Basic Shots

1. How to construct the shot?

Before the shooting it is important to do:

- to do location scout

- to consider intellectual rights

- to do time planning

- to obtain requisite

- to write the plan of filming.

1. Extreme Long Shot

1. Also referred to as a "very wide shot" or a "very

wide angle shot".

2. Traditionally used in exterior shooting.

3. Encompasses a large field of view.

4. Often used as an establishing shot at the beginning of a motion

picture or at the start of a new sequence within a motion picture.

5. Shows where/ when/ who.

2. Very Long Shot

1. May be used in exterior or interior shooting when enough width and height exist within the studio set or location building.
2. Environment within the film space is still very important.
3. May be used as an establishing shot where movement of character brings the figure closer to the camera.

4. Shows where/ when/ who.

3. Long Shot/ Wide Shot

1. This is usually considered a “full body” shot, wide but in close to a figure with hea d and feet visible in the frame.

2. Interior or exterior shooting.

3. Larger human figure takes attention away from the environment; however, a fair amount of the character’s surroundings is still visible.

4. May not work well for an establishing shot.

5. Shows where/ when/ who.

4. Medium Long Shot

1. Increases magnitude. The bottom of frame cuts off the leg either just below or, more commonly, just above the knee. In the last case it is sometimes referred to as the “Cowboy” because in American Western movies the firearm in the holster strapped to the thigh of a cowboy is shown.

2. May be interior or exterior shot.

3. Human figure is prominent; details in clothing, gender, and facial expressions are visible.

4. Shows who/where/when.

5. Medium Shot

1. Or the “Waist” shot, as the frame cuts off the human figure just below the waist and just above the wrist if arms are down at the side.

2. Interior or exterior.

3. Is most prominent in the frame, eyes and the direction they look clothing, hair color, and style are all plainly visible.

4. Subject movement may become a concern, as the tighter

framing restricts the freedom of gesture - be careful not to break frame.

5. Shows who/where/when.

6. Medium Close-Up

1. Or the “two-button” for the tight bottom frame cutting off at the chest, roughly where you would see the top two buttons on a shirt. Definitely cuts off above the elbow joint.

2. Interior or exterior.

3. Character’s facial features are rather clear — where the eyes look is obvious, as is emotion, hair style and color, make-up, etc. This is one of the most commonly used shots in filmmaking.

4. An audience is supposed to be watching the human face at this point in the framing so actions or objects in the surrounding environment hold little to no importance.

5. Shows where/when.

7. Close-Up

1. Sometimes called a “head shot”, as the framing may cut off the top of the

subject’s hair and the bottom of the frame can begin anywhere just below the chin

or with a little upper shoulder visible.

2. Interior or exterior.

3. A very intimate full face shot of a human subject showing all detail in the eyes and conveys the subtle emotions that play across the eyes, mouth, and facial muscles of an actor.

4. An audience member should be totally focused on the human face with this framing, especially the eyes and/or mouth.

5. Shows who but not so much where/when.

8. Big Close-Up

1. Human face occupies as much of the frame as possible and still shows the key

features of eyes, nose, and mouth at once.

2. Interior or exterior.

3. Such an intimate shot puts the audience directly in the face of the subject - because

every detail of the face is highly visible, facial movements or expressions need to be

subtle - very little head movement can be tolerated before the subject moves out of frame.

4. Shows who and how that “who” feels.

9. Extreme Close-Up

1. Purely a detail shot - framing favors one aspect of a subject such as his/her eyes, mouth, ear, or hand.

2. Lacking any points of reference to the surrounding environment, the audience has no context in which to place this body part detail, so understanding will stem from how or when this shot is edited into the motion picture.

3. This type of extremely magnified imagery can be used in documentaries (medical films or scientific studies), and in fictional and experimental art films.