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1. Camera angles: Every camera shot explained
Low angle shot
Any shot that is below a subject’s eye line looking up at them is a low angle shot. They are commonly
used in films that have heroes or villains as they make the subject look more powerful. The angle of the
shot can make the scene come together regardless of the other effects that have been put into place.
Overhead shot
When high angles are 90 degrees over the subject, they become “overhead shot”. They are also known
as a ‘birds eye view’ or ‘god’s eye view.’ The camera is placed over the subject straight down. Great for
complex movements such as fight scenes. If the show is about crime, they can use this shot to capture
horrific details of a crime scene. This type of angle does not just capture the subject, but also the
subject's surroundings.

2. Dutch Angle
The Dutch angle shot skews the horizontal axis of the frame, for an off-kilter image. This type of shot
can produce a series of effects. It can create the effect of unease, mania, terror, or bewilderment. It can
also be used to magnify tension.
Hip level angle
Can be found in every genre, but western films are where it is mostly used. This is because it is
conjunction with cowboy shot. The reasoning is because of gun holsters which are rested at hip height.
Other camera shot angles:
 High angle shot - “used to diminish a character”
 Eye level shot - “Creates a connection to the character”
 Shoulder level shot - “often used during conversations, high difference”
 Knee level - “effective way to track through an environment following a character, and character
details
 Ground level - “track a character's movement, or details in setting”

3. Shot size
Shot sizes can establish the rhythm, tone, and the meaning of a scene.
Establishing shot
The shot is wide enough to show the geography, time of day, scale of the subject in relation to their
environment. Can often be used to transition between scenes. Curtail for futuristic films but for any
scene or film.
Wide shot
Positions subjects far away from the camera to visually represent their relationship to their
environment. It is concerned with the scale of the subject. Used to make subjects lost, lonely, or
overwhelmed, and about their surroundings.

4. Medium shot
It is used a lot because it is more of a neutral shot. Captures the subject in a way like how we see people
and talk to them. You can see the characters' reactions, environment and what they are doing in one
frame. It is above the waist below their chest and ends just above their head.
Other shots
 The master shot - “captures the scene playing out entirely, providing the editor with something
to cut out to if needed.”
 Full shot “tight enough to tell the story by the characters face and environment around them”
 Medium full shot “Used to present the subject when confident”
 Medium close up - “reducing distractions and prioritize the story in characters details.”
 Close up “eye level, see and feel the character thoughts and feelings, how dramatic it can be
 Extreme close up “isolates the subject in a specific area”
6 ways to edit any scene
Editors have 3 choices when it comes to editing, what to show, when to cut and what to cut too. When
the editor cuts away from the main action, it is called “cutaway.” Walter Murch created ‘Rule of six’
includes emotions, story, rhythm, eye trace, 2D plane of screen and 3D space. Deciding what to cut too
is important, it could be to see what is on a character's mind, what they are looking at. It must be
thoughtful and impactful.

5. 1. Eye line
An eye line match is when the editor cuts to the object of a character’s attention. The second shot is
usually the POV shot of what the character is looking at. The editors might not even do a POV shot,
because it is all about the character’s eyes that motivates the cut. Can cut the shot by doing similar
angles, mostly used in conversation scenes.
2. Cross cutting
Is when an editor cuts between two or more scenes happening in various locations usually at the same
time. Cross cutting can be an effective way to combine multi-layered action. This helps to keep the
audience interested throughout the different scenes.
3. Eye trace
When an editor cuts between two or more shots that focus on the same area of the frame. Allows the
viewers to stay focused after each cut. Can be used through blocking a camera movement, guiding the
audience’s eyes through a shot. Ideal for action scenes as they move quickly. Helps the viewers to
process even through chaotic scenes.
4. Split edits
Helps to smooth over a transition. A hard cut changes both video and audio at the same time. A split
edit changes either the sound or the image before the other. This can be known as a J cut or a L cut, they
are named by what they look like in the timeline. J cut is when audio starts to play before we see it. An L
cut is the audio plays after we have already cut away. Often used during dialogue scenes, as well as
catching reaction shots.
5. Intellectual montage
Puts unrelated images together, to create a certain feeling or idea. This montage creates the Euleshov
effect, which creates meaning out of cinematic juxtaposition. Two separate scenes combined to create a
single idea. Can use this to provoke meaning and emotions on scenes that might not have had them.

6. 6. Cut on action
Refers cutting to an object or characters movement. Can be used for simple and complex actions. Will
use this technique to make the cut look more natural. Often used in fight scenes because it is placed in a
fast placed rhythm and quick movement. Cutting on impact makes the kick or punch more impactful,
can be able to keep up with the pace, strengthen the stunts and create a more epic feel on the fight.
Other types of cuts
 Freeze frame
 Invisible cuts
 Subliminal frames
 Double cuts
 Jump cuts
Diegetic vs non-diegetic sound
Sound can become unnoticed during a film, but it can be impactful and is essential for any filmmaker.
Diegetic is derived from ‘diegesis’ which means the world of the film and everything in it. Everything
that the characters experience is diegetic. Everything that the audience only perceives is non-diegetic.
Diegesis is telling a story and how the narrator perceives it. Some non-diegetic's are visual example title
cards, text on the screen and some non-diegetic inserts.
Michel Chion developed this visualization to mark the difference. He put all the different sounds under
categories such as acousmatic – offscreen, zones- non-diegetic and visualized zone – onscreen.
Diegetic sound
If the characters can hear the sounds, it is diegetic. Includes atmospheric sounds such as the weather,
vehicles, weapons, music inside the film, dialogue, and some form of voice over. If the voiceover
represents a character’s thoughts it is known as “internal diegetic sound.” This helps to create and
establish the world around the characters. It can also have an enormous impact on the overall story.
Sounds we hear off screen can identify the setting and help us to understand the world outside the
frame that we see. Diegetic sound can be manipulated to let us hear what the character hears. Also use
sound to experience what someone is going through mentally in that scene.
Non- diegetic sound

7. Everything the characters cannot hear is non-diegetic sound. Includes sound effects, musical score, and
forms of narration. Also, if the narrator plays no role in the film this is also considered non-diegetic.
Non- diegetic sound effects can enhance motion and movement. Examples can be for comedy for punch
lines for a joke, score. Non-diegetic music can play a significant role in enhancing the film experience.
They can make the scene more important, eventful and more fitting.
Trans - diegetic sound
This is where the sound can be assumed to be diegetic but is non-diegetic and vis Verser. We might hear
non-diegetic sore that becomes diegetic playing on the character’s radio. There are loads of diverse
ways and methods this can be perceived, and it can link well with what is happening around the
character. This also works for sound effects. Switching from diegetic to non-diegetic can be a nuanced
way to blur the lines between fantasy and reality.
Creative exceptions
These are sounds that do not fit into any of these categories. There are loads of separate ways sounds
can change throughout a scene or different scenes in the film.
These two distinct types of sounds can be just as useful as cinematography and editing while telling a
story.
What is mise en scene?
Mise en scene is the essence of filmmaking, every director does this even if they do not realize it. The
meaning is “the placement of actors and scenery on a stage for a theatrical, film or television
production.” Andre Bazin divided filmmaking into mise en scene and montage.
Montage filmmakers create meaning from the combination and juxtaposition of multiple images. Mise
en scene filmmakers concentrate on storytelling from a single image.
Everything we see is part of mise en scene. There are two traditions, naturalistic and theatrical.
Naturalistic is where the world in the film is meant to match our own. Familiar and realistic. Theatrical is
where we are presented to unrealistic worlds that are normal.
Every camera movement technique explained
Films are made up of sequences, scenes, and shots. Loads of camera movements with their own
language and purpose.

8. Static
Commonly captured by locking the camera to a tripod and placing it without any movement. Use static
shots to trap a character to show their helplessness.
Pan
The pan rotates the camera horizontally left or right while remaining in a fixed position. Can be used to
follow a character or show information. A slow pan builds anticipation, and a fast pan heightens the
intensity of the shot. These are known as whip pans, can be used to create relationships between
characters.
Tilt
Directs the camera upwards or downwards, used to capture the vertically of the characters work. Shows
the characters dominance or vulnerability.
Push in
Moves the camera towards the subject. Making the audience know that this scene is important. Push in
on an object, text and will direct our attention to a detail, can capture a character’s thoughts. Effective
way to communicate internal conflict. This helps to elevate the tension of the scene.
Pull out
Pull the camera out deemphasizes the subject, to make us disconnect from the characters, can show the
setting, context, or characters of the scene. Makes us detach from the scene or entire film. Can highlight
the characters emotions to play an effect of abandoning the subject.
Zoom
Zoom shots change the focal length of the camera’s lens, to zoom in or out. Can reveal the context
around the subject. They are unique as it is unnatural as our eyes cannot zoom. Can draw our attention
to a detail, a horror film will go slowly to create uneasiness. A fast zoom is known as a crash zoom, can
be used for dramatic or comedic effects. Dolly zooms utilize a dolly movement and lens zoom to create

9. the vertigo effect. It can be done two unusual ways, one can be dolly in while zooming out, causes the
background to grow inside while maintaining the scale of the foreground. The second is by dolly out by
zooming in, making the subject dominate the background. Can be used to convey positive and negative
mental effects.
Camera roll
Turns the camera on its long axis, while maintaining the direction of the lens. This can make the scene
look unsetting and disorientated. Can be used to capture characters' movements in panic, conflict. It can
be disconcerting example when a villain steals the throne. Can be used to visually reinforce the theme.
With profound effect it can accent movement or dramatic shifts in the narrative.
Tracking
Physically moves the camera through a scene, following the subject they do not move forward or away
from the subject they move with the subject. When the subjects are on the move the camera will track
them wherever they go. Will ask two questions where they going? What will happen when they get
there? Can draw our attention to specific actions. Can be used to build tension. Either follows or leads
the subject.
Trucking
This is where the camera moves laterally left or right. Will show the world of the film and the characters
from a storyboard perspective. Can be engaging as you are following the character and their actions.
Arc
A camera movement that orbits around the subject can be vertical and horizontal. Adds dynamic
movement while the characters are standing still. Keep our focus on panic, intimacy, or heroism. When
the speed is amplified it can create a dizzy effect which can reflect the character’s mental state.
Boom shot
Moves the camera up or down utilizing a crane, jib, or pedestal. Small boom shot movements are
commonly used to reveal information. Large boom movements capture action and the world around the
subjects. Can also capture a character’s mental state by their physical state.
Random movement

10. Can be defined by camera shake, incidental zoom, or any movements that happen on the fly. Often
added to create a subjective experience for a more inmate effect. Gives the impression that the events
are happening in real time when anything can happen.
Can use multiple camera movements in one scene to create more of an effect.