Camerawork introduction Year 12
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This document provides definitions and examples of various camera techniques used in filmmaking, including shot types (extreme long shot to extreme close up), camera angles (eye level to low angle), focus techniques (shallow focus and deep focus), lens techniques (zoom in and zoom out), and camera movements (pan, tilt, track, hand-held, steadicam, crane, and aerial). Different camera techniques are used to emphasize or de-emphasize aspects of mise-en-scène and can influence the audience's perspective and understanding of the scene.
Camerawork introduction Year 12
- 1. CAMERAWORK • Shot Types • Camera Angles • Focus • Lens Techniques • Camera Movement
- 2. SHOT TYPES
- 3. EXTREME LONG-SHOT (XLS) • AKA full or wide shot • Shows entire subject (person or object) from a distance • Intended to highlight setting or place subject in its surroundings • Usually used as an establishing shot to locate the action
- 4. LONG-SHOT (LS) • Can also be referred to as a wide shot • Shows entire subject (person or object) but closer than an XLS • Intended to place subject in its surroundings
- 5. MEDIUM LONG SHOT (MLS) • Between long shot and medium shot • Depicts a person from around the ankles upwards • Allows a lot of the environment to be seen • Several people can be observed
- 6. MEDIUM SHOT (MS) • Shot from medium distance • Depicts characters from around the waist upwards • Allows viewers to focus on characters’ expressions and movements • Still shows a reasonable amount of the environment
- 7. MEDIUM CLOSE-UP (MCU) • Between a medium shot and a close-up • Humans are generally framed from mid-torso upwards • Can observe facial expressions clearly without being too close
- 8. CLOSE-UP (CU) • Tightly frames the subject • Close-ups of people will generally be head and shoulders • Can be other part of the human body • Used to highlight emotion or intricate activity • Partially eliminates the broader scene
- 9. BIG CLOSE-UP (BCU) • Similar to a close-up but without the shoulders and top of the head • Used when facial expressions and emotions are important • Almost entirely eliminates the broader scene
- 10. EXTREME CLOSE-UP (XCU) • So close that only a very small part of the subject is visible • Generally too close to display emotions or reactions
- 11. CAMERA ANGLES
- 12. EYE LEVEL • The camera is positioned as if a human were observing a scene • Actors' heads are on a level with the focus • The camera is about five to six feet from the ground
- 13. GROUND LEVEL • The camera is positioned very close to the ground • The camera is level with the focus
- 14. HIGH ANGLE • The camera is higher than the action and looks down on it • High angles make characters seem less significant or powerful • Objects and character get swallowed up by their environments • Often used when characters are in danger or vulnerable
- 15. EXTREME HIGH ANGLE / BIRD’S EYE VIEW • Shows action from directly overhead • Puts the audience/viewer in godlike position • May render familiar objects totally unrecognisable at first • Can make characters look insignificant and ant-like
- 16. LOW ANGLE • The camera is lower than the action and looks up to it • Low angles make characters seem larger and more powerful • Characters can appear intimidating and threatening • They can make the audience feel vulnerable
- 17. EXTREME LOW ANGLE / WORM’S EYE VIEW • Often removes background and context • The lack of setting can cause disorientation for the viewer • Can give a sense of confusion and vulnerability to viewers
- 18. OBLIQUE ANGLE • AKA canted, expressionistic or Dutch angle • Suggests disorientation and a world out of balance • Externalises (ie makes visible) characters’ sense of unease • Makes the audience feel uneasy
- 19. FOCUS
- 20. SHALLOW FOCUS • Uses a small depth of field (DoF) • Only one plane of the image is in focus • Used to emphasize one part of the image • Focus can move during a shot to highlight a different part of image
- 21. DEEP FOCUS • Uses a large depth of field (DoF) • Foreground, middle-ground and background are all in focus
- 22. LENS TECHNIQUES
- 23. ZOOM IN • Elements of the lens are moved to magnify part of a scene • Creates a closer, tighter image • Used to direct a viewer’s attention and focus • The camera may not actually move
- 24. ZOOM OUT • Effectively the opposite of a zoom in • Goes from close to wide to reveal more of a scene • Creates a wider image • The camera may not actually move
- 25. CAMERA MOVEMENT
- 26. PAN • Usually on a tripod or dolly which acts as a stationary axis point • Camera scans a scene horizontally (left to right) • Can be combined with other movements (such as tracking) • Not to be confused with ‘pan and scan’
- 27. TILT • Similar to a pan but where the camera pivots vertically (up and down)
- 28. TRACKING • The camera is placed on a moving vehicle (usually a dolly) which moves • The camera can move forwards, backwards or sideways • Can follow subjects or move towards /away from them
- 29. HAND-HELD • The camera is literally hand-held by the operator • The image is shakier than a tripod or dolly mounted shot • Produces a ‘fly-on-the-wall’ effect • Viewers feel part of the scene • The awkward movements can also make viewers feel uneasy
- 30. STEADICAM • The camera is carried by the operator, similar to hand-held shots • The Steadicam mount makes shots much smoother • Can be used in places where tracks and dollies are impractical
- 31. CRANE • Produces smooth movements • Can move up, down, left, right, swoop in on action or move away from it • Can go from ground level to extreme high-angles • Also useful for high-angle shots without movement
- 32. AERIAL • Usually taken from a helicopter • Often used at the beginning of film to establish setting • Like a particularly flexible sort of crane - it can go anywhere • Can convey real drama and exhilaration • Can produce extremely high-angles