Tag: the shot

Reading: Over the shoulder or single shot?

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Camera angles affect the tone of the film

Filmmaking is a language – every choice you make directly affects how the viewer will interpret your film.

What do camera angles tell your audience?

 

Conversation scenes

  • the conversation scene is the cornerstone of filmmaking
  • these scenes develop character and communicate crucial plot information
  • conversation scenes are usually predictable – establishes location, closes in on two characters with a mid-shot/reverse shot, moves in closer to medium close up or close up if the scene calls for heightened emotion
  • when shooting the standard conversation scene you have two framing choices: clean shot of one actor in composition; over-the-shoulder shot
  • both types of conversation shot present the same information – but they have different effects on the viewer

Over the Shoulder

  • establishes the eye line and direction in which each character is looking – might not always get this information from a long shot, especially in group conversations
  • the OTS setup establishes who is talking to whom – we meet every person in the conversation, through a series of OTS shots
  • meet each character in the conversation through a series of OTS shots
  • a medium OTS shot can be used to give bits of exposition, character background, plot movement – a moment in time in which viewer does not need to be any closer than they are
  • as conversation becomes more personal – camera slowly closes in while still maintaining OTS shot composition
  • when conversation becomes heightened or darker – camera closes in further – pushes past second character to single shot composition – a ‘character moment’ – camera moves viewer into appropriate proximity of the character to feel that

Tips:

  • place the camera behind the second camera and include their shoulder and head in frame
  • there are some rules – you don’t have to follow them, but they do help you get the best shot
  • first rule – the eye line of the actor in the shot should be level with the camera – if camera angle is too high or too low, it ruins viewer’s engagement
  • second – avoid an angle that reveals the nose of the actor whose back is to us – a nose is distracting and a visual signifier that the camera may be too far away

 

Single Framing

  • a single frame of one character in a conversation is when reactions and character moments should take place
  • one thing to note is the importance of focal length when shooting a single – single character framing is about emotion
  • shoot with a short focal length – if you capture with a 120mm lens you will distance yourself from what you are trying to say
  • Roger Deakins – “If the camera wants to be close, I would shoot singles inside [personal space]…It’s a sense of presence…psychologically it’s a totally different effect.’
  • it’s important to note that a single framing during conversations needs a close camera

 

Tracking into a Single

  • it’s common to track from an OTS shot into single framing
  • a lot more organic than just cutting to a close-up – especially when you a trying to convey a particular emotion

 

McGregor, L. (2017) ‘Camera Angles: Over The Shoulder or Single Shot?’ on Premiumbeat.com At: https://www.premiumbeat.com/blog/camera-angles-over-shoulder-single-shot/ (Accessed on 20 November 2017)

Reading: How to Frame a Medium Shot

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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)

Reading: Framing – The Building Blocks of a Scene

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The Frame

Setting the frame – a series of choices that determines what the viewer sees and does not see.

First choice – camera placement in relation to the scene.

Further choices – field of vision; movement.

These work together to influence how the viewer perceives the shot

  • content of the scene
  • emotional undercurrent
  • subtext to action and dialogue

Further reading – ‘Framing’ in Film Art, pages 177-209

 

Static Frame

Proscenium – the viewer is a third person observer.

This is especially true if everything about the frame is normal: normal level, normal lens, no movement, etc.

It can be a useful tool; carries its own implications of POV and world view.

For example: Barry Lyndon (1975) dir. Stanley Kubrick – each scene is played out within a fixed frame. Fixed, well-composed, balanced frames that reflect the static hierarchical society in which everyone has their place in a society governed by rules. The actors move within this frame without being able to alter it. The static frame reflects the world in which they live; implies a lack of mobility.

Another example is Strange Than Paradise (1983) dir. Jim Jarmusch.

 

The Building Blocks of a Scene

 

Inserts

  • Informational inserts – give viewer some essential information the need to know (e.g. clock on wall, file pulled from drawer).
  • Emphasis inserts – usually connected to the main action, but not essential to see it (e.g coffee cup jolts as hand pounds table; window rattles in wind).
  • Atmosphere inserts – the little touches that contribute to the mood, pace or tone of the scene; add symbolism or visual allegory; used for stylised filmmaking; must be used with caution.

Connecting shots

  • Shows both characters in one shot – often in the form of over-the-shoulder or wide shot.
  • Make scene feel more complete and whole – rather than simply using POVs and reaction shots.
  • Connecting shots tie things together in a way that clarifies and emphasises the physical.
  • Good shooting – visual elements reinforce the narrative elements.

Pickups

  • any type of shot, master or coverage, where you are starting in the middle of a scene.
  • shots filmed in order to make a good edit.

Transitional shots

  • not parts of a scene themselves, but instead serve to connect two scenes together.
  • some are simple cutaways (e.g. a scene ends, cut to shot of sunset, cut to next scene).
  • a visual code

 

Key points for me

Framing is key. There is nothing random about framing shots. It requires careful thought and considerable understanding to build a scene visually. Applying the grammar of film requires a knowledge of the various shot types and how to apply them within a scene.

 

Brown, B. (2012) Cinematography: Theory and Practice 2nd edition New York: Focal Press

Film Art