Finals Noted (Updated)

Extreme Long Shot (aka
Extreme Wide Shot)

• Used to show the subject from a
distance, or the area in which the scene
is taking place
• Particularly useful for establishing a
scene (see Establishing Shot later) in
terms of time and place, as well as a
character’s relationship to the
environment and elements within it …
Extreme Long Shot (aka
Extreme Wide Shot)
Long Shot (aka Wide Shot)
• 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 Extreme Long Shot, but still tends
to be dominated by the scenery
• This shot often sets the scene and our
character’s place in it; can also serve as
an Establishing Shot, in lieu of an
Extreme Long Shot
Long Shot (aka Wide Shot)
Contrast this with the previous Extreme Long Shot

Full Shot
• Frames character from head to toes,
with the subject roughly filling the
frame
• The emphasis tends to be more on
action and movement rather than a
character’s emotional state
Medium Long Shot (aka
3/4 Shot)
• Intermediate between Full Shot and
Medium Shot
• Shows subject from the knees up
Medium Shot
• Shows part of the subject in more
detail; for a person, a medium shot
typically frames them from about waist
up and is one of the most common
shots seen in films
Shows the character while retaining the environment

‘Cowboy’ Shot
• A variation of a Medium Shot; gets its
name from Western films which frame
the subject from mid-thighs up to fit a
character’s gun holster into the shot
Medium Close-Up
• Falls between a Medium Shot and a
Close-Up, generally framing the subject
from chest or shoulder up
Close-Up
• 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
‘Choker’
• A variant of a Close-Up, this shot frames
the subject’s face from above the eyebrows
to below the mouth
Extreme Close Up
• Emphasizes a small area or detail of the
subject, such as the eye(s) or mouth
• An Extreme Close Up of just the eyes is
sometimes called an Italian Shot, getting its
name from Sergio Leone’s Italian-Western films
that popularized it
Shots Indicating Camera
Angle/Placement
• In addition to subject size within a frame,
shot types can also indicate where a
camera is placed in relation to the subject
• Here are some commonly used terms…
Eye Level
• Shot taken with the camera approximately
at human eye level, resulting in a neutral
effect on the audience
High Angle
• Subject is photographed from above eye
level; this can have the effect of making the
subject seem vulnerable, weak, or
frightened
Low Angle
• Subject is photographed from below eye
level, pointing upward; this can have the
effect of making the subject look strong
and powerful
Dutch Angle/Tilt
• Shot in which the camera is set at an angle
on its roll axis so that the horizon line is not
level; often used to show a disoriented or
uneasy psychological state
Over-the-Shoulder Shot
• A popular shot where a subject is shot from
behind the shoulder of another, framing
the subject anywhere from a Medium to
Close-Up
• The shoulder, neck, and/or back of the
head of the subject facing away from the
camera remains viewable, making the shot
useful for showing reactions during
conversations…
Over-the-Shoulder Shot
• Tends to place more emphasis on the connection

between two speakers rather than the
detachment or isolation that results from single
shots
Bird’s-Eye View (aka Top
Shot)
• A high-angle shot that’s taken from directly
overhead and from a distance
Other Common Shot Types
• Cutaway
• A shot of something other than the
subject and away from the main scene
• It is usually followed by a cut back to
the first shot and is useful for avoiding a
jump cut (discussed later) when editing
down a section of dialogue, or editing
together two separate takes
• Cut-In
• Similar to a Cutaway, but shows a
Close-Up shot of something visible in
the main scene
Note: We revisit Cutaway and Cut-in in relation to editing when

discussing production and post-production
• Establishing Shot
• Usually the first shot of a scene; used to
establish location; can also be used to
establish mood and give visual clues
regarding the time (night/day)
• Reaction Shot
• Shows a character’s reaction to the
shot that has preceded it
• Reverse Angle Shot
• Taken from an angle roughly 180
degrees opposite of the previous shot;
often used in conversation, indicating a
reverse Over-the-Shoulder Shot
• Two Shot
• A shot in which two subjects appear in
the frame
What Kind of Shot?
OVER THE
SHOULDER HIGH ANGLE
CHOKER ESTABLISHING
Camera Movements
• We now cover the seven most basic
cinematography movements
• These fundamental camera techniques
can inspire a countless number of
combinations that will add depth and
visual interest to your next video
project
Zoom
• Without a doubt, zooming is the most
used (and therefore, most overused)
camera movement there is
• It is often used when the videographer is not sure what
else to do to add interest to a shot!!!
• If you are going to use zoom, try to use it
creatively
• Zoom in or out from an unexpected, yet important,
object or person in your shot
• Use a quick zoom to add energy to a fast-paced piece
• DO NOT GET STUCK WITH YOUR
ZOOM AS YOUR DEFAULT MOVE!
Zoom Example
Panning
• Panning is when you move your camera
horizontally; either left to right or right
to left, while its base is fixated on a
certain point
• You are not moving the position of the
camera itself, just the direction it faces
• These types of shots are great for
establishing a sense of location within
your story …
Panning Example
Tilt
• Tilting is when you move the camera
vertically, up to down or down to up,
while its base is fixated to a certain point
• Again, like panning, this move typically
involves the use of a tripod where the
camera is stationary but you move the
angle it points to
• These shots are popular when
introducing a character, especially one of
grandeur, in a movie…
Tilt Example
Dolly
• A dolly is when you move the entire
camera forwards and backwards,
typically on some sort of track or
motorized vehicle
• This type of movement can create
beautiful, flowing effects when done
correctly.
• If you want to attempt a dolly, make sure
your track is stable and will allow for
fluid movement…
Dolly Example
Truck
• Trucking is the same as dollying, only
you are moving the camera from left to
right instead of in and out
• Again, it is best to do this using a fluid
motion track that will eliminate any
jerking or friction…
Truck Example
Pedestal
• A pedestal is when you move the
camera vertically up or down while it is
fixated in one location
• This term came from the use of studio
cameras when the operators would have
to adjust the pedestal the camera sat on
to compensate for the height of the
subject
• A pedestal move is easy to do when the
camera is fixated to an adjustable
tripod…
Pedestal Example
Random Movement (Shaky)
• Filmmakers often add random movement
to a shot via camera shake through a
handheld shot to heighten the intensity of
a scene
• Stylistically, it gives a subjective,
documentary feel to the film; also used in
fight scenes
• But be careful, too much movement will
be ineffective and should always serve the
story
• The following are bad. Very Bad!!!
Annoying, even. I muted the sound to
emphasize this
Shaky Movement: Bad Examples
Random Movement (Shaky)
• The following is a much better example
• Taken from Saving Private Ryan, it
captures the intensity of a battle
situation
• But the faces of the actors never blur
because the shake (random movement)
is never excessive
• Let’s take a look …
Shaky Movement: Bad Examples
Rack Focus
• Rack focus is not as much of a camera
move as it is a technique, but many
beginners overlook this essential skill
• You adjust the lens to start an image
blurry and then shift the focus to make it
crisper, or vice versa
• It is an extremely effective way for you
to change your audience’s focus from
one subject to another...
Rack Focus Example

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Finals Noted (Updated)

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Extreme Long Shot (aka

Extreme Wide Shot)

Contrast this with the previous Extreme Long Shot

Shows the character while retaining the environment

• Tends to place more emphasis on the connection

Note: We revisit Cutaway and Cut-in in relation to editing when

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