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An overview of different shot sizes, angles, and composition rules used in film and video production. It covers various types of shots, including extreme close-ups, close-ups, medium shots, medium wide shots, and wide shots. The document also explains the function and appearance of horizontal and vertical camera angles. Additionally, it discusses the importance of following the 180 degree rule and composition rules such as the rule of thirds and teeter-totter rule.
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in film, video, and animation. The shot size determines how large the area that’s visible within the frame. Among the following common shot sizes, the distance between the camera and subject varies: 1 Extreme close-up shot 2 Close-up shot 3 Medium shot 4 Medium wide shot (American shot) 5 Wide shot (full shot) 6 Extreme wide shot (long shot)
Static shots: B) Angle. Another set of shots are identified by their camera angles. Changing the camera angle changes the appearance and function of your shot. Horizontal camera angles. Moving the camera around the subject horizontally while aiming at the subject creates different camera angles below: 1 Frontal. The frontal angle tends to flatten the three dimensionality of facial features and environments. 2 Three-quarter front. The three-quarter front angle is more often used than the frontal angle or profile because it shows more depth and volumes. 3 Profile. 4 Three-quarter rear. 5 Rear.
Note: Indecisive cut When cutting from a shot to another shot with a different camera angle (e.g, from a frontal shot to a three quarter front), framing the same subject, the difference between the two camera angles must be greater than 35 degrees. If the difference is less than 35 degrees, and the appearance of the subject does not change sufficiently, you will get the unpleasant effect of an indecisive cut and the audience will perceive it as a mistake or a distraction. Point of view shots. In a point of view (POV) shot, the camera is placed at the eye position of a character. (Birn, 8.2.4 POV Shots, pages 180-1) Two shot & over-the-shoulder shot
If Camera 2 and Camera 4 are used, the audience crosses the line of action. It's disorienting and confusing. The images are from "The Fi ve C's o f Cinematography" by Joseph V. Mascelli When your subject travels, by keeping all the cameras on one side of the line of action, you can keep continuity in moving directions among shots.
use when composing a shot.
1. Rule of thirds Rule of thirds divides the frame into thirds both horizontally and vertically. The points where the vertical and horizontal lines cross are aesthetically pleasing spots to place subjects or to have perspective lines converge. It is usually best to avoid placing horizon lines exactly in the middle of a frame, but to place the horizon either above or below center, approximately one-third or two-thirds up the height of the frame. The images are from "Digital Lighting and Rendering" by Jerem y Birn and "The Art o f Technique"
2. Teeter-totter rule Lighter weight can counterbalance a heavier weight if it is placed farther away from the center of the frame. 3. Avoid tangent Tangents in composition tend to destroy the depth. 4. Avoid frontal angle The frontal angle tends to flatten the three dimensionality of facial features and environments. Angling the shot produces more depth and volumes. Shooting straight against walls Angling the shot into walls produces produces flat compositions receding perspectives and a better with little sense of depth in frame. sense of depth.
