Camera shot movement angle and editing glossary
- 1. Camera and Editing Glossary: revise one-a-day! Camera Techniques: Distance and Angle Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings. Extreme Long Shot (ELS) - see establishing shot: In this type of shot the camera is at its furthest distance from the subject, emphasising the background. Medium Long Shot (MLS): In the case of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes favour keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of attention. Establishing shot. Opening shot or sequence, frequently an exterior 'General View' as an Extreme Long Shot (ELS). Used to set the scene. Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist. There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen. The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight presentation of two actors (the two shot), or with dexterity three (the three shot). Close-up (CU). A picture which shows a fairly small part of the scene, such as a character's face, in great detail so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders. BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a person's feelings or reactions, and are sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the use of BCUs may emphasise the interviewee's tension and suggest lying or guilt. BCUs are rarely used for important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be invasive.
- 2. Angle of shot. The direction and height from which the camera takes the scene. The convention is that in 'factual' programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action. Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots. Point-of-view shot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot. Two-shot. A shot of two people together. Selective focus. Rendering only part of the action field in sharp focus through the use of a shallow depth of field. A shift of focus from foreground to background or vice versa is called rack focus. Soft focus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device. Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens. Tilted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.
- 3. Camera Techniques: Movement Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming out reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens. Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can be disconcerting. Zooming in and then out creates an ugly 'yo-yo' effect. Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in front of the subject: the pan 'leads' rather than 'trails'. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject. 'Hosepiping' is continually panning across from one person to another; it looks clumsy. Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax.
- 4. Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed. Crab. The camera moves (crabs) right or left. Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Rapid tracking (especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed without drawing attention to the camera itself. Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment. Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a background. Film Editing Glossary Cut A visual transition created in editing in which one shot is instantaneously replaced on screen by another. Continuity editing Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer. Cross cutting or parallel editing Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously. Dissolve A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. Editing The work of selecting and joining together shots to create a finished film. Errors of continuity Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots. Establishing shot A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.
- 5. Eyeline match The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity. Fade A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place. Final cut The finished edit of a film, approved by the director and the producer. This is what the audience sees. Iris Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films. Jump cut A cut that creates a lack of continuity by leaving out parts of the action. Matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action. Montage Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing. Rough cut The editor's first pass at assembling the shots into a film, before tightening and polishing occurs. Sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing. Shot reverse shot cutting Usually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking. Wipe Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s. Manipulating Time Screen time: a period of time represented by events within a film (e.g. a day, a week). Subjective time. The time experienced or felt by a character in a film, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged).
- 6. Compressed time. The compression of time between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time. Long take. A single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic. Simultaneous time. Events in different places can be presented as occurring at the same moment, by parallel editing or cross-cutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united. Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. Accelerated motion (undercranking) . This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed. Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect. Replay. An action sequence repeated, often in slow motion, commonly featured in the filming of sport to review a significant event. Freeze-frame. This gives the image the appearance of a still photograph. Clearly not a naturalistic device. Flashback. A break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves. Flashforward. Much less common than the flashback. Not normally associated with a particular character. Ambiguous time. Within the context of a well-defined time-scheme sequences may occur which are ambiguous in time. This is most frequently communicated through dissolves and superimpositions.
- 7. Compressed time. The compression of time between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time. Long take. A single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic. Simultaneous time. Events in different places can be presented as occurring at the same moment, by parallel editing or cross-cutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united. Slow motion. Action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. Accelerated motion (undercranking) . This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed. Reverse motion. Reproducing action backwards, for comic, magical or explanatory effect. Replay. An action sequence repeated, often in slow motion, commonly featured in the filming of sport to review a significant event. Freeze-frame. This gives the image the appearance of a still photograph. Clearly not a naturalistic device. Flashback. A break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves. Flashforward. Much less common than the flashback. Not normally associated with a particular character. Ambiguous time. Within the context of a well-defined time-scheme sequences may occur which are ambiguous in time. This is most frequently communicated through dissolves and superimpositions.