This document provides information about filmmaking techniques. It defines different types of shots like extreme wide shots, wide shots, medium shots, close-ups, and extreme close-ups. It discusses how to properly frame shots using techniques like the rule of thirds. It also covers camera angles, panning, zooming, screenwriting, and sample scripts. The overall document serves as a guide for filmmakers on essential technical and creative aspects of their craft.

1. FILM
MAKING

2. DEFINE FILM
• Film is a colloid art of storytelling.
• Films are something which is remembered,
recalled and relished!
• If the basic unit of meaning in written texts is
the WORD.
• The basic unit of meaning in film is the SHOT.
• The role of director controls the gaze through
SHOTS.

3. Exercise on Gaze
• Put 2 thumbs in
front
• Unique anatomy of
our eye
• Camera is different
– the size

4. Framing
• Shots are all about
composition. Rather than
pointing the camera at the subject,
you need to compose an image

5. • What we're looking
at here are a few
accepted industry
guidelines which
you should use as
rules of thumb.

6. • The rules of framing video images are
essentially the same as those for still
photography.

7. Basic shot types
• 1.EWS (Extreme Wide Shot)
• In the EWS, the view is so far from the
subject that he isn't even visible.

8. • The point of this shot is to show the
subject's surroundings. The EWS is often
used as an establishing shot

9. • the first shot of a new scene, designed
to show the audience where the action
is taking place.

10. 2.VWS (Very Wide Shot)
_The VWS is much
closer to the subject.

11. • He is (just) visible here,
but the emphasis is still
on placing him in his
environment. This also
works as an establishing
shot.

12. 3.WS (Wide Shot)
• In the WS, the subject
takes up the full frame. In
this case, the boy's feet
are almost at the bottom
of frame, and his head is
almost at the top.

13. • Obviously the subject doesn't take up the
whole width of the frame, since this is as
close as we can get without losing any part
of him.— you don't want to be
cutting the top of the head
off. It would also look
uncomfortable if the feet and
head were exactly at the top
and bottom of frame.

14. • Long shot (LS)
or full shot (FS).
This is a shot from
the top of their heads
to at least their feet

15. • 4.MS (MidShot)
• The MS shows some part of the
subject in more detail, whilst still
showing enough for the audience
to feel as if they were looking at
the whole subject

16. • In fact, this is an approximation of
how you would see a person "in
the flesh" if you were having a
casual conversation.

17. A medium shot
(MS) is normally
a shot from the
waist up.

18. • MS of the building
• With people it shows
interaction between
characters, including
dialogue. Medium shots
are also used to show

19. • 5.MCU (Medium Close
Up)
• Half way between a MS and a CU.
This shot shows the face more
clearly, without getting
uncomfortably close.

20. • A medium closeup
(MCU) is a shot cropped
between the shoulders
and the belt line. Also
called a bust shot.
• MCU of an object (based
on full size of the object

21. • 6.CU (Close Up)
• In the CU, a certain feature or part of
the subject takes up the whole frame.
A close up of a person usually means
a close up of their face.

22. • It is used
• to create intimacy or to show
emotional responses from
characters
• A CU can also
be used
to focus on
an object .
• Someone
might be in
the window?

23. 7.ECU (Extreme Close Up)
• The ECU gets right in and shows extreme detail. For
people, the ECU is used to convey emotion

24. • Extreme close-
ups(XCUs) are
reserved for
dramatic impact.
The XCU shot may
show just the eyes
of an individual.
• Use them to build suspense or to
highlight an important fact.

25. • 8. Over-the-
shoulder shot (O/S)
• This shows the
camera looking at
someone over the
shoulder of another
person nearer the
camera.

26. • 9.CA (Cutaway)
• A cutaway is a shot that's usually
of something other than the
current action.The CA is used as a
"buffer" between shots (to help
the editing process), or to add
interest/information.

27. • 8. Cross-shot
(X/S)
• This is a shot
sequence in which
the camera looks
alternately at one or
the other person,
with the camera-
near person
completely out of
the shot.

28. • Cross –shots

29. Some Rules of Framing
1. Rule of Thirds

30. The basic principle behind the rule of thirds is to
imagine breaking an image down into thirds
(both horizontally and vertically) so that you
have 9 parts. As follows.

31. Points (or lines) of interest should occur at 1/3 or 2/3
of the way up (or across) the frame, rather than in the
center.

32. Remember that breaking the rule can result in some striking shots – so once
you’ve learnt it experiment with purposely breaking it to see what you
discover.

33. Everything in your frame is important, not just the subject.
What does the background look like? What's the lighting like? Is there
anything in the frame which is going to be distracting, or disrupt the continuity of the
video?

34. CORRECT USE OF THE RULE OF THIRDS
A.Still object
First image of the tree is
incorrectly framed
This tree image uses the Rule of Thirds,
framing the tree to the left third of the
frame.

35. B. PERSON
This image of the person is
incorrectly framed. The girl is
centered in the picture.
This image of
the girl uses
the Rule of
Thirds, moving
the girl to the
right. Don't
center people
unless you
need to (such
as in a news
broadcast.)

36. 2. Headroom:
• No Headroom:
• The person may seem to be glued to
the top of the screen!
• Too Much Headroom:
The person may look like they are
sinking in the frame!

37. • Proper Headroom:
• The person has adequate space above the head.

38. •"Headroom", "looking room", and "leading room".
These terms refer to the amount of room in the frame
which is strategically left empty

39. • The shot of the baby crawling has some
leading room for him to crawl into…

40. • The shot of his mother has
some looking room for her
to look into.

41. 3. Framing (faces)
• Give people "eye room" in the
frame towards the direction
they are looking. Do NOT center
a person looking to one side of
the frame.

42. • Look to see
what is
behind the
person or
object.
Don't let
the
backgroun
d take over
or alter the
look of the
person or
object.
• Allow the
background
to give the
main
subject
some
depth and
dimension
but don't
allow
people or
objects in
the
background
to distract
from the
scene.

43. Depth and "not boring" are two very
important things to think about in a
scene. You don't want flat looking
pictures.
Have some background but try to
control what is going on at all
times. Use people in your shots to
add interest and to add more depth.

44. Camera Angles, Panning and
Zooming
The angle of the camera can have a very
strong and direct impact on viewers.
The following are 3 examples of camera
angles:

45. 1) Low Angle – Placing the camera at a low angle suggests a dominant
subject, having power over the viewer. This angle may be used to portray
kings or rulers, rock musicians, gun fighters, or majestic architects. DO NOT
OVERUSE THIS ANGLE IN ANY ONE PRODUCTION.

47. 2) High Angle – Placing the camera at a high angle suggests a recessive subject,
giving the viewer a feeling of power over the subject. This angle may be used to
portray a character in despair. DO NOT OVERUSE THIS ANGLE IN ANY ONE
PRODUCTION.

48. 3) Straight-On Angle – Placing the camera straight on suggests a neutral relationship
between the subject and the viewer. The subject appears to be an equal;
a friend; unbiased. This angle may be used for newscasters, or in documentary and educational
videos.

49. A. Panning: Try NOT to pan when
shooting. But, if you must:
• 1. Use it to show a wide panorama that you
can't fit into the camera frame such as
landscapes and moving objects.

50. • 2. Make the pan last at least
6-7 seconds but no more.
• 3. Try to start still for 5 seconds,
then do the 6-7 second pan, them hold
the shot for 5 more seconds.

51. • 4. Practice
panning to get a
smooth move or to
follow someone or
something moving
in a smooth
manner. Most of
the time "cut" to a
close-up or long-
shot, don't zoom.
• 5.TILT
• 6. DOLLY IN AND
• OUT

52. B. Zooming: Zooming in and
out is a sign of someone just
begriming to use a video
camera. Try to NEVER use
the zoom for a shot. Can
your eyes zoom? No. So
zooming is not a natural type
of shot. But IF you do zoom,
make it meaningful.So why
have a zoom? To get closer
to something when you can't
physically more closer to it.

53. • Zoom in on something or
someone specific to make a
point, like a dramatic zoom in
to see an expression of
surprise.

54. • Use zoom to frame up a shot. Use it to frame
up the next shot. In other words, shoot a
scene, stop filming, zoom in, and film again.:

55. • A very slow zoom might
work if you need to move
closer to a subject who is
busy doing something.

56. FILM MAKING TECHNIQUES: Video

57. CHARACTERISCTICS OF A FILM MAKER
• 1. A film maker
is POETRY

58. • 2. A film
maker is
CINEMATO
GRAPHER

59. • 3. A film maker is
a screen writer
• - put spectacle in
your film-
(pampagising)

60. • 8. A film maker is
an
AUTOBIOGRAPHER
• - direct emotions

61. • 9. A film maker
is an ACTOR
• - identify your
dream shot

62. • 10. A film maker
is a LOVER
• - frame your
ideas
• - proper
screening of the
role is important

63. • 11. A film
maker is
HISTORIAN
• 12. A film
maker is a
SCIENTIST
– - apply logic
• 13. A film
maker is a
SHAMAN (
Magician)

64. Film
sample:
Hele ni
Lorna

65. SCREEN PLAY
• How to write a script?
• Every paragraph of action lines should be 3
lines or less;
• use the least amount of words possible;
• remember to keep everything in present
tense;
• The best screenwriters keep their action
description at two lines per paragraph

66. • Every single one of those four aspects is
important (short sentences, terse description,
easy to visualize and evocative verbs;
• Only write what we can SEE or HEAR on
screen – and nothing more.
• Example:She’s hurting inside, and we can see
it. She’s a fighter though, so finding her inner
composure, she puts the journal down on the
table.
• That’s amateurish screenwriting for several
reasons:

67. • She angrily wipes away a tear before slamming
the journal down on the table.
• Try to keep 95% of your dialogue lines to 3 lines
or less.
• Cut anything about your characters or their
actions that doesn’t add depth, layers, or insight
into their state of mind;
• . My rule of thumb is to always try and stay 3
lines or less with action, and 3 lines or less with
dialogue, back and forth, back and forth, and
keep it MOVING
• AIM BIG

68. SAMPLE SCREEN PLAY
• ANG HELE NI LORNA
•
• SEQ.1. INT. SALA. DAY.
• Baby shower. Masaya si LORNA habang isa-isa nitong binubuksan ang mga
regalo galing sa mga kaibigan na guro. Nakapalibot sa kanya ang MGA
KAIBIGAN. Papalakpak at maghihiyawan ang mga ito tuwing iniaangat ni Lorna
ang laman ng mga regalo. Maririnig ang ring tone ng cell phone. Makikilala ni
Lorna ang ring tone. Dali dali nitong kakapain ang paligid na puno ng gift
wrappers at boxes hanggang sa matagpuan niya ang cell phone. Tatayo ito at
maglalakad papalayo.
FRIEND 1
Bana siguro.
FRIEND 2
Hoy, Lorna. Ayaw dagan.
Basig ma-slide ka.

69. ORDER OF SEQUENCES
(Matrix type)
• 1. Seq. number
• 2. 1 liner
• 3. Interior/Exterior ( I/E)
• 4. Location
• 5. Character/s
• 6. Special Requirements

70. LOG SHEET
( Matrix type)
• 1. Serial number
• 2. Sequence number
• 3. Description
• 4. Angle
• 5. Take/s
• 6. Remarks

71. • 4. A film maker is a
MUSICIAN
• 5. A film maker is an ARTIST
– - think the overall composition
of your film
• 6. A film maker is an EDITOR
• 7. A film maker is Fearless
– - as long as it talks about
truth!

72. THANK YOU & GOD
BLESS!