close up) An extreme close-­‐up or ECU, sometimes known as a big close-­‐up or BCU, of a person shows the head, usually from the bottom of the chin to the mid-­‐forehead. An ECU (or BCU) like a CU may reveal human emotions may reveal private information, or increase tension. They increase the emotional involvement of the viewer as they often violate the distance of proper body space and intimacy. II. CAMERA ANGLES S0S (Straight-­‐on Shot or Eye-­‐Level Shot) This is the most common view, being the real-­‐world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot. A shot framed from a particular character's point of view is called a subjective shot. In a subjective shot, the audience sees almost exactly what the character sees. High Angle A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive. Low Angle This shows the subject from below, giving them the impression of being more powerful or dominant. Bird's Eye The scene is shown from directly above. This is a completely different and somewhat unnatural point of view that can be used for dramatic effect or for showing a different spatial perspective. The bird's-­‐eye view is also very useful in sports, documentaries, etc. Dutch Tilt This is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. III. CAMERA MOVEMENT A. PHYSICALLY MOVING THE BODY OF THE CAMERA PAN: Horizontal movement of the camera left and right Tilt: Vertical movement of the camera up and down TRACKING OR TRUCKING: The camera is mounted on a cart, which travels along tracks for a very smooth movement. Also known as a DOLLY SHOT. CRABBING: Tracking without a mechanical aide, walking with the camera steady on your shoulder holding the body still and erect while walking with bent knees. B. DONE INSIDE THE BODY OF THE CAMERA Zoom: Technically this isn't a camera move, but a change in the lens focal length, which gives the illusion of moving the camera closer or further away.