2. ca mer
a
l ense s
Ty pes
of
Zoom
most lenses
Pros commo (or var
com umer ca n type oied foca
e
lense with it mcorde f lensesl length
butto s you c right frors and p known lenses)
is ca n. It’s a an go te m the b rofessio to the a - are by
v
lled
l
n
o
a zoo o-brain ephoto o x. This inal vide erage cofar the
Prim
m le er; if y r wid s so b o cam
n
ns.
ou ca e-an
ecau eras sumer.
zoome lenses
n zoo gle at se wi often
tight out. Th (or fixe
th
th
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d f oc
or zo e push ozoom
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er tompositiory time th lense
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from position s. Acco al leng or (2) c ther (1) er want om in o
shor the sub , he can rdingly, th and n hange th physicas to get r
lens. ter foca ject or ( either ( if the fil arrower e came lly mov
l len
1
2
m
gth a ) chang ) physic maker field of ra lens fe the
Tele
or
vie
d
nd w e the
a
ider
camlly moveecides fo w – the
to nophoto le
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field
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on th rmal lennses - a
of vi
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e sub
ses o re lon
ima
the w e wit
je
r
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a
ide-a h a y
that ge is opt ct. It cor the hum er than t
is far
an ey he a
ically relat
ngle
away
enla es to a e, tele verage
wide
.
rged
p
.
-ang
lense
to shzoom in hoto canIn comp
le le
ow fi with
a
swee s have nses zoomget real rison
ne d
ping a bro
are t
l
etail
came
he
ad
p
s fro lenses. y tight
m a s The
is ide ra jigglanorama er field opposit
of v
e of
ubje
e is
s of
al
ct
Norm for hand negligibmounta iew, and telepho
held
le wi ins, oc there to. Wi
al le
lens
work
ns
fo
d
th wi
e
.
de-a ans, and re they e-angle
neithes. Norm - are ha
ngle
lfway
fores can sh
com er getti al lense
, this
be
pres
n
choi ts. Since ow
sing g too cl s mimic tween te
ce of
s
the d ose t
le
lens
istan o thewhat the photo a
nd w
ce am subj
hum
ong ect, no an eye ide-an
the p
r
g
s
lains distortin ees, wit le
h
.
g i t,
nor out
3. F-s to
p s, a p
an d
e rt ur
de pt
es
h of f
ie ld
F-stop
The size of the aperture is measured in f-stops. In technical terms, the
f-number is the focal length divided by the diameter of the aperture.
The figure to the right shows the same lens open to two different fstops. In the top picture, the f-stop is 2.8. In the bottom picture, the fstop is 16.
Ergo, the greater the f-stop number, smaller the aperture is,
is,
resulting in less light entering the lens and the production of dark
images. Conversely, the smaller the f-stop number, bigger the
aperture is, meaning more light admitted through the lens and the
is,
production of bright images.
4. Aperture and Depth of Field
The aperture has a major role in determining not focus per se, but
depth of field. The greater the f-stop number, the deeper the depth of
the field is, meaning that more objects are likely to be sharp in frame.
Likewise, the smaller the f-stop number, the shallower the depth of
field is.
5. Cam
era a
ng el
s
Eyel
evel
Ang
An e
le
yele
vel a
subj
e
to lo ct’s heig ngle is th
ok u
h t, s o
e on
p
they
e
are n or down if the ac in whic
they
h th e
eutra
t o r is
. Eye
are i
deal l. They o level sh looking camera
Low
o
f or r
Angl
oma ften have ts are in at the le is placed
e
n ti c
c
Low
com no dram redibly ns, he wo at the
angl
ed i e
eyes
e
s and atic pow common uldn’t ha
, look s are ca
ve
er
be
news
aggr
p
casti whatsoe cause
essiv ing up a tured fr
ver,
ng.
om
t
e, or
thus
High
o m i n th e m . L o a c a m e
A ng l
w an
ou s .
e
gles ra place
In a h
d
m ak
e ch below t
posi igh ang
arac
t
l
t e r s h e a c to r
are a ion make e, the ca
’s
look
m
lso g
s
do m
ood charact era is ab
inan
D u tc
POV
t,
h Ti l
s of aers look ove the
t
sub j
weak
n ad
Also
ec
u l t lo
,
okin submiss t, lookin
side called ca
g at
g
w
a chi ive, or fr i down. T
horiz ays, tran nted ang
l d:
g h te
ne d . hi s
dyna ontal an sformin le, a Dut
They
d
g
with mic com vertica the hor ch tilt ha
l
s
p
i
grea
t arti osition. lines intozon into the cam
Poin
T ho u
s ti c e
era l
diag a slop
t- o f ea
g
ffect
e
o
View
to di h rare, ca nals and . A Dutc ning
As th
(POV
h
s o r ie
n
)
nt an ted ang creates a tilt chan
came e name
le
ges
d di s
s
turb s can be more
by a ra incor uggests
, po i
pora
t he v
close
emp
nt
iewe
loye
- u p o te s a
d
r.
char -of-view
f the
acte
shots
char
r’s ey
acte
are a
es
r’s ey
es. . POVs a ngles in
w
re us
ually hich the
prec
eded
6. Cam
era m
oves
Pan
Duri
n
came g a pan
eithe ra itsel , the ca
r left f is no mera
or r i
i
t
A sm
ght. moving s aimed
. It is
s
f ast pooth pa
oftenideways
etiqu an will n with b
fixed along
on t r
a
that ette de create b e slow e
ipod straight
may
man
noug
lur, i
, with
lin
ds p
be c
n wh
h to
an
Tilt
aptu
the o e. Note
i
red o ning froch case allow th
pera
th
e au
it w
n cam m le
tor tu at the
Tilts
r ning
era, ft to ri ill be ca dience
ref er
like
ght,
t
not m
it
head
as to lled a Swo obser
ove. to the up
pers
ve
lines
a
i
on. Tilts ar or do
or mllow the sh pan. N the sce
e oft
n
v
arqu
Dolly
en ewn move
ises. iewer toewsgath ery. A
mplo
m
read er ing
yed ent of th
any t
Whe
to re
ext
veal e camer
the c n the en
verti
a wh
ame
tire c
cal o
ile th
reco
ra is
am
bjec
e
ts lik camera
wou rding a on trip era is m
eab
an o ld proba subject od, the oved f o
uildiitself doe
p
ng o
actua timal d bly be kthat movtripod w rward o
ra s
f orw l dolly, olly, the eeping es away ill also r backw
ard i
b
o
a
s cal r a shopcamera the subjeor towar e movedrd, this
sh
Trac
l ed d
m
p
d
c
.
k
olly ing cart ould be t at the s the cam Dollies ove is c
in . M
, dep
are o alled
m ou
ame
era,
Trac
ovin
e
n
i
d
king
g the nding o ted on adistancen whichften used olly. If
is mo
n the
cam
from case
whe
wh e n
ved is simila
era b
move
el
th
b
t
ackwudget. Med-platfhe came e goal
d sidtoward or to doll
in
or
r
ard i
eway r aw
o
Pede
s cal ving the m, sucha. For
s, pa ay frog. The m
stal
led d
as an
ralle
ain d
m th
cam
olly
e
l to a
i
In a p
out. era
n ob subject ff erence
edes
, whe
ject.
diff e
b
ta
reas eing tha
bein rence b l move,
in a
the c
g aim etwe
trackt in dolli
move
shot, es the
d. ed up oen tilts aamera bo
t he c
c
r dow nd p
d
Zoom
ame amera
n, wh edest y will ph
ra is
erea als is
ysica
s in t
t
With
he lahat in th lly be low
dolli
e
cam
tter,
es,
the c f ormer, ered or
the sera rema the cam
e
t
ame
ubje
ra is he came levated.
ct. ins at a cera is be
r
bein
T
Zo o
onsta ing m
g ve a lens is he
nt po
oved
rtica
the sms happ
lly just
sitio
n, bu in a phy
“dist ubject, en at the
sical
t t he
ancin thus m
push
s
lens
g” th
a
Doll
mag pace. Wi
e subking it l of a butt
y Co
nify
ject, ook b on. Zo
un t e
or mth zooms
thus
i
o
A do
r Zoo
inim
,
mak gger in t m in ref
lly c
ize ththe
m
ing i
e
the c
h
e siz
t loo e frame rs to see
ame ounter z
e of
adju
k sm
.
m
sted ra must oom is a
aller Zoom ou ingly “
so th
dolly
.
rare
t refe appr
e sub
t
c
rs to oachi
ject’sloser orype of sh
seem ng”
furth
ot of
size
ingly
rema er aw grea
ins
ay fr t styl
istic
om t
he su ef f ec
t
bjec
t whi. To acco
m
l e th
e zoo plish it
m is ,
7. C am
e ra s
ho ts
EWS (Extreme Wide Shot)
The view is so far from the
subject that he isn't even
visible. Often used as an
establishing shot.
VWS (Very Wide Shot)
The subject is visible
(barely), but the emphasis
is still on placing him in his
environment.
WS (Wide Shot)
The subject takes up the
full frame, or at least as
much as comfortably
possible.
AKA: long shot, full shot
8. MS (Mid Shot)
Shows some part of the
subject in more detail while
still giving an 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 takes up
the whole frame.
9. ECU (Extreme Close Up)
The
ECU gets right in and
shows extreme detail.
OSS (Over-the-Shoulder Shot)
Looking from behind a person at the
subject
Point-of-View Shot (POV)
Shows a view from the
subject's perspective.
10. Ord
e r of
cred
it s
A Re
al M
ovie
One
thing
they
th
blac have a vat you m
k ba
espe
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appr cially o round h ndardize identif
n
and oach, em the si as beco d way oied in p
most exposito ployinlver scre me syno f showi rof essio
g
n
n
en
r
n
of th
is hisy styles compute . Today ymous fg creditsal lookin
Ope
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11. T yp e
s of t
ran s
itio n
s
Cut
The m
happ ost basi
c
e
wide ns when and com
mon
ly us
o
ed th ne shot
t
insta ype of tr
at f e
Fade
ansit
ntly r
ature
in/ou
io
e
movi
t
es no places th n is the c
Fade
u
e
rm al
trans ins and f
ly co other. C t. A cut
ad e
uts a
unt t
ition
ou
hous
r
.
by b
ands e so
lack Fade out ts are th
s hap
e sec
of th
scree
have
em.
pe
on
n
b
solid een use or any o n when d most c
ther
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the p
omm
c
co
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ic
o
begi olour gr
adua nclude m lid colou ture is g n type o
nnin
g of
radu
f
lly g
r. Tra
ovies
movi
ives
al
D is s o
d it io
. Fad
es.
way
nally ly replac
lve
e in
to pi
cture s are the , fade ou ed
Also
, com
ts
o
k
mon pposite:
grad nown as
ly us
u
o
ed in a
appe ally repla verlappi
the
ng, d
ars. F
ces b
is
Co m
o
y
mon r a few s the nex solves h
ly us
a
ed to econds, t t. One di ppen wh
Wipe
sa p p
hey o
en on
signi
ea
v
fy t h
e pas erlap, an rs as the e shot
Wipe
d
sage
f
s
of tim both are ollowing
off fr are dyn
am i c
ame.
v is ib
e.
. The
le.
y h ap
Iris
pen
when
An o
one
shot
ld - f a
p us h
shion
when
es th
ed tr
a circ
e oth
a n s it
u la r s
er
io n h
mask
ardly
ing c
emp
loses
the p loyed n
o
ictur
e to a wadays i
s
blac
k scr the iris,
een.
12. co m
p os it
i on
Lead Room
If a character is looking frame left, then
he should be placed frame right. This
makes the framing comfortable because
the subject is looking at the open space
in front of him. This open space is called
lead room or lead space.
13. Rule of Thirds
Another basic composition principle is
called Rule of Thirds. To follow it, one
must imagine the frame with two
vertical lines and two horizontal lines,
as to create three vertical sections of
the same dimensions and three vertical
sections also of the same size.
