Skido Achulo

Camera shots
Establishing shot
 The establishing shot, is ordinary the opening to a
scene it sets the scene.
 It gives the audience the idea of where they are.
Establishing shots are exactly what they say; they
establish where the program is set and gives
information to the viewer in a short space of time.
 They are usually exterior shots, and give a general
view of the surrounding.
 They are usually followed by a mid shot and a close
up shot.
Master Shot
 Is a long continuous shot that captures all the
action from start to finish.
 A master shot is usually filmed as a opening shot
of a scene and is often a long shot, which is made
up of other shots that reveal other aspects of
actions i.e. the groupings of two or three of the
actors at crucial moments, close-ups of
individuals and various props, and so on.
 Key: Continuous, one long shot and does not cut
to other shots.

CLOSE-UP
 A picture which shows a fairly small part of the scene,
such as a character's face, in great detail so that it fills the
screen
 A framing in which the scale of the object shown is
relatively large.
 In a close-up a person's head, or some other similarly
sized object, will fill the frame.
 These shots can be used to stress the importance of a
particular character at a particular moment in a film or
place her or him as central to the narrative by singling out
the character in CU at the beginning of the film.
 Connotation: This shot creates intimacy between the
characters.
EXTREME CLOSE-UP
 A framing in which the scale of the object shown is very
large; most commonly, a small object or a part of the
body usually shot with a zoom lens.
 Again, faces are the most recurrent images in extreme
close-ups.
 However, this shot can also be used to show an extreme
close up of a text on a mobile phone.
 These shots have a symbolic value, due to their
recurrence during the film. How and where they recur is
revealing not only of their importance but also of the
direction or meaning of the narrative or to signal out at
important person or object.
 Connotations: ECU’s show emotion, usually fear or
happiness.
MEDIUM CLOSE-UP
 The medium close up is half way between a mid shot
and a close up.
 A medium close up is framing the shoulder, chest to
head. It would fill most of the screen.
 Conventions: Medium shots are frequently used for
the tight presentation of two or three actors.
 This shot is very commonly used in indoor
sequences allowing for a visual signification of
relationships between characters.
 Connotations: Intimacy, coming together.
LONG SHOT/ WIDE SHOT
 A framing in which the scale of the object shown is
small; a standing human figure would appear nearly
the height of the screen.

 It makes for a relatively stable shot that can

accommodate movement without reframing
 Allows the audience to see a large number of
components of the arena
MEDIUM LONG SHOT
 Framing such an object four or five feet high would fill most of
the screen vertically.

 Also called plain américain, given its recurrence in the Western

genre, where it was important to keep a cowboy's weapon in the
image.
 Gives clear sense of character in a given location and emphasises
body language.
EXTREME LONG SHOT
 A framing in which the scale of the object shown is very
small; a building, landscape, or crowd of people will fill
the screen.
 Surroundings now have as much if not more
importance, especially if the shot is in high-angle.
 This means that the closer up the shot, the more the
spectator's eye is directed by the camera to the
specified reading, extreme long shots give an overall
view and do not necessarily direct the viewers eye to
what the characters are doing.
 Usually the first or last shotsof a sequence, that can also
function as an establishing shot.
Mid shot
 Its from the waist and usually used in
conversations and is a common shot.
 In film, a medium shot is a camera
shot from a medium distance. The
dividing line between "long shot, and
"medium shot" is fuzzy, as is the line
between "medium shot" and "close-
up"
Aerial shot
 A camera shot that is filmed from an airplane or a
helicopter.
 Not necessarily a moving shot.
Point of View shot
 (POV) Point of view shows what the
character sees. These are often freehand
and are used in horror films.
 The editor may change the audience’s
point of view to create certain effects.
Over the shoulder shot
 Shot filmed from behind character's
shoulder: a cinematographic shot taken
from over the shoulder of a character
whose back can be seen at the side of the
frame.

 This type of shot is very common when

two characters are having a discussion and
will usually follow an establishing shot,
which helps the audience place the
characters in their setting.
TWO SHOT
 There are a few variations on this
one, but the basic idea is to have a
comfortable shot of two people.
Often used in interviews, or when
two presenters are hosting a show.
 A "One-Shot" could be a mid-shot of
either of these subjects. A "Three-
Shot", unsurprisingly, contains three
people.
 Two shots are good for establishing
relationships between characters
 two-shot could also involve
movement or action. It is a good way
to follow the interaction between two
people without getting distracted by
their surroundings.
Angles
High Angle
 A high angle is a power position.
 Not so extreme as a bird's eye view. The camera is
elevated above the action using a crane to give a general
overview.
 High angles make the object photographed seem
smaller, and less significant (or scary).
 The object or character often gets swallowed up by their
setting - they become part of a wider picture.
 These shots allow you to see more of the picture the
mise en scene.
 A high angle shot, can make a character seem more
superior and the subject more subject more vulnerable.
Low Angle
 Low angles help give a sense of confusion to a
viewer, of powerlessness within the action of a
scene.
 The background of a low angle shot will tend
to be just sky or ceiling, the lack of detail about
the setting adding to the disorientation of the
viewer.
 The added height of the object may make it
inspire fear and insecurity in the viewer, who is
psychologically dominated by the figure on the
screen.
Canted Angle
 Sometimes the camera is tilted (i.e. is not
placed horizontal to floor level), this shot
suggest imbalance, transition and instability
(very popular in horror movies).
 This technique is used to suggest POINT-OF-
View shots (i.e. when the camera becomes the
'eyes' of one particular character, seeing what
they see — a hand held camera is often used
for this.
Movement shots
TILT
 The camera body swivelling upward or downward on a
stationary support. Scans the space vertically.

 A tilt usually also implies a change in the angle of framing;

 High angle view – inferior

 Low angle – superior

PAN
 .The pan shot is more often used, however, for the purpose of
following action or of giving movement to a scene that
otherwise would be static. When made rapidly it is called a
whip shot, a manoeuvre that is better reserved for special
occasions, such as a dramatic shifting of interest from one
character or thing to another.
 It moves from one side to the other
 A pan connects two places or characters, thus making us
aware of their proximity. The speed at which a pan occurs can
be exploited for different dramatic purposes.
HANDHELD CAMERA, STEADYCAM
 The use of the camera operator's body as a
camera support, either holding it by hand or
using a gyroscopic stabilizer and a harness. Can
be attached to a dolly, is used to stabilises
footage. Generally used in certain genres such
as documentaries.

 Used by newsreel and wartime camera

operators.
 Recently, they are extensively used in music
videos and in the films like the Shinning, and in
Atonement and the battle of Dunkirk.
TRACKING SHOT
 A tracking shot also known as a dolly shot. Usually follows a
character or object as it moves along the screen.
 A tracking shot can go
 backwards
 left to right
 right to left
 The movement is normally quite fluid (except perhaps in some of
the wider car chases) and the tracking can be either fast or slow.
Depending on the speed, this shot has different connotations, eg:
 like a dream or trance if excessively slow
 bewildering and frightening if excessively frenetic.
 The way in which a person is framed in that shot has a specific
meaning, (for example, if the camera holds a person in the frame
but that person is at one extreme or other of the frame, this could
suggest a sense of imprisonment).
Dolly
 A camera dolly is a specific
piece of equipment designed
to create smooth camera
movements. The camera is
mounted to the dolly and the
camera operator and camera
assistant usually rides on it to
operate the camera. The
dolly is operated by a dolly
grip who is a dedicated
trained operator.
CRANE SHOT
 A shot with a change in framing
rendered by having the camera
above the ground and moving
through the air in any direction.

 It is accomplished by placing the

camera on a crane (basically, a large
cantilevered arm) or similar device.
 A common way of ending a film.
Zoom and reverse zoom
 A zoom is technically not a camera move as it does not
require the camera itself to move at all. Zooming means
altering the focal length of the lens to give the illusion
of moving closer to or further away from the action.
 The effect is not quite the same though. Zooming is
effectively magnifying a part of the image, while moving
the camera creates a difference in perspective —
background objects appear to change in relation to
foreground objects. This is sometimes used for creative
effect in the dolly zoom.
WHIP PAN
 An extremely fast movement of the camera
from side to side, which briefly causes the
image to blur into a set of indistinct horizontal
streaks.

 Commonly used in flashy action genres such as

kung-fu movies from the 70s, like Fists of Fury
 Composition:
Framing of shots
180 degree rule
 180 Degree
Rule
The 180 rule ensures
directional consistency
from shot to shot
 Focus Pull
 Focus pull is useful for directing the viewer's attention. For
example, if there are two people in shot but only one is in focus,
that person is the subject of attention. If the focus changes to the
other person, they become the subject. This is often used in drama
dialogues — the focus shifts backwards and forwards between the
people speaking. A slightly more subtle trick is to focus on a person
speaking then pull focus to another person's silent reaction
 By change focus during a shot. this means adjusting the focus from
one subject to another. The shot below begins focused on the
plant in the foreground, then adjusts focus until the girl is sharp.
 Deep Focus
 A a technique which incorporates a large depth of field so
the foreground, middle ground and background are all in
focus and clear.
Deep Focus

Here's another example from In Bruges, with Brendan Gleeson and Colin Farrell sitting by a river.
When put in context of the plot (Colin's character accidentally shoots a child during a hitman job), it
has a profound resonance: sitting by a calming spot of nature, it's framed so that Brendan Gleeson's
frame appears bigger than Colin's, as he takes on a surrogate father figure role
American History X
American History X analysis
• The camera is framed so Ed Norton appears much larger than
Edward Furlong. It's a deliberate attempt to make him out as
the older, wiser brother (he's straight out of prison at this
point).
• Edward Furlong's character is slouched back against the table,
but crucially, rather than framing him against the right side of
the shot, he's more centred. This close distance helps to
illustrate that they are brothers, and that there is a warmth
and respect there that later enables Edward Furlong's
character to overcome the racist views he has been taught
after listening to his brother explain about his time in prison.
• A wide-angle lens is used to show how cramped the house is
rather than a purpose-made set. Connotations that they are
poor.
Pulp Fiction

• Analyse the framing of this shot and the connotation.

Shallow Focus

This shot from film Michael Clayton and is an example of shallow focus, which is the
opposite of deep focus. The person in the foreground is sharp, but the man in the
background is a blur.
Shallow Focus
An OTS shot from Indiana Jones . The depth of field is not as shallow as that used
in In Bruges, whilst blurred, it still retains some sharpness.
• Aside from using these types of shots in films for focus pulls and intense close-ups, they can be used to
illustrate a character's state of mind - a great example of this is in American History X.

This can illustrate factors such as Ed Norton's haziness and slightly concussive state: he's just been attacked
by the Aryan Brotherhood members because he began to disassociate himself with them, is in great pain,
and is starting to realise the mistakes he has made in his life that have landed him in jail. He is also having
serious second thoughts about his white supremacist views, and if you want to get really artistic, the shallow
depth of field can visually illustrate the short-sightedness of those views. Again, these are both close-up
shots.
THE END