Reading: How to Frame a Medium Shot

The Medium Shot

The medium shot is one the standard camera angles used to frame a character. The shot between a close-up and a long shot.

A medium shot frames a character from the waist up – a personal shot; frames character so it appears that the viewer is in a conversation with them (i.e. like a real-life conversation, you are standing or sitting opposite someone, you notice their attributes from the chest up).

A relatable angle that everyone is used to. On camera, a medium shot directs the viewer’s attention to a character.

Roger Deakins frames medium shots above the waist, closer to the belly – a better composition – avoids framing around actor’s joints.

To properly frame a medium shot – pay attention to all the surroundings and light in the scene; the medium shot should show off the scenery as much as the character; pay attention to the little background details

 

The Medium Long Shot

  • A medium long shot frames the subject from the knees up.
  • The focus is often on the location rather than the character.
  • Avoid framing the joints – frame just below the knees.
  • A three-quarters shot – frames three-quarters of the character.
  • Typically used as an establishing shot – shows character in relation to their surroundings.

The Medium Close-up

  • A medium close-up frames a character from the middle of their chest up
  • Where the close-up shot focuses on just the face, the medium close-up includes a character’s shoulders – sometimes called a head and shoulders shot.
  • The emphasis in on the character’s facial expressions – but their body language should complement the overall composition.
  • The background is not the focus of the shot – tends to be literally out of focus.
  • The perfect reaction shot – gives a great range of emotion.
  • Can be very intimate.
  • Avoid the joints.
  • Check the costume’s framing as well.
  • The medium close-up can also frame on a group of characters – each character framed from just below the chest – great for capturing multiple reactions simultaneously.

Key points for me

A very effective standard camera angle, the Medium Shot provides a way of getting the viewer to feel as though they are in close proximity to a character. Ranging from using the MLS to establish a character within their location, to the more intimate MCU, emphasising the facial expressions and body language. In all cases, keep an eye on where the actor’s joints are within the frame and watch the backgrounds closely to be sure the little details are all correct.

 


Maher, M. (2015) ‘How to Frame a Medium Shot Like a Master Cinematographer’ Premiumbeat.com At: https://www.premiumbeat.com/blog/how-to-frame-a-medium-shot-like-a-master-cinematographer/ (Accessed on 25 April 2017)

Camera Angles: Atmosphere & Meaning

Camera angles are an important component of storytelling in the moving image. They are used primarily to:

  1. create atmosphere
  2. alter the meaning of a scene or shot

The choice of camera angle can affect a scene or shot in five ways:

Viewpoint – by indicating a specific POV

Relationship – by changing the viewer’s relationship with the character

Status – by indicating the status of the character

Suspense – by creating suspense, tension or expectation

Mood – by creating a particular feeling or mood

 

For example, in these two shots from Witness (1985), the camera angle is integral to  the storytelling.

      

In the first image, a high angle shot looking down from a statue in the ceiling of Grand Central Station, uses the height of the building to show the character as a small, insignificant figure. In this way, the viewer sees the young Amish boy Joseph Lapp as a fish-out-of-water in the unfamiliar surroundings of the city. It also infuses the scene with an edge of hostility. Foreshadowing what is to come.

In the second image, taken from later in the film, a low angle shot of a car slowly edging into view on the crest of a hill is used to help give a sense of foreboding. Although no characters are visible in the shot, we know that whoever is inside the car is a threat to John Buck and the Amish family.

 

Low Angle

  

Images: Die Hard (1989), Shutter Island (2010), Terminator (1984)

Framed below the subject’s eye line, the Low Angle shot is used to create a sense of threat from within the scene, possibly from the character within the shot.

 

High Angle

  

Images: North By Northwest (1959), Harry Potter and the Deathly Hallows (2010), The Shawshank Redemption (1995)

Framed above the subject’s eye line, the High Angle shot is used to create a sense of weakness, in which the character within the shot seems less significant or powerful, or in which there is an implied threat from a greater force.

 

Canted Frame

  

Images: The Third Man (1949), Twelve Monkeys (1995), 2001 A Space Odyssey (1968)

Used for dramatic effect, the Canted Frame (or Dutch Tilt) is used to help create a sense of unease, disorientation, intoxication or madness within a scene or shot. Canted Frames range from slight tilts (5°) to extreme tilts (90°).

 

Overhead Shot

Images: Eternal Sunshine of the Spotless Mind (2012)

The Overhead Shot can be used to make the subject harder to identify or empathise with, and to emphasise emotional distance within the scene.

 

The camera angle is an important element within the design of a shot. It can draw the viewer’s eye into the frame in a particular way, giving subliminal clues about a character’s status, building suspense within a scene or creating a sense of expectation. It also helps to manipulate the viewer’s emotions as they watch the moving image by influencing the mood or atmosphere within the scene. A slight tilt upwards, downwards or sideways can greatly influence the way in which the story is told.

However, camera angle does not work in isolation from everything else within the frame. One thing I’ve discovered from this exercise is that camera angle and lighting are very closely tied together in the creation of atmosphere and meaning within a scene.


References

Die Hard (1989) Directed by John McTiernan

Eternal Sunshine of the Spotless Mind (2012) Directed by Michel Gondry

Harry Potter and the Deathly Hallows (2010) Directed by David Yates

North by Northwest (1959) Directed by Alfred Hitchcock

The Shawshank Redemption (1995) Directed by Frank Darabont

Shutter Island (2010) Directed by Martin Scorsese

The Terminator (1984) Directed by James Cameron

The Third Man (1949) Directed by Carol Reed

Twelve Monkeys (1995) Directed by Terry Gilliam

Witness (1985) Directed by David Lean

2001: A Space Odyssey (1968) Directed by Stanley Kubrik