INTRODUCTION TO ‘CINEMATOGRAPHY’

1-Basic Camera Shots and Framing

Extreme Long Shot (ELS) Camera is further away / subject smaller than in LS. This facilitates fitting large numbers of people in the frame and/or provides a perspective on the location. Because the camera has to be a considerable distance from the subject the ELS is usually an exterior shot (EXT) Camera getting closer to subject / Subject appearing larger in the frame LONG SHOT (LS) The whole of the subject fills the viewfinder of the camera, just short of / touching the top and bottom of the frame

Medium-Long Shot (MLS) The subject appears about half-way between LS and MS. Usually this means the bottom of the frame cuts them off around the knee.

MID/medium SHOT (MS) The subject fills the frame from the waist area upwards. The camera is not as close as in LS.

Medium Close-Up (MCU) The subject is seen from around the chest area upwards. The camera is not as close as in a CU

CLOSE-UP (CU) The whole of the subject’s head and face can be seen, but also perhaps their neck and top of their shoulders

Extreme Close Up (ECU) The camera is closer than in a CU, with the frame unable to accommodate the whole face of the subject. Instead only a part is seen. TOP TIP! Try to avoid using ‘zoom’. This is because effective use of zoom is very difficult to achieve in practice, and also because the language of film has evolved to manage perfectly well without the need to zoom. If you want to move into a scene, you should usually either do this one-shot-at-a-time (see above) OR by physically moving the camera further into the scene (see below).

2-Basic Camera Angles

It is normal to position the camera at the subject’s ‘eye-level’. Most of the time this means the camera will be on a tripod as most acting takes place with the performers stood up. However, if the scene involves them sitting down then the camera is still positioned at their level and is still referred to as eye-level. Because this is the norm, it is not normally stated in instructions to camera operators. However, if the filmmaker requires the camera to be at a different height to the actors they will specify this.

‘Worm’s Eye’ View An extreme version of the Low Angle shot. (Self-explanatory, really…) Camera height increasing relative to subject eye-level Low Angle The camera is positioned below they eye level of the subject, so the viewer is effectively looking up at them

High Angle The camera is positioned above they eye level of the subject, so the viewer is effectively down at them

Bird’s Eye View An extreme version of the High Angle shot. “Does what it says on the tin”…

3- Camera Movement

In the early years of the movie camera the technology of the day did not allow cameras to move. However as technology and the language of telling stories on film have evolved, so too has a range of camera movements developed. Below are the standard types, although there are some variations on these, and film makers are constantly innovating.

TYPE OF MOVEMENT How to achieve What does it look like through in the viewfinder/ on-screen? Tilt shot The camera is mounted on a tripod and so stays steady Movement is restricted to an up and down motion (-pointing at the action rather than moving with it) Camera and tripod do not physically move with the action. Pan Shot The camera is mounted on a tripod and so stays steady Movement is restricted to a side-to-side motion (-pointing at the action rather than moving with it) Camera and tripod do not physically move with the action. Tracking / Dolly Camera usually mounted on tripod attached to a wheeled device-either on rails/tracks so follows a specified course The camera does physically move with the action. shot OR on castors so that movement is more free.

Crane Shot The camera is attached to the end of a crane (either operated remotely or by a camera operator). Camera movement is restricted only by the size and construction of the crane. It can move smoothly from low to high angles. Some cranes are on wheels and so can integrate tracking movement , also Aerial Shot The camera is operated from a flying vehicle-usually helicopter or aircraft. Used to shoot bird’s-eye angles. Provides a wide perspective on events from above Steadicam shot ‘Steadicam’ is the brand name of a harness/brace that steadies the camera against the operator’s body whilst they Fluid camera movement, with the camera able to move freely with the operator. Not obviously shaky or unsteady. are holding it. Helps eliminate most of the shakiness that arises from not using a tripod. Handheld True ‘handheld’ camera has all the hallmarks of low quality, non-professional camera work. Often used to suggest a Looks like ‘home video’- ‘amateurish’, shaky, unsteady. Uneven use of zoom. greater level of authenticity, realism, or to look like film shot by ordinary member of the public.