Lecture 4

Question 1

What are shot sizes?

Answer 1

Can also be called ‘standard’ shot sizes or ‘conventional’ shot sizes).

Expression of visual coverage specifically
in terms of framing human subject(s).

Question 2

What are shot types?

Answer 2

Main camera framings used in terms angle of view (width) or / and positional angle in relation to subject(s).

Question 3

List of shot sizes.

Answer 3

• Extreme Long Shot (ELS)
• Long Shot (LS)
• Medium Long Shot (MLS)
• Medium Shot (MS)
• Medium Close Up (MCU)
• Close Up (CU)
• Big Close Up (BCU)
• Extreme Close Up (ECU)
• Medium 2-Shot (M-2S)
• Medium Long 2-Shot (ML-2S)

Question 4

Extreme Long Shot (ELS)

Answer 4

Used to show the subject from a distance, or the area in which the scene is taking place. This type of shot is particularly useful for establishing a scene in terms of time and place, as well as a character’s physical or emotional relationship to the environment and elements within it. The character doesn’t necessarily have to be viewable in this shot.

Question 5

Long Shot (LS)

Answer 5

Shows the subject from top to bottom; for a person, this would be head to toes, though not necessarily filling the frame. The character becomes more of a focus than an Extreme Long Shot, but the shot tends to still be dominated by the scenery. This shot often sets the scene and our character’s place in it.

Question 6

Medium Long Shot (MLS)

Answer 6

Intermediate between Full Shot and Medium Shot. Shows subject from the knees up.

Question 7

Medium Shot (MS)

Answer 7

Shows part of the subject in more detail. For a person, a medium shot typically frames them from about waist up. This is one of the most common shots seen in films, as it focuses on a character (or characters) in a scene while still showing some environment.

Question 8

Medium Close Up (MCU)

Answer 8

Falls between a Medium Shot and a Close-Up, generally framing the subject from shoulder up.

Question 9

Close Up (CU)

Answer 9

Fills the screen with part of the subject, such as a person’s head/face. Framed this tightly, the emotions and reaction of a character dominate the scene.

Question 10

Big Close Up (BCU)

Answer 10

The face/head fills the frame. The top and bottom of the face may be cropped.

Question 11

Extreme Close Up (ECU)

Answer 11

Emphasizes a small area or detail of the subject, such as the eye(s) or mouth.

Question 12

Medium 2-Shot (M-2S)

Answer 12

These are shots of two people in one scene. They are often used in interviews and are also good for establishing a relationship between subjects.

Question 13

Medium Long 2-Shot (ML-2S)

Answer 13

These are shots of two people in one scene. This shot shows both subjects from head to toes, though not necessarily filling the frame.

Question 14

List of Shot Types.

Answer 14

• Establishing Shot
• Wide Shot (WS)
• Bird’s Eye View / Extreme Wide Overhead Shot
• Close Up (CU) objects
• Low Angle Shot (L/A)
• High Angle Shot (H/A)
• Overhead Shot (O/H)
• Over-shoulder Shot (O/S)
• Deep 2-Shot
• Deep 3-Shot
• Deep Focus

Question 15

Establishing Shot

Answer 15

Usually the first shot of a scene, this is used to establish the location and environment. It can also be used to establish mood and give the audience visual clues regarding the time (night/day, year) and the general situation. Because they need to provide a great deal of information, Establishing Shots are usually Extreme Long Shots or Long Shots.

Question 16

Wide Shot (WS)

Answer 16

In a wide shot, the subject takes up the full frame. The subjects feet may be towards the bottom of frame and the head almost at the top. The subject doesn’t take up the whole width and height of the frame. The small amount of room above and below the subject can be thought of as safety room — you don’t want to be cutting the top of the head off. It would also look uncomfortable if the subjects feet and head were exactly at the top and bottom of frame.

Question 17

High Angle Shot (H/A)

Answer 17

Subject is photographed from above eye level. This can have the effect of making the subject seem vulnerable, weak, or frightened.

Question 18

Close Up (CU) objects

Answer 18

Close-ups are useful for showing detail on objects such as patterns on a book or a ring on a finger.

Question 19

What is POV?

Answer 19

The ‘point of view’ shot.

i.e. – a shot representing what a character is actually seeing.

Question 20

What are the effects created by POVs?

Answer 20

• Voyeuristic effect
• Identification
• Empathy
• Tension

Question 21

Overhead Shot (O/H)

Answer 21

A shot in which the camera is positioned above the actors.

Question 22

Developing Shot

Answer 22

A shot which develops from one shot sizeto a different shot size and / orone shot type to a different shot type.

e.g. a shot that starts off as a Character MCU and - without any cuts - ends up as a POV WS.

This may be the result of:

1. Camera moving
2. Subject moving
3. or both Camera and Subject moving

Question 23

What is POV?

Answer 23

The ‘point of view’ shot.

(i.e. – a shot representing what a character is actually seeing.)

We see what a character sees and therefore identify with him/her. The person whose point of view it is should never be seen in the shot. e.g these shots are often used to add drama in chase scenes.

Question 24

Shot - Reverse Shot

Answer 24

Matching shots when shooting reverses.

(Typical example: MS / MCU dialogue sequences.)

Matching:

Angle

Angle of View

Lens focal length (e.g. position along the zoom lens)

Question 25

Things to consider when matching ‘Reverses’

Answer 25

1. Shot Size (can be unmatched for dramatic character effect……or developed into unmatching in a dialogue scene)
2. Lateral Angle (visual cohesion & screen direction)
3. Height Angle (matching eyelines & dramatic status)
4. Lens focal length (subject perspective/relative size)
5. Lens aperture (depth of field/focus)

Question 26

The results of having matched & Unmatched Reverses

Answer 26

Lazily unmatched reverses risk presenting a scene that isvisually loose / awkward / messy.

On the other hand, opting unthinkingly for perfectly matchedreverses might be dull, psychologically uninteresting…

In dialogue sequences, deliberately unmatched reverse angles can visually express or intensify the dramatic communication or conflict between characters.

Question 27

The 180° rule or ‘crossing the line’

Answer 27

If you ignore the 180° ruleand crossing the line, you RISK:

Creating spatial confusion for the viewer -

e.g. - in relation to establishing where characters are positioned in an interior or exterior locationand in what direction they are looking at anygiven time. More characters… more complicated.

Creating lack of visual cohesion and breaking the momentum and flow in action sequences – e.g. - where characters appear to reverse direction of travel during pursuit scenes.

Question 28

How to cross the line acceptably

and breaking the 180° rule

Answer 28

Cross the line ON SCREEN
- i.e. During the shot by moving
the camera (tracking).

Crossing the line becomes much more acceptable (less apparent) during a change from wide to close e.g. transition from WS / LS to MS / MCU / CU