Framing
Looking at what is in the shot
What is a shot?
Shots are defined by the subject matter
that is included within the frame of the
screen.
When discussing shots and framing, we
look at where the objects are placed and
how much is included
In general, shots are determined by how
much of a human figure is in view.
1. Extreme Long Shot
Taken from a great distance
Almost always exterior and
shows much of the location
People appear tiny and
insignificant
Often used in Epic films, where
location is important: westerns,
war films, samurai films, and
historical movies
Also used as an “establishing
shot” to establish the setting of a
scene
ELS, example
Okaeri (Japan, 1995)
The setting dominates most of this shot. The people are dwarfed,
making the appear insignificant. They are nearly swallowed up by
the setting, which further creates a feeling of starkness and
vulnerability.
Long Shot
Least specific, most commonly used shot.
Like eye-level camera angle, the full shot
is neutral.
Sometimes called “Full Shot,” barely
includes the whole human body.
Long shot establishes actors within their
settings.
LS, example
Clockwork Orange (England, 1971)
We notice that the man in the middle, with the most
prominent weapon. As our eye is drawn to him, we feel
that he is most in charge (or, possibly, most threatening)
Medium Shot
Shows the figure from
the knees or waist up.
Draws attention to the
character, especially
during dialogue or
carrying movement.
Types of MS
These variations on the Medium shot are
often used for dialog:
– Two shot – shows two people in the frame
– Three shot – shows three people
– Over-the-Shoulder shot – contains two
figures, one with back to the camera, one
facing the camera
Two Shot (note the
feeling of intimacy
created by proximity
of figures and
cropping of
background)
Over-the-Shoulder
(this shot gives
feeling of back-andforth nature of
conversation)
Close Up
Shows very little, if any locale and
concentrates on one object (often the
face).
Since close ups magnifies the size of an
object, it tends to suggest importance.
Often used to show emotion on the face of
characters.
CU, example
Twin Peaks: Fire Walk
With Me (USA, 1992)
Extreme Close Up
The most extreme variation of a close up.
Instead of a whole face, the shot might only
show an eye or mouth
ECU, example
Texas Chainsaw Massacre (USA, 1974)
Establishing Shot
Establishes the location of a certain scene
or film. Often found at the beginning of a
sequence.
Freeze Frame
One shot of movement in
order to make an
interesting illusion of a still
photograph.
Freeze Frame
Over the Shoulder
This shot is framed from behind a person who is looking at the
subject. The person facing the subject should usually occupy about
1/3 of the frame.
This shot helps to establish the position of each person, and get the
feel of looking at one person from the other's point of view.
It's common to cut between these shots during a conversation,
alternating the view between the different speakers (Shot Reverse
Shot).
Reaction Shot
Catches the viewers reaction to an event.
Rule of Thirds
An image is divided into nine equal parts.
The main subject is placed along these
lines or their intersections.
Review
Camera Movement
Horizontal and vertical camera movements
include:
Pan
Swish Pan
Tilt
Camera Movement in Three
Dimensions
Tracking Shots
Crane Shots
Aerial Shots
Handheld Shots
Steadicam Shots
Lenses and Filters:
The Frame in Depth
Depth of Field: “the range of acceptable
sharpness before and behind the plane of focus”
(American Cinematographers Manual)
A shallow depth of field means very little is in
focus in front of or behind the subject
(character). This may contribute to the sense
that the subject is separated from the
environment, not a part of it.
Lenses and the Perception of
Depth
Lenses have differing focal lengths
(distance from lens to film surface), which
give rise to different visual properties.
The most common types of lenses are
normal, wide-angle, and telephoto
lenses.
Properties of Normal Lenses
Film shot with a normal lens will not have
any noticeable distortions of space
because these lenses capture the relation
of foreground to background and to
objects the way the human eye sees those
relationships.
Properties of wide-angle lenses
These lenses offer a wider angle of view
than normal lenses (or the human eye).
They also provide the illusion of greater
depth. With these lenses, the distance
between foreground and background
appears greater than it actually is.
Extreme wide-angle lenses
They distort the spatial characteristics of
the image (relative to the normal lens or
human eye) so that straight lines appear to
be curved.
Properties of telephoto lenses
These lenses magnify the image, allowing
cinematographers to shoot the subject from a great
distance (they are used by paparazzi, for example).
With telephoto lenses, the distance between foreground
and background appears less than it actually is,
compressing the viewer’s sense of on-screen space.
If the background details of a shot do not appear to be in
focus, this is probably because a telephoto lens has
been used.
Zooms and Trombone shots
Zoom lenses have a variable focal length,
which allows directors to shift from wide-angle to
telephoto perspectives in a single shot, called a
zoom.
Trombone shots combine movement of the
camera (toward or away from the subject) and a
zoom lens (moving from wide-angle to telephoto
or vice versa) to destabilize space.