Session 8 Different Kinds of Shots (Basic Photography Class)
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This document provides definitions and examples of basic shot types used in photography and film including: 1) Extreme long shot, long shot, medium long shot, and medium shot which show more of the subject and surroundings. 2) Close up, medium close up, and big close up shots which focus on specific body parts or facial features. 3) Examples are given for each shot type showing how they are used to emphasize different aspects of the subject and scene.
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Camera shots commonly used in movie making and what they are used for, with examples (pictures and gifs) of each given about the explanation, all from some good movies.
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The dominant contrast is Enid, dressed in bright blue. After taking her in, the eye is drawn to:
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So in summary, after Enid, the eye moves between Seymour as the other character, and the kitchen setting around them, which provides information about where this interaction is taking place.
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This document defines and describes various camera shots and angles used in filmmaking:
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[2] Master shots capture all actors in a wide frame.
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Camera shots, angles and movements
Camera shots commonly used in movie making and what they are used for, with examples (pictures and gifs) of each given about the explanation, all from some good movies.
Mise en scene
The dominant contrast is Enid, dressed in bright blue. After taking her in, the eye is drawn to:
- Seymour, who is also a large object in focus. As the other person in the conversation, he is an important secondary focus.
- The kitchen backdrop and appliances, which provide context for the setting of the scene.
So in summary, after Enid, the eye moves between Seymour as the other character, and the kitchen setting around them, which provides information about where this interaction is taking place.
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The document discusses different types of camera shots including: extremely wide shots, very wide shots, wide shots, medium close ups, close ups, extreme close ups, over the shoulder shots, point of view shots, and noddy shots. Each shot brings the subject and surroundings closer to the frame and provides varying levels of detail about the subject and their environment. The shots are used to set the scene, convey emotions, create tension, and show perspectives.
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The document describes different types of shot sizes and angles used in filmmaking. It explains that extreme close-ups focus on intense detail like the eye or mouth to show emotion, while close-ups are still personal but show less detail. Medium shots can display both facial expressions and body language. Mid and long shots provide more context of the subject and surroundings. Establishing shots introduce the setting. Two shots frame two conversing people from the waist up. Low angles make the subject appear powerful while high angles create sympathy.
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Cinematography involves capturing photographic images through controllable elements like film stock, camera lenses, framing, and movement. Different techniques like deep focus, shallow focus, racking focus, and zoom shots manipulate what is in or out of focus to direct audience attention or illustrate relationships. Framing also influences perspective through angles, heights, and point-of-view shots. Scale is controlled through shots like extreme long shots and close-ups. Movement is created through pans and tracking shots that follow action through space. These techniques are used in horror to build suspense, emphasize emotions, and create jump scares.
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The document discusses theories of spectatorship in relation to the films La La Land and Captain Fantastic. It analyzes several scenes from both films:
1) The ending of La La Land manipulates viewers' emotions through lighting and cinematography but also allows audiences to interpret two possible endings.
2) Captain Fantastic's happy ending sequence uses bright colors and active characters to invoke feelings of happiness in viewers, relating to theories of escapism.
3) Both films include ambiguous scenes that leave interpretations open to viewers rather than imposing a single meaning, demonstrating how audiences can form their own understandings.
Mise-en-Scene: Design and Composition
Mise-en-scène refers to the overall look and feel of a movie, including the setting, costumes, props, decor, lighting, and acting. It has two aspects: 1) design, which is the look and feel of all visual elements, and 2) composition, which is the arrangement of objects and actors within the frame. Mise-en-scène works to advance the narrative and create motifs, while the setting can relate to the action, other settings, and settings in other films. Composition arranges elements within the frame to present the action and develop themes visually.
Mise en-scene presentation
The document discusses the key elements of mise-en-scene - a French term meaning "what is put into the scene" - that filmmakers can use to influence the audience and provide context. It describes the five main elements of mise-en-scene as setting and props, costuming/makeup, facial expressions and body language, lighting and color, and cinematography including camera shots and angles. The document provides examples of how these elements can be analyzed and what inferences can be made about characters and the narrative from them.
Three-Act Narrative Structure
This document discusses narrative structure in film. It describes the key elements of a three-act structure including an introduction that establishes characters and goals in Act 1, obstacles in pursuit of goals in Act 2, and a climactic confrontation in Act 3 that resolves whether the goals are achieved. It also notes there is often a turning point where the protagonist must change tactics or get a new goal in Act 2. Analyzing a film's structure involves identifying the protagonist's initial and changing goals and how they pursue them throughout the acts.
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This document provides an introduction to key film techniques including mise-en-scène, framing, composition, use of space, and shot types. It discusses concepts like tight vs loose framing, the rule of thirds, deep vs shallow space, and establishing shots. Specific examples are given from films to illustrate techniques like framing characters in the background to show emotional distance or using shallow space to create a sense of being trapped. The document aims to explain the technical and symbolic aspects of how scenes are photographed and composed in film.
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This document provides an overview of key cinematography techniques used in filmmaking, including: framing, lighting, depth of field, camera shots/angles/lenses, and camera movements. It discusses techniques like high and low angles, close-ups, tracking shots, pans, tilts, and zooms and how they are used to convey meaning and influence audience perception. The document emphasizes that cinematography is a dynamic, essential part of film language that has evolved with camera technology to tell visual stories and efficiently communicate information through shots and lighting.
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This was a task given by my teacher in Media studies session. Here is a presentation about the Camera Angles and Camera Movements. I have taken those pictures on my own to show the different camera angles.
WHAT IS CINEMATOGRAPHY?
This document defines cinematography and discusses various cinematography techniques. It begins by defining cinematography as how the camera is used to create meaning through elements like camera movement, lenses, and lighting. It then discusses different shot types like close-ups, long shots, and over-the-shoulder shots and how they impact viewers. Finally, it covers concepts like depth of field, camera movement, framing, and the rule of thirds to guide visual storytelling.
Film genres for GCSE
This document discusses genres in film. It explains that genres refer to groups of texts that share patterns of similarity and difference. Some of the earliest films fell into genres as studios tried to replicate success. The document lists several modern film genres and notes that changes in genres over time reveal changes in society and values. It then discusses several common elements of genres, including iconography, settings, narratives, characters, styles, themes, and intended audiences. The document suggests genres act as a bargain between producers and audiences. It also includes a quote about the three main reasons for making movies being to scare, make laugh, or turn people on, relating to three core genres. Finally, it provides brief overviews of three horror genres: psychological horror
Camera shots angles
This document discusses different camera shots and angles used in filming. It describes three main camera shots based on distance from the subject: long shots show the entire subject; medium shots show about half the subject; and close-ups show only a part of the subject in great detail. It also discusses five main camera angles: high angle, eye-level, low angle, reverse angle, and oblique angle. Finally, it outlines six types of camera movement: panning, tracking, elevating, dollying, tilting, and zooming in/out.
Codes and conventions in the horror genre
Horror films use various codes and conventions to frighten audiences, including narrative structures involving disruption and attempts to repair equilibrium, stereotypical characters like protagonists and antagonists, and mise-en-scene elements like isolated settings, dark lighting, costumes signifying hope or evil, and props representing violence. Additionally, the document discusses how colors like red, black, and white are used to convey danger and mystery, and how non-diegetic and synchronous sounds create suspense, scare audiences, and change the mood.
Camera Shots for Drama genre film
The document discusses different types of camera shots including close-ups, long shots, birds eye/high angle shots, over the shoulder shots, medium shots, and extreme close ups. It provides examples of when each shot would be used and how it directs the audience's attention. Close-ups emphasize facial expressions or important objects. Long shots show the subject and surroundings. Birds eye shots are from above to provide perspective. Over the shoulder shots show conversations. Medium shots focus on the character from waist up. Extreme close ups add tension by focusing entirely on a small detail like eyes or an object.
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The document discusses various elements of mise-en-scène that contribute to the meaning and message of filmed media. It defines mise-en-scène as the arrangement of everything visible in a film frame, including actors, lighting, décor, props, and costumes. It then examines specific mise-en-scène elements like décor, lighting styles, costumes, props, color, location, body language, and character placement within the frame and how they can be used to characterize figures or set a mood. Students are instructed to closely analyze the mise-en-scène of short film clips and consider how these elements contribute to meanings around characters.
Media Language Lesson 3 - editing
This document discusses editing techniques in film, including continuity editing. It defines editing as how one scene changes to the next. Continuity editing uses techniques like the 180-degree rule, shot/reverse shot, eyeline match, and match on action to smoothly transition between shots and imply spatial relationships. Breaking continuity can create a more constructed meaning through juxtaposition. There are also different types of transitions between shots like fades, dissolves, and wipes.
Mise en scene
Mise-en-scene refers to everything visible within the frame of a shot including settings, costumes, lighting, and character positioning. It is a key tool filmmakers use to communicate meaning and influence audience perception. The five elements of mise-en-scene are settings and props, costumes, facial and body expressions, lighting and color, and character positioning within the frame. Each element conveys meaning and together they provide crucial context for understanding characters and the story.
Mise En Scene Analysis
This shot from the film Ghost World features Enid and Seymour in a medium shot in Seymour's kitchen. Enid stands out as the dominant subject through her size, focus, bright blue top contrasting with the brown surroundings, and spotlighting by a shaft of light. The lighting is moderate and the camera angle is eye-level. The characters are centered in the frame and stand facing each other in profile at an intimate distance, signifying their close friendship.
Camera distances and angles
Camera distances and angles can be used to influence the viewer's perspective and focus. Extreme long shots show the environment, while close-ups isolate small details. Eye-level shots are considered normal, while low and high angles force the viewer to look up or down. Dutch tilts present an unbalanced perspective, and aerial views provide a bird's-eye perspective. Framing and camera placement impact the point of view and how viewers relate to and understand the subject.
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This document defines and describes different camera shot types used in filmmaking, including:
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Session 1 introductory notes (Film Appreciation)
This document provides information for a film appreciation class at Ateneo de Davao University. It outlines assignments, resources, course requirements, and etiquette for film viewings. Students are expected to read introductory notes, take quizzes, submit one-page film reviews, and complete exams for grading periods. The course will explore cinematic elements and theoretical concepts in the first half and social/historical contexts of films in the second half.
Photo Exhibit
The document provides instructions for a photo exhibit, requiring a minimum of five 12x15 photos mounted on a board using double sided tape. Each photo must include a caption with the name of the photographer and model. Sample exhibit boards are displayed to provide examples of the format and layout.
Session 12 Macro photography
Macro photography involves taking extreme close-up photos of tiny objects using special macro lenses. Macro lenses have long barrels for close focusing and are optimized for high reproduction ratios, with focal lengths ranging from 50mm to 200mm or more. The focal length determines the lens's magnification and angle of view, affecting how much of the background is included and the level of background blur. Longer macro lenses require more working distance but compress the subject more.
Session 9 Photo Poses (Basic Photography Class)
This document provides guidance for photographers on posing models and conducting photo shoots. It discusses choosing models, test shots to establish the working relationship, assessing the model's appearance, posing techniques to minimize flaws and emphasize strengths, using props and background to set context, the importance of making the model comfortable, and procedures after the shoot like providing prints and getting a model release form signed. The overall aim is to give photographers tips to direct models in a relaxed manner and compose flattering images.
Session 7 White Balance (Basic Photography Class)
This document discusses white balance and color temperature in photography. It explains that white balance corrects for different light sources by adjusting colors in an image. Color temperature is measured in Kelvin and describes the hue of light sources from warm candlelight to cool daylight. The document outlines different white balance presets for light conditions like fluorescent, shade, and cloudy. It also explains using a gray card to set a custom white balance when shooting under mixed lighting. Raw format is recommended to allow adjusting white balance after the photo is taken.
Session 6 Photocomposition (Basic Photography Class)
The document discusses the foundational principles of photocomposition, including the selection, arrangement, and combination of visual elements within an image. It covers topics such as using the rule of thirds for composition, leading lines to guide the eye, forms and shapes, the use of lines, color and value, and avoiding common composition mistakes. The goal is to produce harmonious and visually pleasing photographs by applying these basic rules of composition.
Session 5 Shutter Speed (Basic Photography Class)
This document discusses shutter speed and how it affects photographs. It explains that shutter speed determines how long the camera shutter is open to allow light to hit the image sensor or film. Faster shutter speeds freeze motion while slower shutter speeds can capture motion blur. The appropriate shutter speed depends on the lighting conditions and whether you want to freeze or capture motion. Guidelines are provided for handheld shooting versus using a tripod. Different shutter speeds and their effects are listed and examples of various shutter speed effects are shown through photographs.
Session 1 Introduction (Basic Photography)
This document provides an overview of a basic photography course offered at Ateneo de Davao University. The 4-week course will cover topics such as camera parts, lighting, composition, and safety tips. Students will complete readings, exercises, and photo assignments culminating in a final practical exam. The goal is to teach fundamental indoor and outdoor photography skills and provide students with a basic photography certificate upon completion. Students are expected to have a DSLR or SLR camera and related equipment for hands-on lessons and activities during the crash course.
Session 3 Aperture (Photography Class)
The aperture is the opening in a camera lens through which light passes into the camera. The size of the aperture is adjusted by rotating the aperture ring on the lens, with larger apertures indicated by smaller f-stop numbers, allowing more light. The aperture, along with shutter speed and ISO, makes up the exposure triangle to control the amount of light entering the camera. A smaller aperture results in a greater depth of field, with more of the scene in focus, while a larger aperture gives a shallower depth of field, isolating the subject.
Session 2 Camera Care (Photography Class)
This document provides information on basic camera settings, film speed, and camera health and first aid. It discusses how to set up the camera by installing batteries and memory cards, set the date and time, and adjust focus settings. Film speed is explained, noting the relationship between ISO, ASA, and DIN ratings and how film sensitivity impacts exposure. Tips are provided for lens care, loading and removing film, and storage. The document stresses protecting camera equipment from damage, moisture, extreme temperatures, and proper handling.
Session 4 Depth of Field (DOF) and Aperture (Photography Class)
The document discusses depth of field (DOF) in photography. It defines DOF as the distance in front of and beyond the subject that appears in focus. The document states that f-number, which is a measure of aperture diameter relative to focal length, controls DOF - higher f-numbers correspond to larger apertures and greater depth of field, bringing more of the image into acceptable focus. It provides examples of how different f-numbers change the area of the image that appears sharp, and notes that adjusting the f-number is a way to manipulate focus and isolate subjects from backgrounds.
Session 7 lighting in film: Film Appreciation Course
This document discusses various lighting techniques in photography. It explains that lighting determines the shapes, forms and textures that the camera sees in an image. It covers different lighting directions like frontlighting, sidelighting, backlighting, and top lighting and how they impact shadows and depth. It also discusses using a main light and fill light to establish highlights and lighting ratios. Hard light and soft light are compared. Homemade lighting accessories like DIY canister lights are presented as alternatives to professional lighting equipment.
Session 11 auteur theory: Film Appreciation Course
The document discusses the theory of auteurism in film. It begins by defining the auteur theory, which advances that a film reflects the director's personal creative vision. It then contrasts auteur theory with genre theory, noting that auteur theory focuses on individual stylistic features while genre theory focuses on generic similarities. The document provides several examples of auteurs and their signature directorial styles, such as Alfred Hitchcock's use of cross-tracking shots. It traces the origins of auteur theory to French film critics in the 1950s and discusses how it was later developed and applied in the US.
Session 10 the art of film editing: Film Appreciation Course
The document discusses the history and techniques of film editing. It describes how early filmmakers like Edwin Porter began inserting shots within continuous footage. Directors like Eisenstein and Pudovkin further developed montage to convey meaning through juxtaposition of unrelated images. The document outlines various editing techniques used to manipulate time, establish rhythm and pace, and create audio-visual and psychological relationships for the audience through methods like contrast, parallelism, symbolism, and simultaneity.
Session 9a acting and directing: Film Appreciation Course
Effective acting results from an actor fully embodying their character, making the viewer see the character instead of the actor. Good acting requires the actor's personality to suit the role, presence on screen, and skill with dialogue delivery and voice. The director guides the actors' performances, casting those who can work within their vision and sometimes manipulating expressions. Strong collaboration between directors and actors is crucial for a film's success.
Session 6 filmmakers as story tellers: Film Appreciation Course
The document discusses the many roles involved in filmmaking including the director, cinematographer, camera operator, focus puller, clapper loaders, second unit, grips, gaffer, costume designer, makeup artist, greens department, catering supervisor, production designer, composer, actors, screenwriter, editor, and producer. It provides brief descriptions of the responsibilities of each role in the collaborative process of creating a film.
Session 5b laura mulvey's gaze: Film Appreciation Course
Laura Mulvey's 1975 essay "Visual Pleasure and Narrative Cinema" introduced the concept of the "male gaze", referring to how mainstream cinema codes the erotic into the language of the dominant patriarchal order. The male gaze objectifies and sexualizes women through techniques like lingering close-ups of the female body and presenting events through the perspective and reactions of male characters. This relegates women to the status of objects for the male gaze and separates the female viewer, requiring her to identify with the male perspective. Feminist film theory critiques how the male gaze constructs the eroticization and viewing of women in cinema.
Session 4 film narration: Film Appreciation Course
This document discusses different types of narration in films, including:
- Unrestricted vs restricted narration, depending on how much the viewer knows compared to characters
- Objective vs perceptual vs mental subjectivity narration, based on the viewer's access to a character's perceptions and thoughts
- The use of motifs, which are visual or auditory elements repeated throughout a film to provide unity and suggest meanings. Motifs can be props, camera movements, themes, or more.
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Session 6 Photocomposition (Basic Photography Class)
Session 6 Photocomposition (Basic Photography Class)
Session 4 Depth of Field (DOF) and Aperture (Photography Class)
Session 4 Depth of Field (DOF) and Aperture (Photography Class)
Session 7 lighting in film: Film Appreciation Course
Session 7 lighting in film: Film Appreciation Course
Session 11 auteur theory: Film Appreciation Course
Session 11 auteur theory: Film Appreciation Course
Session 10 the art of film editing: Film Appreciation Course
Session 10 the art of film editing: Film Appreciation Course
Session 9a acting and directing: Film Appreciation Course
Session 9a acting and directing: Film Appreciation Course
Session 6 filmmakers as story tellers: Film Appreciation Course
Session 6 filmmakers as story tellers: Film Appreciation Course
Session 5b laura mulvey's gaze: Film Appreciation Course
Session 5b laura mulvey's gaze: Film Appreciation Course
Session 4 film narration: Film Appreciation Course
Session 4 film narration: Film Appreciation Course
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【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
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【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
一比一原版(UniSA毕业证)南澳大学毕业证成绩单如何办理
UniSA毕业证【微信95270640】（南澳大学毕业证高仿学位证书((+《Q微信95270640》))）购买UniSA毕业证修改UniSA成绩单购买南澳大学毕业证办UniSA文凭办高仿毕业证南澳大学毕业证购买修改成绩单挂科退学如何进行学历认证留学退学办毕业证书/ 出国留学无法毕业买毕业证留学被劝退买毕业证（非正常毕业教育部认证咨询） University of South Australia
办国外南澳大学南澳大学毕业证假文凭教育部学历学位认证留信认证大使馆认证留学回国人员证明修改成绩单信封申请学校offer录取通知书在读证明offer letter。
快速办理高仿国外毕业证成绩单：
1南澳大学毕业证+成绩单+留学回国人员证明+教育部学历认证（全套留学回国必备证明材料给父母及亲朋好友一份完美交代）;
2雅思成绩单托福成绩单OFFER在读证明等留学相关材料（申请学校转学甚至是申请工签都可以用到）。
3.毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金高精仿度跟学校原版100%相同。
专业服务请勿犹豫联系我！联系人微信号：95270640诚招代理：本公司诚聘当地代理人员如果你有业余时间有兴趣就请联系我们。
国外南澳大学南澳大学毕业证假文凭办理过程：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。让我们的父母幸福快乐地度过一生挽着清风芒耀似金的骄阳如将之绽放的花蕾一般静静的从远方的山峦间缓缓升起这一片寂静的城市默默的等待着它的第一缕光芒将之唤醒那飘散在它前方的几层薄云像是新娘的婚纱一般为它的光芒添上了几分淡淡的浮晕在悄无声息间这熙和的阳光默默的照射在大地上像是母亲的手轻轻抚摸熟睡中的孩子般柔情似水五月的盛夏从这一缕柔情中揭开了第一抹的清香清晨本是繁华喧闹的街道此时只有稀薄的人群围着冒着层聋
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Session 8 Different Kinds of Shots (Basic Photography Class)
- 1. VARIOUS SHOTS Basic Photography Mass Communication Program Ateneo de Davao University
- 2. Shots ! ! ! ! ELS - Extreme Long Shot LS - Long Shot MLS - Medium Long Shot MS - Medium Shot/ Mid ! ! ! ! CU - Close Up MCU - Medium Close Up BCU - Big Close Up ECU - Extreme Close Up Shot
- 3. Extreme Long Shot (ELS) ! camera at its farthest distance from subject ! emphasize background ! context ! establishing Sex and Lucia! shot
- 4. Long Shot (LS) ! showing all or most of the subject and much of the surroundings ! emphasis is more on the size or height of subject vis-a-vis background
- 5. Medium Long Shot (MLS) ! Emphasis on the physique of subject ! frame cuts off feet and ankles The Road Home!
- 6. Medium Shot (MS) ! mid-shot ! lower frame passes through waist of subject ! subject and setting occupy roughly equal areas in the frame ! space for hand gestures Angelina Jolie, UNHCR Ambassador!
- 7. Medium Shot (MS) Monicca Bellucci!
- 8. Medium Close Shot (MCS) ! setting Sex and Lucia! can be seen ! lower frame passes through chest of subject
- 9. Close Up (CU) ! shows a character’s face in great detail ! face fills the screen The Road Home!
- 10. Medium Close Up (MCU) Sex and Lucia! head and shoulders
- 11. Big Close Up (BCU) From forehead to chin Emphasis on the intimate emotion of the subject
- 12. Extreme Close Up (ECU) ! reveals only a small part of the face
- 13. Shot Sizes
- 14. Shot Angles