Fun and practical film workshop learning for teenagers and adults. The guide is designed as a presentation to teach about film making conventions such as shot types and film language as well as a 'how to' in creating films in a workshop environment includes lesson ideas for practical film making workshop and explains composition, rule of 3rds, where to film, how to structure film, working in a team, tips when filming.

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5. It’s all in the name – this shot is filmed from the air and is often used to establisha location
(usually exotic and/or picturesque).
ICONIC EXAMPLE: The opening of The Sound Of Music (1965).

6. THE ESTABLISHING SHOT
Again, it’s in the name – this shot is at the head of the scene and establishes the
location the action is set on, whilst also setting the tone of the scene(s) to come. It
usually follows directly after an aerial shot in the opening of films and is beloved by TV
directors.
ICONIC EXAMPLE: The infamous New York City diner – Tom’s Restaurant
in Seinfeld (1989-1998)

7. THE CLOSE-UP (CU)
This is perhaps the most crucial component in cinematic storytelling and is arguably an actor’s most important
moment on camera. This shot is usually framed from above the shoulders and keeps only the actor’s face in full
frame, capturing even the smallest facial variations. As it eliminates any surrounding elements that may be
relevant to the scene’s narrative, it’s really up to the actor’s skill and focus to shape the story.
ICONIC EXAMPLE: Opening scene of Alex DeLarge (Malcom McDowell) in A Clockwork Orange(1971).

8. THE EXTREME CLOSE-UP (XCU)
This shot is traditionally used in films and focuses on a small part of the actor’s face or body, like a twitching eye
or the licking of lips in order to convey intense and intimate emotions. This unnaturally close view is used
sparinglyas the multiplication of the subtlest movements or details need to be justified in the dramatization
and boldness of that particular scene.
ICONIC EXAMPLE: Charles Foster Kane’s (Orson Welles) mouth as he utters the famous word “Rosebud”
in Citizen Kane (1941).

9. THE MEDIUM SHOT (MS)
Also referred to as a ‘semi-close shot’ or ‘mid-shot’, this generally shoots the actor(s) from the waist up and is
typically used in dialogue scenes. It aims to capture subtle facial expressions combined with their body language
or surrounding environment that may be necessary to provide context.
ICONIC EXAMPLE: When Jack Torrance (Jack Nicholson) and Delbert Grady (Philip Stone) converse in the
bathroom in The Shining (1980).

10. THE DOLLY ZOOM / CONTRAZOOM
This shot sees the camera track forward from the actor whilst simultaneouslyzooming out, or vice-versa. So the
foreground generally stays the same while the background increases or decreases across the frame. First
invented by Alfred Hitchcock in Vertigo to create a dizzying, vertiginous effect, it’s become quite the filming
technique among the industry’s top filmmakers. However, as it’s a tough shot to get right, actors really need to
be on their A-game when filming and a little patience goes a long way.
ICONIC EXAMPLE: The moment Chief Brody (Roy Scheider) realizes his worst fears have come true when first
seeing Jaws. Jaws (1975).

11. THE OVER-THE-SHOULDER SHOT
This is where the camera is positioned behind a subject’s shoulder and is usually used for filming
conversations between two actors. This popular method helps the audience to really be drawn into the
conversation and helps to focus in on one speaker at a time. Seeing as the non-speaking actor is seen only
from behind, it’s common for major production sets to substitute actors with stand-ins or doubles for
these shots.
ICONIC EXAMPLE: Conversation between Cinque (Djimon Hounsou) and John Quincy Adams
(Anthony Hopkins) about calling up the help of his ancestors in Amistad (1997).

12. THE LOW ANGLE SHOT
This shot films from a lower point and shoots up at a character or subject, making them appear larger so
as to convey them as heroic, dominant or intimidating. It’s also another way of making cities look empty.
ICONIC EXAMPLE: Basically every time a superhero (and villain) first appears in costume in every
superhero film. But another noteworthy one I can’t pass up is the shot of Aldo Raine (Brad Pitt) and
Donny Donowitz (Eli Roth) during the trunk scene in Inglourious Basterds (2009).

13. THE HIGH ANGLE SHOT
In contrast with the low angle shot, this one films from a higher point and looks down on the character
or subject, often isolating them in the frame. Basically the direct opposite of the low angle, it aims to
portray the subject as submissive, inferior or weak in some way.
ICONIC EXAMPLE: Matilda walking up to the librarian for the first time in Matilda (1996).

14. THE TWO-SHOT
This is a medium shot that shows two characters within the frame. Pretty straight-forward but can be
pivotal in establishing relationships between the characters.
ICONIC EXAMPLE: Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) shooting
Marvin in Pulp Fiction (1994). Yep, a two-shot of a two shots.

15. THE WIDE (OR LONG) SHOT
This shot normally frames the subject from the top of their head to their feet whilstcapturing their
environment. It’s typically used to establish the setting of the particular scene – so similar to the
establishing shot, but focused more on characters and actors and the contextual relationship with their
surroundings.
ICONIC EXAMPLE: When Jim Stark (James Dean) and Plato (Sal Mineo) first meet in jail and Jim offers
Plato his jacket (with Judy (Natalie Wood) strategically in the background). Rebel Without A
Cause (1955).

16. The rule of thirds is a "rule of thumb" or guideline which applies
to the process of composing visual images such as designs, films,
paintings, and photographs.

17. NOLEADROOM
TALKING
ROOM
(MEDIUM
CLOSE UP)
LEAD
ROOM

20. How to structure films

21. Short Film Narrative

23.  LOCATION
 LOCATION
 LOCATION!

24. 3 Act structure

25. iMovie for EDITING Green ScreenCamera app for FILMING

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30. POINT OF VIEW

31. LOCATION/RULE OF THIRDS/BACKGROUND/
NO TALKING/LEAD ROOM
ATTACKED IN CONFINED SPACES/BLACK AND
WHITE/SHADOWS
DEPTH OF FIELD
OFF AXIS/TRAPPED/UNSETTLING

32. LIGHTING_ FROM BELOW
BACK LIGHTING
LIGHTING_STRONG SHADOWS

33. THE MASTER SHOT
Often confused with the establishing shot, this too, identifies key signifiers like who is in the shot and
where it’s taking place. However, unlike the establishing shot that has a tendency to focus more on
location, the master captures all actors in the scene and runs the entire length of the action taking place.
This allows for other smaller shots like close-ups or mid-shots to then be interwoven into the master,
showcasing different angles of the same scene. It’s usually the first scene to be filmed so by choosing a
physical action that can be easily repeated throughout multiple takes can ensure the actor gets major
brownie points from the director.
ICONIC EXAMPLE: When Travis Bickle joins his fellow taxi drivers Wizard (Peter Boyle), Doughboy
(Harry Northup) and Charlie T (Norman Matlock) in the diner. Taxi Driver (1976).

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35. Required Elements of Film