What is single camera?

Single camera production is when each shot is usually recoded by the same camera, each shot
is created by moving the camera each time. For example, if a conversation is being filmed, the
camera has been moved to film each person. This is the opposite to multi camera production
which uses multiple cameras filming at once at every angle they want so they can cut between
each one. Single camera is typically used in comedies, documentaries and dramas. Single
camera gives the director more control in the production because they can move the camera to
exactly where they want for each shot to get the desired aesthetic/effect they are trying to
create. If a conversation was being filmed with the characters A and B, then all of A or B’s shots
would be filmed before the other character’s shots.
Advantages of single camera production: it is cheap because you only need one camera to film
everything, the director has more control of what they want to happen in the frame, good for
small spaces. Disadvantages of single camera production: it is time consuming to move the
camera every time in a conversation scene, the actors’ reactions seem less genuine because
they’re not reacting to anything, you end up with more footage to edit.
How to maintain continuity
There are many rules to maintaining continuity during a film. If they are not followed it can
confuse the viewer and make your film look messy. The first rule to maintaining continuity is
the 180-degree rule. This means that there’s an invisible line where the camera doesn’t cross,
all the action happens on one side of the set.

The second rule is the 30-degree rule. This means that the camera should move around 30
degrees relative to the object/person between each shot. This is because if you don’t follow
this rule, you can end up with the shots looking like jump cuts.
The third rule is shot matching. This is the idea that all shots should maintain the same lighting
and colour. When you’re filming on different days, this could be a problem because the lighting
isn’t the same and you could pick up more green or blue tints in the image. This is fixed by
editing in post using colour correction.
The fourth is eyeline matching. This means that when the characters’ eyes are looking off
screen and then the camera cuts to something else, the eyeline of the character matches up
with what they’re looking at off screen. For example, if you’re filming a conversation with a tall
person and a short person then the shots of each person should show them looking at each
other rather than looking up too high or low.

The most common continuity error film makers make is with props, costumes, hair and
makeup. Shooting the same scene on different days can make it difficult to carry on a scene as
you left it because things on the set may have been moved and peoples’ hair and make-up
would have changed. To avoid this, you should take note of where everything is and finish
recording a scene in the same day.
Manual camera settings
When you are shooting in manual, you can control the iso, shutter speed and aperture
therefore you can better control what the image on your camera captures. The aperture is
labelled with an f and it controls the opening of the lens’ diaphragm to allow light in. The lower
the f, the higher the exposure. Exposure refers to the amount of light that reaches your camera
and determines how light your picture will be.

The iso refers to how sensitive the sensor is. It determines how crisp of an image it will capture.
A normal iso setting would be in between 200 – 1600. The iso allows the user to adjust the light
intensity intake from the camera.

The shutter speed is how long the camera spends taking a picture it varies from 1/100 th of a
second or a few days for one picture. The longest time a typical camera you can buy would take
is around 30 seconds, however. The shorter the shutter speed is, the darker the photo and the
longer, the brighter
Shot types

Auto focus Manual Example from film

Extreme close-up

An extreme close-up usually focuses on a specific part of the face, for example: the eyes or
mouth. This is typically used to show emotion of a character or to emphasise a word being said
or eyes looking at something important or showing shock.
Close-up

A close-up is used to focus on the face as a whole to show an emotion the character is
expressing. This is typically used when a character’s reacting to something someone has said or
when something important has happened and it’s showing how it has affected them.
Mid-shot
Mid-shots are typically used in dialogue scenes to show their surroundings and their body
language as well as their facial expressions.

Long-shot

Long shots are used to show the character in the environment they're in and how they’re
reacting with it.
Extreme long shot
Extreme long shots are typically used for establishing shots to set the scene. They would usually
be used to show a character in their typical surroundings. These shots are also used for end
scenes with to characters walking off to give a sense of closure.
Low angle

Low angle shots are used to show power as the characters are looking down at the camera
suggesting they’re strong. For example, in the image on the far right, they’ve reclaimed their
power and the camera is the point of view of the character who has lost their power.

High angle
This shot is typically used for the opposite reason that the low angle shot is used. The high
angle shot is used to show that the subject on screen doesn’t have any power.
Two shot

Two shots are typically used for dialogue scenes but can also be used to show the emotional
reactions between the subjects. It could also show the difference in the characters, comparing
them against one another.
Over the shoulder shot
Over the shoulder shots are used for dialogue to show the reactions on the characters faces.
They are effective because the viewer can clearly tell which characters are talking and tell how
they’re feeling through their facial expressions and body language.

Tilt/Dutch angle

This shot is typically used to disrupt the film’s level shots to disorientate the viewer. This is
typically used in sci-fi or horror films to show that something is off and not how it should be.
Camera movements
Hand-held – when the camera looks as if it was being held by someone whilst running/walking
so the camera is shaky and not very steady. It is typically used to make the scene seem frantic
and intense, for example, a chase scene would be a good use for a hand-held shot.
Zoom – when the lens of the camera moves forward and magnifies the image the camera is
filming. It is typically used to emphasise something that is important to the scene e.g. a facial
expression or object.
Pan – when the camera moves from one side to the other on an axis. It's sometimes used to
show off the setting or to emphasise fast movement.
Crab – when the camera moves from one side to the other like a crab, this shot is usually made
by using a dolly. It is typically used to follow a subject.
Tilt – when the camera moves up or down on an axis. These are typically used to show a
character’s costume or could be used as an establishing shot.
Tracking shot – when the camera follows a subject, forwards or backwards. A dolly could be
used to create this shot.
Steadicam – when the camera moves steadily, no bumps or shakes, opposite to hand-held
shots. They're typically used in a calm scene as opposed to an action sequence.
Pedestal – when the camera moves vertically up or down. This is sometimes used to show the
height of the subject making them seem tall and powerful.
Arc – when the camera moves around the subject in a semi-circle. To create this shot, a dolly
may be used.

Karama police music video analysis

The scene begins with a shot of the back of a car it then slowly pans to the front of the car and
puts the headlights on and drives very slowly. We then see someone running in the distance
dressed in a white shirt and muddy shoes and trousers showing that he’s been running for a
while. The long tracking shot of the man pathetically running, being chased by the car moving
very slowly suggests the driver or the person controlling it is taunting the man and slowly
waiting him to give up running. This connotes that the man maybe made some poor decisions
for money or power and is now running away from his responsibility and the authority but isn’t
going to last much longer.
The camera then pans to the back of the car, this time with a person sitting in the seat singing
the words “this is what you get” further emphasising that the man running from the car has
done something wrong. As the camera pans, we can see that the car is driving on a deserted
road surrounded by nothing but grass and darkness in the dead of night further connoting that
there’s no way out for the man and he has to keep running until he can’t anymore. The camera
then pans back to the character in the back seat looking bored which suggests that it has gone
on too long and the running man’s fate seems like it will come soon.
As the camera pans back to the front of the car it cuts to a close-up, tracking shot of the
running man's face looking tired, desperate and anxious suggesting that whatever he has done,
he would rather not face the consequences and is choosing to ignore it. The tracking shot is also
hand-held, further creating a sense of desperation from the man. As the tracking shot
continues, the bright lights of the car start to cover the frame like the afterlife suggesting that
his fate is edging closer and the close-up of his face shows him getting more and more scared of
the car.
It then cuts back to the tracking shot from the driver’s perspective showing the man getting
tired and slowing down. It then cuts to a low angle of the man falling to the floor, exhausted
with back lighting from the car's headlights towering over him showing that he has given up and
now starting to accept his fate. The man is in a praying position suggesting her is praying for his
life. The car slowly stops behind him as the man tries to crawl away. There's then a shot of the
man from behind showing he is defeated on his hands and knees.
He then stands to face the car as it reverses suggesting it is going to run him over and
suggesting that the man has finally given up. The car then stops and revs its engine ready to
drive at full speed towards the man and the low angle shot of the man shows he is visibly
worried, but the shot could be foreshadowing to the man becoming the one in power as he
looks powerful in the low-angle shot.

Baby driver bank robbing scene cinematography analysis

The scene opens with a low angle shot of a bank immediately suggesting it will be the focus of
the scene, making it look large and powerful however is it quickly blocked with a car driven
right in front of the frame. This suggests that the people in this car are the main protagonists as
the car takes up the whole frame. This also connotes that the people in the car will take power
from the bank and is foreshadowing to what will happen as the scene progresses. The close-up
on baby’s face conveys to the viewer that he is the main protagonist and will be who the
audience will root for throughout the rest of the film. The quick shots of the other three
characters getting ready show that they are most likely going to rob the bank from the first shot
and that they’re very organised and confident in what they’re doing. The arc going around the
characters shows us the area they’re in and further introduces us to the characters.
The scene then cuts to a mid-shot of baby in the car singing along to the music he’s listening to
showing that he isn’t as serious as the other three characters. The pan around the car gives us a
better look at Baby and his playful nature further emphasising that he is a character to relate
to. The quick close-ups of baby flicking switches in the car in time to the music shows that he is
very experienced and calculated when it comes to cars and it also shows he is very into music
and it will play a big part in the film. A quick pan of a police car driving passed makes Baby look
more serious and pay attention to what's happening at the bank. A close-up of Baby removing
his sunglasses with a shocked look on his face to look at the other characters shooting gives the
audience a sign of humanity from him. This could suggest that Baby’s involvement in crime is
unwanted or involuntary.
Quick zooms and steady-cam shots of the alarms ringing then a close-up of Baby’s face shows
that he’s confident and ready. The two shot of the character sitting next to Baby, pointing
forward and Baby then driving backwards could suggest Baby’s dislike of authority and people
telling him what to do and how he knows exactly what he’s doing. The close-ups of the
characters’ faces looking worried and unsure shows they don’t trust Baby however the steady
cam shot of Baby shows he is very sure of what he is doing. Quick hand-held shots of Baby
changing gears, breaking and accelerating shows how in control of the situation he is. Tracking
shots and pans emphasise the speed of the car chase.
The director breaks the 180-degree rule multiple times during the car chase sequence,
disorientating the viewer connoting how Baby’s driving skills are intensely impressive and out of
this world. When they get away from the police wider shots are used and the shots are less
frequent. This suggests that the chase is over, and the audience can more clearly see what’s
happening on screen.

Breaking Bad montage scene

This scene takes place in a family house Jesse Pinkman and Walter White have locked off and
evacuated the family from. They pretended the house had a cockroach infestation so they
could use it to cook meth in.
The scene begins in a house with a close-up of a tank of sulfuryl fluoride, one of the main
ingredients they use to cook meth, showing the viewer that is most likely what they’re going to
do. In one shot, the camera then tilts up to show Walter and Jesse walking into the house and
smoothly tracks them walking through the hallway suggesting they are experienced in what
they do and are ready to do it. The camera then stays still as they walk into a dark room with a
blue tint. The blue tint is reminiscent of the colour meth they make further suggesting that
they’re there to cook. The camera then pedestals down to show their masks they wear to cook
meth. It then cuts to a hand-held shot from behind a door frame shows them putting of their
protective suits. This could suggest people are spying on them or the police are on to them.
It cuts to a tilt upwards and then tracking shot shows them walking into the tent they will cook
the meth in. Quick high-angle shots from in and out of the tent could suggest that they’re under
supervision from the people in charge of them. There are then quick jump cuts of them setting
up the equipment they will use. There is then a pedestal shot of the two characters’ silhouettes
looking at their now set up equipment. The pedestal shot could suggest that they have a lot of
work to do as the shot emphasises the height of the equipment. This could also be a metaphor
for their pride of what they have created throughout their time of being meth cooks as they
look proud when they are looking at the equipment set up.
It then cuts to a steadicam shot moving towards them as they look at each other, nodding their
heads. This connotes that they are ready to do a lot of cooking. Another steadicam shot moves
in towards a family photo of the family who live there showing how they are using a family’s
house for immoral and unlawful things, emphasising the absurdness and wrongness of what
they’re doing. The shot of the family picture creates an emotional response in the viewer,
making them feel guilty on behalf of Walter and Jesse. There are then various jump cuts of
them cooking. There are many steadicam shots moving forwards and backwards during the
montage suggesting that they have very carefully, calculated everything that is happening in
this scene. It then cuts to a time-lapse, high angle shot of the house from outside showing that
they’re working very hard and working long hours.
This scene contrasts with the first time they cook together as the first time the shots were very
long and kept being interrupted by quick cuts, suggesting that they were very inexperienced.
This montage shows how good they now are at cooking as the shots are very smooth and
carefully placed in the scene.