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Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
Camera shots & angles
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Camera shots & angles

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Transcript

  • 1. Camera Shots/Camera Shots/ Camera Angles/Camera Angles/ Camera MovementsCamera Movements
  • 2. The Building Blocks of Cinema. • FrameFrame • ShotShot • SceneScene • SequenceSequence
  • 3. The Shot • A shot defines a continuous camera take with outA shot defines a continuous camera take with out disruption.disruption. • May be referred to as a panel in pre-productionMay be referred to as a panel in pre-production storyboards.storyboards. • 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, editing.editing.
  • 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 scene.scene. • 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 changes.changes.
  • 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 characters emotionally.
  • 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 performance.performance. • 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 background.background.
  • 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 eye-level,eye-level, thethe impressionimpression is neutral.is neutral. Cary Grant,Cary Grant, North by NorthwestNorth by Northwest (Hitchcock)(Hitchcock)
  • 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 shot.)shot.) 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.
  • 20. Shot/Reverse Shot (Reverse Angle Shot) Shot Reverse Shot
  • 21. Camera Movements
  • 22. Pan • 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.
  • 23. Pan Talent Pan Left Pan Right Camera
  • 24. Tilt • 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.
  • 25. Tilt TalentCamera Tilt Down Tilt Up Camera
  • 26. Dolly/Truck • 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 moved.moved.
  • 27. Dolly/Truck Truck Left Truck Right Talent Dolly Out (or Back) Dolly In Camera
  • 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 TheThe camera iscamera is positionedpositioned above theabove the subject,subject, lookinglooking down.down. Makes theMakes the subjectsubject seemseem smaller.smaller.
  • 32. Low Angle TheThe camera iscamera is positionedpositioned below thebelow the subject,subject, looking up.looking up. Makes theMakes the subjectsubject seemseem larger.larger.
  • 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.
  • 35. Assignment • In the next few slides, nameIn the next few slides, name the shot, angle, or camerathe shot, angle, or camera movement.movement.
  • 36. Name the Shot The Golden Compass, New Line Pictures Medium LongMedium Long ShotShot
  • 37. Name the Shot Captain Jack 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 Russell Crowe, 3:10 to Yuma, Focus Pictures Medium ShotMedium Shot
  • 44. Camera Movement? John Ford directing The Searchers DollyDolly
  • 45. Name the Angle Rear Window, Alfred Hitchcock High AngleHigh Angle

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