1. Camera Shots/Camera Shots/
Camera Angles/Camera Angles/
Camera MovementsCamera Movements
2. The Building Blocks of Cinema.
3. The Shot
• A shot defines a continuous camera take with outA shot defines a continuous camera take with out
• May be referred to as a panel in pre-productionMay be referred to as a panel in pre-production
• May be referred to as a take, during production.May be referred to as a take, during production.
• May be referred to as a clip in post-production,May be referred to as a clip in post-production,
4. The Scene
• A scene defines the place or settingA scene defines the place or setting
where the action is being filmed.where the action is being filmed.
• Each new place (setting) maybe a newEach new place (setting) maybe a new
• Borrowed from theater. Where actsBorrowed from theater. Where acts
were broken down with differentwere broken down with different
scenery or settings.scenery or settings.
5. The Sequence
• A sequence is a series of scenes, or shotsA sequence is a series of scenes, or shots
that complete a subject or idea.that complete a subject or idea.
• A sequence may occur in a single settingA sequence may occur in a single setting
(place), or in several settings (places).(place), or in several settings (places).
• A sequence ends when the subject matterA sequence ends when the subject matter
6. Camera Shot
Camera ShotCamera Shot
• This refers to theThis refers to the size of the subject in thesize of the subject in the
frameframe. (How much of the person/subject. (How much of the person/subject
we will see.)we will see.)
7. Extreme Long Shot
8. Extreme Long Shot
The Extreme Long Shot (ELS) is used
to portray a vast area from an
apparently long distance. An ELS is
used to impress the viewer with the
immense scope of the setting or scene.
Often, the ELS makes it hard for the
audience to connect with the
9. Long Shot
10. Long Shot
• The Long Shot (LS)The Long Shot (LS) shows the entire areashows the entire area
where the action takes placewhere the action takes place. The whole. The whole
subject is in frame.subject is in frame.
11. Medium Shot
12. Medium Shot
• The convention of the Medium Shot (MS),The convention of the Medium Shot (MS),
is (when framing a person) approximatelyis (when framing a person) approximately
half of their body is in shot, (from waisthalf of their body is in shot, (from waist
up).up). More subtle performances andMore subtle performances and
detailed actions can be seen. The Mediumdetailed actions can be seen. The Medium
Shot is a good framing forShot is a good framing for conversationconversation
scenes between characters, especially ifscenes between characters, especially if
hand movements are part of thehand movements are part of the
• Medium two shot (two people)Medium two shot (two people)
13. Medium Long Shot
• The MLS canThe MLS can
frame one orframe one or
two peopletwo people
standing up,standing up,
that is, theirthat is, their
entire body.entire body.
14. Close Up
15. Close Up
• The Close Up Shot (CU)The Close Up Shot (CU) shows a detail ofshows a detail of
the overall subject or actionthe overall subject or action (the head or(the head or
hands if it is a person). Close ups ofhands if it is a person). Close ups of
characters are a good way ofcharacters are a good way of engagingengaging
the audience into thethe audience into the charactercharacter
emotionallyemotionally. As we get closer to the. As we get closer to the
character, we begin tocharacter, we begin to lose thelose the
backgroundbackground information, thereforeinformation, therefore
emphasizing the subject, rather than theemphasizing the subject, rather than the
16. Extreme Close Up
17. Extreme Close Up
• With the Extreme Close Up (ECU),With the Extreme Close Up (ECU), a smalla small
detail of the subject is framed, such as adetail of the subject is framed, such as a
part of a human face, a hand, or foot.part of a human face, a hand, or foot. ThisThis
unnatural closenessunnatural closeness to the subject is goodto the subject is good
at bringing the viewer into intimateat bringing the viewer into intimate
relationship with the subject.relationship with the subject.
• Sometimes called a “tight close up.”Sometimes called a “tight close up.”
18. Eye Level Shot
Shot atShot at
is neutral.is neutral.
Cary Grant,Cary Grant, North by NorthwestNorth by Northwest
19. Reverse Angle Shot
Usually theUsually the camera looks at the subject,camera looks at the subject, butbut
occasionally the cameraoccasionally the camera shows what the subject isshows what the subject is
seeingseeing.. (This is also known as a point-of-view(This is also known as a point-of-view
Often used when there are two characters. We cutOften used when there are two characters. We cut
back and forth between the two characters talking.back and forth between the two characters talking.
• PAN: To pivot the cameraPAN: To pivot the camera horizontally,horizontally,
moving the lens to the left (pan left) or tomoving the lens to the left (pan left) or to
the right (pan right).the right (pan right).
• NOTE: Unlike the trucking shot, theNOTE: Unlike the trucking shot, the
camera doescamera does notnot movemove from its position onfrom its position on
the tripod.the tripod.
Pan Left Pan Right
• TILT: To pivot the cameraTILT: To pivot the camera verticallyvertically,,
moving the lens up and down.moving the lens up and down.
• CameraCamera doesdoes notnot movemove from itsfrom its
position on the tripod.position on the tripod.
• DOLLY: To move the camera and its dollyDOLLY: To move the camera and its dolly
toward the subject (dolly in) or away from thetoward the subject (dolly in) or away from the
subject (dolly out.)subject (dolly out.)
• TRUCK: To move the camera and its dolly to theTRUCK: To move the camera and its dolly to the
leftleft (truck left) or to the right (truck right).(truck left) or to the right (truck right).
• NOTE: The camera (and its tripod) is beingNOTE: The camera (and its tripod) is being
Truck Left Truck Right
Dolly Out (or
28. Camera isCamera is
on a “Dolly”on a “Dolly”
29. Truck/Crane Shot
FROM THE SET OF "AT THE PEAK OF THE HILL"
30. Basic Camera Angles
31. High Angle
camera iscamera is
above theabove the
Makes theMakes the
32. Low Angle
camera iscamera is
below thebelow the
looking up.looking up.
Makes theMakes the
33. Subjective camera angle
• Involves the audience directly with theInvolves the audience directly with the
characters in the scene.characters in the scene.
• Players may look directly into the camera.Players may look directly into the camera.
• Camera acts as the players eyes.Camera acts as the players eyes.
34. Objective camera angle
• When the audience views what is happening as anWhen the audience views what is happening as an
unseen observer.unseen observer.
• The audience feels as though they are eaves droppingThe audience feels as though they are eaves dropping
on the characters in the scene.on the characters in the scene.
• Objective camera angles are impersonal.Objective camera angles are impersonal.
• The players in a scene are unaware of the camera andThe players in a scene are unaware of the camera and
never make eye contact.When filming an objectivenever make eye contact.When filming an objective
camera angle if any person in the scene looks into thecamera angle if any person in the scene looks into the
camera the shot is ruined and will need a re-take.camera the shot is ruined and will need a re-take.
• In the next few slides, nameIn the next few slides, name
the shot, angle, or camerathe shot, angle, or camera
36. Name the Shot
The Golden Compass, New Line Pictures
Medium LongMedium Long
37. Name the Shot
Close UpClose Up
38. Name the Shot
Nicole Kidman, The Golden Compass, New Line Pictures
Medium ShotMedium Shot
39. Name the Shot
Russell Crowe as Maximus, Gladiator
Close UpClose Up
40. Name the Shot
Johnny Depp, Sleepy Hollow
Long ShotLong Shot
41. Name the Shot
Troy, Warner Bros. Pictures
Extreme Long ShotExtreme Long Shot
42. Name the Angle
The Golden Compass
Low AngleLow Angle
43. Name the Shot
3:10 to Yuma,
Medium ShotMedium Shot
44. Camera Movement?
John Ford directing The Searchers
45. Name the Angle
Rear Window, Alfred Hitchcock
High AngleHigh Angle