types

1. 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:
 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 isso far from the subject that he isn't even visible. Often used asan establishing shot.
VWS (VeryWide Shot)
The subject isvisible (barely), butthe emphasisisstill on placinghim in hisenvironment.
WS (Wide Shot)
The subject takesup the full frame, or at least asmuch ascomfortably possible.
AKA: long shot, full shot.

2. MS (Mid Shot)
Shows some part of the subject in more detail while still givingan 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 takesup the whole frame.
ECU (Extreme Close Up)
The ECU gets right in and showsextreme detail.
Variation: Choker
Cut-In
Shows some (other) part of the subject in detail.

3. CA (Cutaway)
A shot of something other thanthe subject.
Two-Shot
A shot of two people,framedsimilarly 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 andreacting to thesubject.
Point-of-View Shot (POV)
Shows a view from the subject'sperspective.

4. Weather Shot
The subject isthe weather. Can be used for other purposes, e.g. background for graphics.
See also:
 Camera Angles
 The Rulesof Framing
 The Rule of Thirds
 Crossing the Line (Reverse Cuts)
 Dutch Tilt
 Talking Head
 Pickup Shots
Shot (filmmaking)
From Wikipedia, the free encyclopedia
This article isabout a technique used in filmmaking. For other usages, see Shot.
In filmmaking and video production, a shot is a series of frames, that runs for an uninterrupted period of time.[1]
Film shots are an
essentialaspect of a movie w here angles,transitions and cuts are used to further express emotion, ideas and movement. The term
"shot" can refer to tw o different partsof the filmmaking process:
1. In production, a shot is the moment that the camera starts rolling until the moment it stops.
2. In film editing, a shot is the continuous footage or sequence betw een two edits or cuts.[2]
Contents
[hide]
 1Etymology
 2Categoriesof shots
o 2.1By field size
o 2.2By camera placement
o 2.3By other criteria

5.  3Film editing
 4Duration
 5See also
 6References
Etymology[edit]
The term "shot" derives fromthe early days of film production w hen cameras were hand-cranked, and operated similarly to the
hand-cranked machine guns of the time. That is, a cameraman w ould "shoot" filmthe w ay someone w ould "shoot" bullets froma
machine gun.[3]
Categories of shots[edit]
How f ocal length af f ects perspective: 18mm (ultra wide-angle), 34mm (wide-angle), and 55mm (normal lens) at identical field sizeachiev ed by dif ferent
camera-subject distances. Notice that the shorter the f ocal length and the wider the angle of v iew, perspectiv e distortion and size dif f erences change.
Shots can be categorized in a number of w ays.[2]
By field size[edit]
The field size explains how much of the subject and its surrounding area is visible w ithin the camera's field of view , and is
determined by tw o factors: the distance of the subject fromthe camera ("camera-subject distance")and the focallength of the lens.
Note that the shorter a lens's focallength, the w ider its angle of view (the 'angle' in w ide-angle lens, for instance, which is "how
much you see"), so the same idea can also be expressed as that the lens's angle of view plus camera-subject distance is the
camera's field of view.
(Caution: In this context, the focallength value differs with each filmgauge and CCD size for opticalreasons, but the angle of view
is the same for any of them, so it's easier comparing the angle of view with lenses for different formats than their focallengths. The
same angle of view alwaysgives the same field size at the same camera-subject distance no matter w hat format you're using, but

6. the same focallength does not. For in-depth information behind the law s of optics regarding the influence that focallength and
different formats have on field sizes, see 35 mm equivalent focallength, crop factor, image sensor format, and Digital photography:
Sensor size and angle of view .)
The same field size can be achieved at varied camera-subject distances by using a lens w ith a compensating focallength, and at
varied focallengths by choosing a compensating camera-subject distance. Field size differsfromframing in that w ithin professional
environments w here prime lenses are dominant, the latter applies only to camera placement (including camera angle), not focal
length.
How ever, maintaining an identical field size at varying camera-subject distancesand focallengths must be handled w ith caution as
it applies different amounts of perspective distortion to the image: w ide-angle lenses expand a perspective, while long focus
lenses compress a perspective (the famous dolly zoom, taken w ith a variable focallength lens, is a vivid, intuitive demonstration of
this effect). Thus, it's more common in photography and cinematography to determine an image's field size by only changing tw o out
of the tw o factors.
The field size (along w ith the specific amount of perspective distortion) greatly affectsthe narrative powerof a shot. There are a
number of standardized field sizes, the names of w hich are commonly derived fromvarying camera-subject distanceswhile not
changing the lens. The four basic kinds of field sizes (marked w ith an asterisk* in the gallery below ) are:[2]
 the long shot (often used as an establishing shot),
 the fullshot,
 the medium shot,
 the close-up.
Three less often used field sizes(see gallery below) are:
 the extreme long shot (used for epic view sand panoramas),
 the American shot (also 3/4 shot), a slight variation of the medium shot to also include OWB handgun holsters in Western
movies, a characterization fromFrench film criticismfor a type of shot in certain American films of the 1930s and 1940s also
referred to as a "Cow boy shot" in reference to the gun holster being just above the bottom frame line,
 the "Italian shot" or Extreme Close Up (ECU or XCU), w here only a person's eyes are visible, named after the genre of Italo-
Westerns, particularly the Dollars Trilogy bySergio Leone, that established this particular field size.
There are other variants, such as the medium close up (between medium and close up), and terms for moving in (such as "lean-in")
and moving out (such as "lean-out").
Field size shotscomparison (*="Basic" shots)
Extreme long shot

7. *Long shot
*Full shot (figureshot,complete
view, mediumlong shot)
Americanshot (3/4shot)
*Medium shot
*Close-up

8. Italian shot(extreme close-up)
By camera placement[edit]
"Shots" referring to camera placement and angle rather than field size include:[4]
 Camera angles:
 the aerial shot,
 the bird's-eye shot (sometimes performed as a crane shot),
 the low -angle shot,
 the over the shoulder shot,
 the point of view shot,
 the reverse shot is defined as a 180-degree camera turn to the preceding image, common in point of view and over the
shoulder (in the latter, care must be applied to avoid a continuity error by violating the 180 degree rule),
 the tw o shot where two people are in the picture.
By other criteria[edit]
 the establishing shot is defined by giving an establishing "broad overview" over a scene, whetherperformed by a w ide shot
w ith a fixed camera, a zoom, a series of different close-upsachieved by camera motion, or a sequence of independent close-
angle shots edited right after each other,[2]
 the master shot is a scene done in one single take, w ith no editing,
 the freeze frame shot is created in editing by displaying a single frame for an elongated duration of time,
 the insert shot is created in editing by replacing a picture w ith another w hile the audio stays the same (common in interview sto
illustrate topics mentioned).
Film editing[edit]
Main article: Film editing
Cutting betw een shots taken at different times or fromdifferent perspectives is known as filmediting, and is one of the centralarts of
filmmaking.[5]
Duration[edit]
See also: Long take
The length of shots is an important consideration that can greatly affect a film. The purpose of editing any given scene is to create a
representation of the w ay the scene might be perceived by the "story teller." Shots w ith a longer duration can make a scene s eem
more relaxed and slow er paced whereasshots with a shorter duration can make a scene seem urgent and faster paced.
The average shot length (ASL) of a film is one of its cinemetricalmeasures. For example, The Mist has a length of 117 minutes and
consists of 1292 shots, so the ASL is 5.4 seconds, w hile Russian Ark is a single 96-minute long take, so an ASL of 96 minutes or
about 5,760 seconds, a factor of 1,000 difference.
Shots w ith extremely long durations are difficult to do because any error in the shot w ould forcethe filmmaker to restart from
scratch, and are thus only occasionally used. Films famous for their long cuts include Francis Ford Coppola's The Godfather in
w hich the entire first scene is a long take featuring Bonasera describing the assault on his daughter, and Alfred Hitchcock's Rope,
w hich only cuts at the end of each reel, and does so surreptitiously so that it seems as if the w hole film is one take. Orson
Welles's Touch of Evilopens w ith a long tracking crane shot, as does Robert Altman's The Player.

9. In addition to Russian Ark, w hich was made in 2002 using digital recording technology, other films know n for their extremely long
takes include Stanley Kubrick's 2001: A Space Odyssey and the w orks of AndreiTarkovsky starting with Solaris. Béla Tarr is also
know n for using very long takes consistently in his films. Joss Whedon's feature film Serenityintroduces the main characters with a
long take.
See also[edit]
 Martini Shot
 Camera angle
 Film frame
 Filmmaking
 Tw o shot
 Take
 One shot (music video)
References[edit]
1. Jump up^ Sklar, Robert. Film: An International History of the Medium. [London]: Thamesand Hudson, [c. 1990]. p. 526.
2. ^ Jump up to:a b c d
Ascher, Steven, and Edward Pincus. The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age.
New York: Plume, 1999. p. 214.
3. Jump up^ "Movie Speak; ScissorhandsRevisited." 10August 2009. Podcast. "KCRW's The Business." KCRW 89.9 FM. 12
August 2009.
4. Jump up^ Ascher, 214-218
5. Jump up^ Ascher, 346
[show]
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Cinematic techniques
Categories:
 Film production
 Film editing
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