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AVPCAMERA SHOTS 3
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TAKE NOTES ASK QUESTIONS PAY ATTENTIONTHEY ARE ALL VERY
STRONGLY ENCOURAGED
TAKE NOTES ASK QUESTIONS PAY ATTENTIONTHEY ARE ALL VERY
STRONGLY ENCOURAGED
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CAMERA SHOTS
3
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SHOT COMPOSITION
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Headroom
A term used with shots of people.
This refers to the space above the
subject's head. You'll see different
amounts of headroom, depending
on the intent of the creator of the
video.
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In general, if you're standing right
in front of someone, you'll see that
they have space all around them -
they aren't cut off by a frame. By
leaving headroom, or space beside
them, you are imitating what you
see in real life.
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Headroom
Proper amount of headroom
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Headroom
Proper amount of headroom
Wrong amount of headroom
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Headroom
Proper amount of headroom
Wrong amount of headroom
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Talking/Walking Room
or Nose Room
If you are interviewing someone or
have video of someone talking, you
generally do not want them looking
directly at the camera (again, it
depends on your goals - certain
situations may call for that).
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Generally you want the person to
be looking off to the left or right of
the camera a bit. When you do this,
frame your shot so that there is
some talking room. That is, you
want to leave some extra space in
front of their face as if you were
going to draw a dialogue box in for
them.
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This space is "talking room." If the
person is talking to another person,
this shows space between them.
Walking room, if the person in
motion, gives them space to walk
to. Talking/Walking Room leaves
space in the shot for the action,
whether it be words or movement.
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Talking/Walking Room or Nose Room
Proper amount of Talking room
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Talking/Walking Room or Nose Room
Proper amount of nose room
Wrong amount of nose room
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Talking/Walking Room or Nose Room
Proper amount of nose room
Wrong amount of nose room
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Talking/Walking Room or Nose Room
Proper amount of nose room
Wrong amount of nose room
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Reaction Shot
1.A shot of someone looking off
screen. Used either to lead into
a P.O.V. Shot (and let the viewer
know that it is a P.O.V. shot), or
to show a reaction right after a
P.O.V. shot.
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2.A reaction shot can also be a
shot of someone in a
conversation where they are not
given a line of dialogue but are
just listening to the other person
speak
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Common in interviews, this is a
shot of the person listening and
reacting to the subject. In fact,
when shooting interviews with one
camera, the usual routine is to
shoot the subject (using Over the
shoulder shots and one-shots) for
the entire interview.
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Then you shoot some reaction
shotd of the interviewer once the
interview is finished. The reaction
shots are edited into the interview
later.
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Reverse Shot
A shot from the other side of the
previous shot (though preferably on
the same side of the 180° Line),
such as cutting between two
characters talking, a person exiting
and entering though a doorway, a
reaction shot and P.O.V. shot, etc.
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Cutaway (CA)
A cutaway is a shot that's usually
of something other than the
current action.
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It could be a different subject, a
CU of a different part of the
subject (eg. a CU of the subject's
hands), or just about anything
else. The CA is used as a "buffer"
between shots (to help the editing
process), or to add
interest/information.
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Cut-In
Shows some part of the subject in
detail. Like a cutaway, but
specifically refers to showing some
part of the subject in detail.
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Can be used purely as an edit
point, or to emphasize emotion
etc. For example, hand
movements can show enthusiasm,
agitation, nervousness, etc.
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Two Shot
There are a few variations on this
one, but the basic idea is to have a
comfortable shot of two people.
Often used in interviews, or when
two presenters are hosting a show.
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A "One-Shot" could be a mid-shot
of either of these subjects. A
"Three-Shot", unsurprisingly,
contains three people.
Two-shots are good
for establishing a
relationship between
subjects.
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A two-shot could also involve
movement or action. It is a good
way to follow the interaction
between two people without
getting distracted by their
surroundings.
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Over the Shoulder Shot (OSS)
Looking from behind a person at
the subject, cutting off the frame
just behind the ear. The person
facing the subject should occupy
about 1/3 of the frame.
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This shot helps to establish the
positions of each person, and get
the feel of looking at one person
from the other's point of view.
A variation of this shot can be a
bit wider and include the shoulder
of the person facing the subject.
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Point-of-View Shot (POV)
A shot from the perspective of
one of the characters, as if the
audience were seeing the scene
from their eyes. This shot is
usually edited in such a way that it
is obvious whose POV it is.
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In a point of view (POV) shot, the
camera is placed at the eye
position of a character.
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Shot 2POV (Point Of View)
Shot 1 WS (Wide Shot)
Shot 3OSS (Over -Shoulder)
Shot 4POV (Point Of View)
Sequence of shots
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American shot (Hollywood shot)
Refers to a medium-close ("knee")
film shot of a group of characters,
who are arranged so that all are
visible to the
camera.
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The usual arrangement is for the
actors to stand in an irregular line
from one side of the screen to the
other, with the actors at the end
coming forward a little and
standing more in
profile than the
others.
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The purpose of the composition is
to allow complex dialogue scenes
to be played out without changes
in camera position.
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Dutch Tilt
A composition with the camera
viewing the scene at a diagonal.
Same as a canted angle. A shot
composed with the horizon not
parallel with the
bottom of the
frame.
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The tilt might be used to illustrate
disorientation, confusion or even a
threatening situation. Someone
suffers a blow, perhaps to the
head, or falls down.
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Rack Focus
A shot where focus is changed
while shooting. Unlike a Follow
Focus shot, a rack focus shot is
usually done not from the necessity
of keeping someone in focus but to
shift attention from one thing to
another.
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