This document provides information on various film techniques related to shots and camera angles. It defines common shot types like close-up (CU), medium close-up (MCU), medium long shot (MLS), long shot (LS), and extreme long shot (ELS) based on the relationship between the human figure and the frame. It discusses how different shots like CU can be used to create intimacy or tension. It also explains different camera angles like low angles to depict power or high angles to make a subject seem small. Finally, it covers camera techniques like zooms, rack focus, and dolly shots which involve camera movement.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Film Language: Mise-En-Scene explanation and examples.Ian Moreno-Melgar
A long and detailed look at what mise-en-scene is and how it can be looked at in different aspects of film language. The presentation is split into the areas of Setting & Props; Costume, Hair and Make-up; Lighting and Colour; Positioning of Objects and People; Facial expression and Body
Language. Each section contains a range of examples (many of which are gifs and videos which obviously won't play on here) and some activities for students to engage with.
Film Language: Camera angles and shot size introduction for Film Studies. Als...Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera shot sizes and angles. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've labelled what the film is. Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
Film Language: Camera angles and shot size introduction for Film Studies. Als...Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera shot sizes and angles. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've labelled what the film is. Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
A presentation that can be used to introduce students to some of the techniques used in film. Includes camera shots and angles, sound, lighting, mise-en-scene.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
The midterm will cover chapters 1-7, 14, class lecture, and films .docxcherry686017
The midterm will cover chapters 1-7, 14, class lecture, and films we have watched or discussed in class. It will consist of multiple choice, matching, and true and false questions.
Important information and terms you might want to study for the exam… just knowing the definition will not get you far. Make sure you understand the whole concept so you do not miss a question for memorizing a term. It might be worded in a different way than you studied for.
-Directors of the films we have watched and famous directors we’ve discussed in class
-Films we have watched or discussed in class
-The different ways how to write about films
-auteur -avant-garde film
-closure -composition
-voice-over -parallels
-cut -turning points
-camera tracks -intertextual references
-compilation films -plot summary
-establishing shot -re-establishing shot
-long shot -pans
-reverse shot -backstory
-narrative form -narrative sequencing
-fade-outs/fade-ins -protagonist
-antagonist -Hollywood “rules” of narrative (ch. 4)
-point-of-view shot -CGI
-cameos -character actors
-morphing -lenses
-Lighting: hard, soft, available, high-key, low-key -scene
-shot -storyboard
-long takes -out-takes
-time-lapse photography -frozen time moment
-high-/low-angle shots -extreme close-up
-close-up -tracking shot
-pan -swish pan
-crane -ariel shot
-steadicam -wide-angle shot
-depth of field -filters
-tinting -toning
-exposures -rear projection
-matte shot/paintings -double exposure
-dissolve -blue screen
-graphic match -wipe
-parallel editing -cutaways
-180-degree rule -match on action
-montage -Cahiers du Cinema (ch 14)
Film TermsThe “Auteur” Directors· Terry Gilliam
· First known for the bizarre animation sequences in “Monty Python’s Flying Circus” (1969), using cutout pictures and photographs.· If you’re searching for weird films, then look no further than Terry Gilliam films
· Often begins and ends his films with the same shot
· Heavy use of wide angle lensesHis breakthrough picture, Time Bandits, 1974
· Finding that his bedroom contains a hole in time, a boy ventures through it and emerges in different historical periods, teaming up with a band of diminutive time-traveling outlaws on the lookout for loot.The Zero Theorem (2013)
· A computer hacker's goal to discover the reason for human existence continually finds his work interrupted thanks to the Management; this time, they send a teenager and lusty love interest to distract him.
The Man Who Killed Don Quixote
· unfinished film project directed and co-written by Gilliam - began shooting 2000, Jean Rochefort as Quixote and Depp as Toby Grisoni
· never finished thanks to bad luck - weather, health issues, and insurance problems
· in 2010, Gilliam finally announced that the funding had collapsed.
· In January 2014, Gilliam said filming has begun again.
Tideland (2005)
· Sch ...
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.
Similar to Film terms and techniques, shots and angles part 2 (20)
Representation of women in film - very basic overview 2015 updateAndy Wallis
A basic overview of representation of women in film to be used as a starting point in the classroom. The clips are to give students an opportunity to understand the history.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2. basic camera shots
basic shots are defined by the relationship of
the size of a person to the 4:3 frame
3. MCU –
medium close up
MLS –
medium long shot
CU - close up
LS – long shot
MS – mid shot
ELS –
extra long shot
4. a detailed view of a person or object, only the head, which
fills the frame;
and one for Audrey
Hepburn in Charade
(1964)
a publicity shot for the
Russian film Burnt by the Sun
(1994).
Its aspect ratio is 3:4.
close up / CU
a CU helps to create a sense of intimacy, and helps the
viewer to identify with the character.
5. Olivia Hussey as Juliet in
Franco Zeffirelli's Romeo and Juliet (1966)
6. Close ups in wide screen can be problematical, because
there is so much screen to fill.
Emma Thompson as Beatrice
Kenneth Branagh's Much Ado About Nothing (1993) was
filmed in 1.85.1
7. The Fellowship of the Ring was filmed in anamorphic wide screen
(2.35:1)
Orlando Bloom as Legolas
8. as was Finding Neverland (2004), with Kate Winslet, Freddie
Highmore
9. • using shallow focus to blur the rest of the frame.
Directors have resorted to various stratagems to enable
them to use CU in a widescreen format.
Ralph Fiennes in The Constant Gardener
10. • darkening the rest of the frame.
Rory Culkin, in Mean Creek (2004)
11. • masking part of the frame with curtains.
Terence Howard in Crash (2004)
16. Thora Birch is framed by Kevin Spacey on one side and the
verticals of the stove on the other, in American Beauty.
17. and here by Wes Bentley's out of focus shoulder
18. • filling the background with interesting stuff
The wonderful Charles Durning as Governor 'Pappy' O'Daniel
in O Brother, Where Art Thou?
19. • or nothing at all
Chris Thomas King as Tommy Johnson in O Brother, Where Art Thou?
20. less common in widescreen format, though still sometimes used.
Rachel Weisz in The Constant Gardener
extreme close up / ECU
21. It is often used for sinister effect
Jon Voight in Holes
(2003)
Ian McKellen in
Richard III (1995)
22. or to show threatening or bullying behaviour, as in this shot
from Strictly Ballroom (1992)
23. or for more subjective effects:
the 13-year–old Jamal has finally found Latika after six years;
as he watches her dance, she is reflected in his eye.
Tanay Hemant Chheda in Slumdog Millionaire (2008)
24. Vanessa Redgrave makes a powerful impact in her scenes
at the end of Atonement, when she seems to speak directly
to the cinema audience.
25. BCU helps to show the distress of Chris McCandless (Emile
Hirsch) in Into the Wild (2007)
26. and it emphasises the glamour of Nicole Kidman's Satine in
Moulin Rouge (2001)
27. Widescreen filming is more adaptive for TWO shots, whether CU
or MCU/MS.
CU TWO of young Jacksons as hobbit children
29. MCU TWO from The Pianist, with Adrian Brody and Emilia Fox
30. even man and dog
Johnny Depp and his 'bear' Porthos in Finding Neverland
31. CU TWO shots created an intimacy in older films, as in this
publicity shot for Charade with Cary Grant and Audrey Hepburn.
which is more difficult to achieve in widescreen filming
William Hurt and Marcia Gaye Harden in Into the Wild
32. This is often solved by over the shoulder shots
Emily Mortimer and Paul Schneider in Lars and the Real Girl
34. BCU TWO: Dev Patel and Freida Pinto in Slumdog Millionaire
35. medium close up and mid shot / MCU and MS
Kenneth Branagh as Benedick in Much Ado About Nothing
MS includes more of the
body but not all of it.
It is often difficult to differentiate between the two: MCU is usually head
and shoulders;
36. The scarecrow effectively and amusingly fills a gap in this
MS TWO of Sam (Sean Astin) and Frodo (Elijah Wood)
from Fellowship of the Ring.
37. Space here is filled by files and blinds – all verticals. The actor's
position on the far left of the frame underlines his character's
discomfiture in the bad news he is bringing to the unseen listener.
The verticals add subliminal barriers.
Danny Huston in The Constant Gardener
38. The space between figures can be used to show the emotional
gap between characters
as in this scene between the estranged brothers (Matthew
Macfadyen and Colin Foy) from In My Father's Den.
39. or to both connect and separate the rivals (Richard Roxburgh
and Ewan McGregor) for Satine in Moulin Rouge – with
humorous effect.
40. long shot / LS
a publicity shot of Ian McKellen as Gandalf
a shot that shows a human body in full and within the frame
41. Jamie Bell in Billy Elliot (2000)
An LS is often used to put a character into the context of the wide
setting.
42. extra long shot / ELS
Wes Bentley and Kevin Spacey in American Beauty
describes almost any shot with the human figure dwarfed by its
surroundings.
43. Jamie Bell and Nicola Blackwell in Billy Elliot
Too many long shots in a movie can keep the viewers at a
distance and so make it hard for them to get involved.
44. Shooting one or two characters in LS or ELS tends to leave a
great deal of picture space to fill, especially in widescreen.
In this shot from The Princess Bride, the barn on the right and the
gate and tree on the left fill the frame and eliminate awkward gaps.
45. The emptiness of the yard underlines the despair of Shaun
Toub in Crash
46. Into the Wild director Sean Penn used many ELS shots to show
first Emile Hirsch's Chris McCandless's joy in the wide open
spaces, and then increasingly his dangerous isolation.
49. low angle
Mary Barrie (Rhada Mitchell) takes the high moral ground –
literally and metaphorically – with her husband JM Barrie in
Finding Neverland
a shot in which the subject is photographed from below
50. Here it is used – as it so often is – to show power and authority.
Hugo Weaving and friend in The Matrix
52. Mandy Patinkin, Wallace Shawn and Andre the Giant in The
Princess Bride – the effect here is deliberately more comedic.
This is the POV of the Man in Black who is climbing the cliff face
towards them.
53. The prison in The Shawshank Redemption (1994) is designed
to intimidate
55. spectacular use of a low angle shot as Neo rescues Morpheus
in The Matrix
56. This low angle shot is also a POV shot as Neo wakes and sees
Morpheus (Laurence Fishburne) looking down at him.
57. high angle
It gives an overall view of the arena in A Knight's Tale (2001)
a shot in which the subject is photographed from above
58. and of the committee that is planning Princess Diana's funeral in The Queen
59. This high angle shot is also a POV shot, as young Briony
witnesses from the window above – and misinterprets – an
encounter between Robbie (James McAvoy) and Cecilia (Keira
Knightley) in Atonement.
60. An older Briony (Romola Garai) is shown alone and small as she
faces the fact that the evidence she gave years earlier was false.
61. Heinrich Szpilman and his family watch the building of
the wall that will imprison them in the Warsaw ghetto – a
high angle POV shot from The Pianist.
62. later, he watches the battle for Warsaw through the windows of
his hiding place – another POV shot that emphasises his
imprisonment as he hides from the Nazis.
63. extreme high angle
The Matrix
– it is meant to look scary, and since it is Neo's view from
the window ledge he is on, it is.
64. A low angle shot may
be juxtaposed with a
high angle one
– in this case for comic
effect.
(Chicken Run, 2000)
65. crane shot
The crane carries the camera (and usually the
cinematographer) and can move in virtually any direction.
a shot taken by a camera on a crane, a device which resembles a huge
mechanical arm.
66. smaller versions are manipulated from the ground and don't
hold the camera operator
as in this one used in filming Slumdog Millionaire
67. The most obvious uses are to view the actors from above
as in this famous shot from High Noon (1952), showing the sheriff
Will Kane on his own to face the outlaws coming to kill him
68. or where Tim Robbins is in danger of being thrown off the roof
by a warder in The Shawshank Redemption.
a shot like this is very effective in making the viewer share the
feelings of the character.
69. or in these shots from Lawrence of Arabia (1962), showing the
Arab tribesmen, having crossed the desert, attacking the Turkish-
held Aqaba
– giving a vivid sense
that we are watching
history happen.
70. or to move up and away from the actors, a common way
of ending a movie
as in the famous 3-minute crane shot that ends Kenneth
Branagh's film of Much Ado About Nothing
71.
72. Sometimes it is used to show visual patterns, as in this
scene from Branagh's Much Ado
73. aerial shots are taken from planes or helicopters
a stunning view of northern Kenya, in The Constant Gardener
74. The prisoners in The Shawshank Redemption rush to the fence
when a new intake arrives.
75. Aerial shots are often used to establish locations
dawn over Auckland Harbour in Sione's Wedding
78. a camera tilted to one side so the horizon is on a slant is
canted; also called a 'Dutch angle' or a 'Dutch tilt'
[not to be confused with a 'tilt shot' which involves
camera movement.]
canted angle
79. The canted angle helps show how disorientated Peter is
after the spider bite in Spider-Man.
80. Dr Rosen (Christopher Plummer) as seen by the
schizophrenic John Nash in A Beautiful Mind
81. Sam's POV of Gandalf, who has just hauled him in through
the window of Frodo's home, is a more comic image.
82. When the gangster Javed arrives home early, his appearance is
frightening and threatening.
Mahesh Manjrekar in Slumdog Milllionaire
83. the combination of a canted angle and an extreme ELS
emphasises the despair and hopelessness of Jamal in this shot
from Slumdog Millionaire.
84. level of framing
It is not only the angle from which a camera shoots, but the
height at which it shoots that can be significant.
Most cameras are set at eye-level, so we experience a film as
if we are watching real life
85. In Gurinder Chadha's Bend it Like Beckham, a 'WEGO' camera
was used at ground level to give the foot’s or ball’s POV during
a match.
usual camera height – high
angle shot
WEGO camera – shot
at ground level
88. depth of field
the distance through which elements in an image are in
sharp focus
Greater depth of field will be obtained in bright rather than
dull light, and with a narrow lens aperture; or with a wide-
angle rather than a long lens.
A shallow depth of field is often used as a technique to focus
audience attention on the most significant aspect of a scene.
89. Depth of field is directly connected, but not to be confused,
with focus.
focus is the quality – the 'sharpness' of an object as it is
registered in the image
depth of field refers to the extent to which the space
represented is in focus.
90. a shallow depth of
field in this shot of
Romola Garai in
Atonement
much greater depth of field in this shot from Shakespeare in Love
91. describes a scene that is kept in sharp focus, from close-up to
the furthest plane
Lester's office in American Beauty
deep focus
98. Deep focus makes appallingly clear the number of people
collected for transportation to the concentration camps in
The Pianist.
99.
100. The camera focuses on objects in the foreground, so the
background is blurry,
as in this shot from Pleasantville (1998).
shallow focus
101. Gwyneth Paltrow in Shakespeare in Love (1998)
The purpose is often to ensure the focus of attention will be
the object or person in question
102. Keira Knightley seems as delicate as the flowers she is
arranging in this shot from Atonement.
103. It is often used to separate a character from their surroundings,
perhaps emphasising loneliness or isolation, emotional or real.
Frank (Steve Carell) and Dwayne (Paul Dano) are both
alienated from society and family in Little Miss Sunshine.
104. Gerry tries to maintain a bit of privacy as he talks to his
girlfriend while his impatient team-mates queue to use the
phone, in Remember the Titans
105. The focus is on the broken fragment of vase – the tension in
Robbie is revealed in his hand – as Cecilia gets out of the
fountain in Atonement.
106. a wonderful example from Spider-Man, with the focus on the
spider and its web, and the students, including Peter Parker
unfocussed below
107. The Queen sits by the river with the young Princes barely
visible on the other side in The Queen.
Here shallow focus serves to both isolate her – underlining the
essential loneliness of her position – and at the same time keeps
the Princes out of the limelight.
108. used to describe those shots where the focus is neither deep
nor shallow but on a chosen plane or object.
The focus is on the magnificent stag the Queen sees
extraordinarily close; it is her POV and she is merely a blur on
the picture plane as she looks at it.
differential or selective focus
109. Keira Knightley and James McAvoy in Atonement
Robbie's POV of Cecilia has her in focus while he is out of
focus on the edge of the frame.
110. In another example from the exquisitely photographed
Atonement, Robbie's POV of Cecilia is in focus while the
background, and Robbie himself, though less so, are out of focus.
the shot beautifully demonstrates the intensity of his feelings for her
111. A zoom lens has variable focus that permits the
cinematographer to change from wide-angle to telephoto shots
(and vice versa) in one continuous movement, often plunging
the viewer in or out of a scene rapidly.
It is difficult to demonstrate zoom using still pictures.
However, the following shots from The Fellowship of the Ring,
a film that utilises the zoom lens in a number of scenes, will
give a hint of the idea.
The scene is the one where Frodo becomes aware of evil
on the road. The zoom turns a peaceful road into a tunnel
of dread.
zoom
112.
113.
114. In the initial sequence of The Stendhal Syndrome (Italy, 1996),
Dario Argento's camera zooms from a medium long shot of
people queuing up at a museum's entrance to a medium close-
up of the protagonist
Notice how she 'helps' the zoom to achieve its
purpose of singling her out by moving her head.
115. focus change from one object to another, by lens movement
rather than by a CUT
'Rack' focus is the movement of the focus within a shot;
'selective' or 'differential' focus is static.
It forces the viewer's eye to travel with those areas of an
image that remain in sharp focus.
rack (or pull) focus
116. In this shot from American Beauty, the focus is on the
glass of carrot juice; Jane is only a blur in the background.
124. A shot taken from a moving vehicle , that follows a moving
person, animal, vehicle or other object.
tracking / trucking shot
125.
126. For closer work, there is hand-held – or more likely 'shoulder-
held' – as in this photograph of filming in the London
Underground.
Hand-held cameras ore often used to give a deliberately
unsteady effect, to suggest authenticity as in a documentary.
127. Dollies are used less than they used to be since the invention
of the Steadicam, which gives a smoother, less jerky result
than a hand-held camera, but has a flexibility a stationery
camera (or even one on tracks) can't have.
129. In the famous 9-minute tracking shot that begins Robert Altman's
The Player (1992), the camera picks up and follows Tim Robbins'
4WD as it comes into the lot…
130. follows him to the door of his office
and then follows Fred Ward as he walks and chats…
131. reverse tracking
tracking shots are usually made on a slight angle from the side of
the subject; occasionally a following shot will be shot from
behind.
following shots are not common because faces cannot be seen
reverse tracking is used when the director wants to focus on the
face of the character being tracked, or wants the audience to
share the character's experience
as in this very famous sequence of Cary Grant being chased by a
crop-duster in Alfred Hitchcock's North by Northwest (1959)
Editor's Notes
This is a scene at the start of the film in which Glover's character is informing Ralph Fienne's character that his wife has been murdered.
Wonderful example from Spider-Man, with the focus on the spider and its web, and the students, including Peter Parker unfocussed behind.