Camera angles and shots can influence a viewer's perception of a scene. There are several standard camera angles including extreme long shots, long shots, medium shots, close-ups, and extreme close-ups. The position and height of the camera relative to the subject also impacts perception, such as high angles making a subject seem smaller. Framing the subject using the rule of thirds compositional guideline can further enhance a shot.

1. CAMERA AND
ANGLE SHOTS

2. •Camera angles
The camera angle marks the specific location at which a movie camera or
video camera is placed to take a shot. A scene may be shot from several
camera. This will give a different experience and emotion. The different
camera angles will have different effects on the viewer and how they
perceive the scene that is shot.
•Framing
where the camera is placed in relation to the subject can affect the way the
viewer perceives the subject. There are a number of camera angles, such as
• Extreme long shots
• Long shots
• Medium shot
•Close up
•Extreme close up

3. 1 . Extreme long shot
This can be taken from as much of a mile away, and is
generally used as a scene-setting, establishing shot. It
normally shows an the outside of a building, or a
landscape, and is often used to show scenes of thrilling
action eg in a war film or disaster movie. The shot is
meant to give a general impression rather than specific
information.
2. Long Shot
This is generally one which shows the image as
approximately "life" size that is corresponding to
the real distance between the audience and the
screen in a cinema. This category includes the FULL
SHOT showing the entire human body, with the
head near the top of the frame and the feet near
the bottom.
3.Medium Shot
Contains a figure from the knees/waist up and is
normally used for dialogue scenes, or to show some
detail of action. Variations on this include containing
two figures from the waist up

4. 3.Medium Shot
Contains a figure from the knees/waist up and is
normally used for dialogue scenes, or to show some
detail of action. Variations on this include containing
two figures from the waist up.
4. Close-Up
This shows very little background, and
concentrates on either a face, or a specific
detail. Everything else is just a blur in the
background. This shot magnifies the object
(think of how big it looks on a cinema screen)
and shows the importance of expression on
someone's face.

5. 5. Extreme close up
As its name suggests, an extreme version
of the close up, generally magnifying
beyond what the human eye would
experience in reality. An extreme close-up
of a face, for instance, would show only
the mouth or eyes, with no background
detail whatsoever. This is a very artificial
shot, and can be used for dramatic effect.
•Angles
1. The Bird's-Eye view
This shows a scene from directly
overhead, a very unnatural and strange
angle. Familiar objects viewed from this
angle might seem totally unrecognizable.
This shot does, however, put the
audience in a godlike position, looking
down on the action.

6. 2. High Angle
Not so extreme as a bird's eye view. The
camera is elevated above the action using
a crane to give a general overview. High
angles make the object photographed
seem smaller, and less significant .
3. Eye Level
A fairly neutral shot; the camera is
positioned as though it is a human
actually observing a scene.

7. 4. Low Angle
These increase and give a sense of speeded
motion. The background of a low angle shot
will tend to be just sky or ceiling, the lack of
detail about the setting adding to the
disorientation of the viewer.
5. Oblique/Canted Angle
Sometimes the camera is tilted (ie is not
placed horizontal to floor level), (very popular
in horror
6. An Ariel shot
An exciting variation of a crane shot, usually taken from
a helicopter. This is often used at the beginning of a
film, in order to establish setting and movement. A
helicopter is like a particularly flexible sort of crane - it
can go anywhere, keep up with anything, move in and

8. •Rule of thirds
The rule of thirds is a guideline which
applies to the process of composing visual
images such as designs,films,painting and
photographs .The guideline proposes that
an image should be imagined as divided
into nine equal parts by two equallyspaced horizontal lines and two equallyspaced vertical lines, and that important
compositional elements should be placed
along these lines or their intersections.