Video Camera Terminology and Tips
Shot Types
There is a convention in the video, film and television industries which assigns names
and guidelines to common types of shots, framing and picture composition. The list
below briefly describes the most common shot types (click the images for more details).
Notes:
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The exact terminology varies between production environments but the basic
principles are the same.
Shots are usually described in relation to a particular subject. In most of the examples
below, the subject is the boy.
See below for more information and related tutorials.
EWS (Extreme Wide Shot)
The view is so far from the subject that he isn't even visible. Often used as an establishing
shot.
VWS (Very Wide Shot)
The subject is visible (barely), but the emphasis is still on placing him in his
environment.
WS (Wide Shot)
The subject takes up the full frame, or at least as much as comfortably possible.
AKA: long shot, full shot.
MS (Mid Shot)
Shows some part of the subject in more detail while still giving an impression of the
whole subject.
MCU (Medium Close Up)
Half way between a MS and a CU.
CU (Close Up)
A certain feature or part of the subject takes up the whole frame.
ECU (Extreme Close Up)
The ECU gets right in and shows extreme detail.
Variation: Choker
Cut-In
Shows some (other) part of the subject in detail.
CA (Cutaway)
A shot of something other than the subject.
Two-Shot
A shot of two people, framed similarly to a mid shot.
(OSS) Over-the-Shoulder Shot
Looking from behind a person at the subject.
Noddy Shot
Usually refers to a shot of the interviewer listening and reacting to the subject.
Point-of-View Shot (POV)
Shows a view from the subject's perspective.
Weather Shot
The subject is the weather. Can be used for other purposes, e.g. background for graphics.
See also:
 Camera Angles
 The Rules of Framing
 The Rule of Thirds
 Crossing the Line (Reverse Cuts)
 Dutch Tilt
 Talking Head
 Pickup Shots
Video Camera White Balance
White balance basically means colour balance. It is a function, which gives the camera a
reference to "true white" — it tells the camera what the colour white looks like, so the
camera will record it correctly. Since white light is the sum of all other colours, the
camera will then display all colours correctly.
Incorrect white balance shows up as pictures with orange or blue tints, as demonstrated
by the following examples:
Correct colour balance
Colour balance too blue
Colour balance too yellow
Most consumer-level camcorders have an "auto-white balance" feature, and this is how
most amateurs operate. The camera performs it's own white balance without any input
from the operator. In fact, very few home-video users are aware of it's existence.
Unfortunately, the auto-white balance is not particularly reliable and it is usually
preferable to perform this function manually.
Terminology
To confuse the issue, the term "automatic white balance" has two different
interpretations. On consumer-level cameras, it means completely automatic. On
professional-level cameras, it can mean the white balance operation as described below
(which is actually quite manual). This is because in professional situations, a "manual
white balance" can mean altering colours using specialized vision processing equipment.
The terminology we use at mediacollege.com is as follows:
"Auto-white" means the completely automatic function (no user input at all).
"Manual-white" means the operation described below.
"Colour correction" means any other method of adjusting colours.
How to Perform a Manual White Balance
You should perform this procedure at the beginning of every shoot, and every time the
lighting conditions change. It is especially important to re-white balance when moving
between indoors and outdoors, and between rooms lit by different kinds of lights. During
early morning and late evening, the daylight colour changes quickly and significantly
(although your eyes don't notice, your camera will). Do regular white balances during
these periods.
You will need a camera with a manual white-balance function. There should be a "white
balance" button or switch on your camera.
1. If your camera has a filter wheel (or if you use add-on filters), make sure you are using
the correct filter for the lighting conditions.
2. Point your camera to a pure white subject, so that most of what you're seeing in the
viewfinder is white. Opinions vary on just how much white needs to be in the frame but we've found that about 50-80% of the frame should be fine (Sony recommends
80% of frame width). The subject should be fairly matte, that is, non-reflective.
3. Set your exposure and focus.
4. Activate the white balance by pressing the button or throwing the switch. The camera
may take a few seconds to complete the operation, after which you should get a
message (or icon) in the viewfinder.
Hopefully this will be telling you that the white balance has succeeded - in this case,
the camera will retain it's current colour balance until another white balance is
performed.
If the viewfinder message is that the white balance has failed, then you need to find out
why. A good camera will give you a clue such as "colour temperature too high" (in
which case change filters). Also try opening or closing the iris a little.
Note: Advanced camera operators occasionally trick the camera into reading an
inaccurate white balance, in order to make the pictures appear warmer (more orange) or
cooler (more blue). We'll look at this technique in a later tutorial
Camera Moves
This page outlines the standard types of camera movement in film and video. In the real
world, many camera moves use a combination of these techniques simultaneously.
Crab
A less-common term for tracking or trucking.
Dolly
Dolly Zoom
Follow
Pan
Pedestal (Ped)
Tilt
Track
Truck
Zoom
The camera is mounted on a cart which travels along tracks for a
very smooth movement. Also known as a tracking shot or trucking
shot.
A technique in which the camera moves closer or further from the
subject while simultaneously adjusting the zoom angle to keep the
subject the same size in the frame.
The camera physically follows the subject at a more or less
constant distance.
Horizontal movement; left and right.
Moving the camera position vertically with respect to the subject.
Vertical movement of the camera angle, i.e. pointing the camera
up and down (as opposed to moving the whole camera up and
down).
Roughly synonymous with the dolly shot, but often defined more
specifically as movement, which stays a constant distance from the
action, especially side-to-side movement.
Another term for tracking or dollying.
Technically this isn't a camera move, but a change in the lens focal
length with gives the illusion of moving the camera closer or
further away.
Camera Angles
The term camera angle means slightly different things to different people but it always
refers to the way a shot is composed. Some people use it to include all camera shot types,
others use it to specifically mean the angle between the camera and the subject. We will
concentrate on the literal interpretation of camera angles, that is, the angle of the camera
relative to the subject.
Eye-Level
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.
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 which can be used for dramatic effect or for showing a different
spatial perspective.
In drama it can be used to show the positions and motions of different characters and
objects, enabling the viewer to see things the characters can't.
The bird's-eye view is also very useful in sports, documentaries, etc.
Slanted
Also known as a 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. Famous examples
include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.
Dutch tilts are also popular in MTV-style video production, where unusual angles and lots
of camera movement play a big part.
Shooting Technique
Position yourself and your camera. If you're using a tripod, make sure it's stable and
level (unless you have a reason for it to be tilted). If the tripod has a spirit level, check it.
If you're going to be panning and/or tilting, make sure that you'll be comfortably
positioned throughout the whole move. You don't want to start a pan, then realise you
can't reach around far enough to get the end of it. If it's going to be difficult, you're better
off finding the position which is most comfortable at the end of the move, so that you
start in the more awkward position and become more comfortable as you complete the
move.
If the tripod head doesn't have a bowl (this includes most cheaper tripods), it's very
important to check that the framing still looks level as you pan - it may be okay in one
direction but become horribly slanted as you pan left and right.
If you're not using a tripod, stabilise yourself and your camera as best you can. Keep your
arms and elbows close to your body (you can use your arms as "braces" against your
torso). Breathe steadily. For static shots, place your feet at shoulder width (if you're
standing), or try bracing yourself against some solid object (furniture, walls, or anything).
Frame your shot. Then do a quick mental check: white balance; focus; iris; framing
(vertical and horizontal lines, background, etc.).
Think about your audio. Audio is just as important as vision, so don't forget about it.
Press "record". Once you're recording, make sure that you are actually recording.
There's no worse frustration than realising that you were accidentally recording all the
time you were setting the shot up, then stopped recording when you thought you were
starting.
Many cameras have a tape "roll-in time", which means that there is a delay between the
time you press record and when the camera begins recording. Do some tests and find out
what your camera's roll-in time is, so you can then compensate for it.
Keep checking the status displays in the viewfinder. Learn what all the indicators mean
— they can give you valuable information.
Use both eyes. A valuable skill is the ability to use one eye to look through the
viewfinder, and the other eye to watch your surroundings. It takes a while to get used to
it, but it means that you can walk around while shooting without tripping over, as well as
keeping an eye out for where the action is happening. It's also easier on your eyes during
long shoots.
Learn to walk backwards. Have someone place their hand in the middle of your back
and guide you. These shots can look great.
You'll often see television presenters walking and talking, as the camera operator walks
backwards shooting them.
Keep thinking "Framing...Audio..." As long as you're recording, think about how the
frame composition is changing, and what's happening to the sound.
Press "record stop" before moving. Just as in still photography, you should wait until
one second after you've finished recording (or taken the photo) before you move. Too
many home videos end every shot with a jerky movement as the operator hits the stop
button.
That's all there is to it! Finally, here's a few more tips to finish off with...
Be diplomatic while shooting. Think about the people you're shooting. Remember that
people are often uncomfortable about being filmed, so try to be discreet and unobtrusive
(for example, you might want to position yourself some distance from the subjects and
zoom in on them, rather than being "in their faces").
Many people find the red recording light on the camera intimidating, and freeze
whenever they see it. Try covering the light with a piece of tape to alleviate this problem.
Learn to judge when it's worth making a nuisance of yourself for the sake of the shot, and
when it's not. If it's an important shot, it might be necessary to inconvenience a few
people to get it right. But if you're going to make enemies over something that doesn't
matter, forget it and move on.
Use the "date/time stamp" feature sparingly. It's unnecessary to have the time and
date displayed throughout your video, and it looks cheap. If you must have it there, bring
it up for a few seconds, then get rid of it.
Modern digital cameras have the ability to show or hide this display at any time after
recording.
Be prepared to experiment. Think about some of the things you'd like to try doing, then
try them at a time that doesn't matter (i.e. don't experiment while shooting a wedding).
Most new techniques take practice and experimentation to achieve success, and good
camera work requires experience.
If you want to be good, you'll have to invest some time.