Camera Shots And Angles

Camera Shots And Angles

I think that this is a very important esential post for me as it is definitly something that I can refer back to when I am planning how I want my thriller to look and see all the different shots that I can use to add variety and uniqueness to my thriller opening.

Aerial Shot

An exterior shot filmed from — hey! — the air. Often used to establish a (usually exotic) location. All films in the '70s open with one — FACT.

Arc Shot

A shot in which the subject is circled by the camera. Beloved by Brian De Palma, Michael Bay.

Bridging Shot

A shot that denotes a shift in time or place, like a line moving across an animated map. That line has more air miles than Richard Branson.

Close Up

A shot that keeps only the face full in the frame. Perhaps the most important building block in cinematic storytelling.

Medium Shot

The shot that utilises the most common framing in movies, shows less than a long shot, more than a close-up. Obviously.

Long Shot

A shot that depicts an entire character or object from head to foot. Not as long as an establishing shot. Aka a wide shot.

Cowboy Shot

A shot framed from mid thigh up, so called because of its recurrent use in Westerns. When it comes, you know Clint Eastwood is about to shoot your ass.

Deep Focus

A shot that keeps the foreground, middle ground and background ALL in sharp focus. Beloved by Orson Welles (and cinematographer Gregg Toland). Production designers hate them. Means they have to put detail in the whole set.

Dolly Zoom

A shot that sees the camera track forward toward a subject while simultaneously zooming out creating a woozy, vertiginous effect. Initiated in Hitchcock's Vertigo (1959), it also appears in such scarefests as Michael Jackson's Thriller video (1983), Shaun Of The Dead (2004), The Evil Dead (1981) and The Goofy Movie (1995). It is the cinematic equivalent of the phrase "Uh-oh".

Dutch Tilt

A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. Beloved by German Expressionism, Tim Burton, Sam Raimi and the designers of the villains hideouts in '60s TV Batman.

Establishing Shot

The clue is in the name. A shot, at the head of the scene, that clearly shows the locale the action is set in. Often comes after the aerial shot. Beloved by TV directors and thick people.

Handheld Shot

A shot in which the camera operator holds the camera during motion to create a jerky, immediate feel. Beloved by Steven Soderbergh and Paul Greengrass. It basically says, "This is real life, baby".

Low Angle Shot

A shot looking up at a character or subject often making them look bigger in the frame. It can make everyone look heroic and/or dominant. Also good for making cities look empty.

High Angle Shot

A shot looking down on a character or subject often isolating them in the frame. Nothing says Billy No Mates like a good old high angle shot.

Locked-Down Shot

A shot where the camera is fixed in one position while the action continues off-screen. It says life is messy and can not be contained by a camera. Beloved by Woody Allen and the dolly grips who can take the afternoon off.

Library Shot

A pre-existing shot of a location — typically a wild animal — that is pulled from a library. Aka a "stock shot", it says this film is old. Or cheap.

Matte Shot

A shot that incorporates foreground action with a background, traditionally painted onto glass, now created in a computer. Think the Raiders warehouse or the Ewok village or Chris Hewitt's house.

Money Shot

A shot that is expensive to shoot but deemed worth it for its potential to wow, startle and generate interest. In pornography, it means something completely different.

Over-The-Shoulder Shot

A shot where the camera is positioned behind one subject's shoulder, usually during a conversation. It implies a connection between the speakers as opposed to the single shot that suggests distance.

Pan

A shot where the camera moves continuously right to left or left to right. An abbreviation of "panning". Turns up a lot in car chases and on You've Been Framed (worth £250 if they use a clip).

POV shot

A shot that depicts the point of view of a character so that we see exactly what they see. Often used in Horror cinema to see the world through a killer's eyes.

The Sequence Shot

A long shot that covers a scene in its entirety in one continuous sweep without editing.

Steadicam Shot

A shot from a hydraulically balanced camera that allows for a smooth, fluid movement. Around since the late '70s, invented by Garrett Brown. Beloved by Stanley Kubrick, Brian De Palma, Martin Scorsese, Alfonso Cuaron. A lengthy Steadicam shot is the directorial equivalent of "Look ma, no hands!"

Tilt

A shot where the camera moves continuously Up to Down or Down To Up. A vertical panning shot. A tilt to the sky is traditionally a last shot in a movie.

Top Shot

A shot looking directly down on a scene rather than at an angle. Also known as a Birds-Eye-View shot. Beloved by Busby Berkeley to shoot dance numbers in patterns resembling snowflakes.

Tracking Shot

A shot that follows a subject be it from behind or alongside or in front of the subject. Not as clumsy or random as a panning shot, an elegant shot for a more civilized age. Beloved by Stanley Kubrick, Andrei Tarkovsky, Terence Davies, Paul Thomas Anderson.

Two-Shot

A medium shot that depicts two people in the frame. Used primarily when you want to establish links between characters or people who are beside rather than facing each other.

Whip Pan

A shot that is the same as a pan but is so fast that picture blurs beyond recognition. Usually accompanied by a whoosh sound. Beloved by Sam Raimi and Edgar Wright.

Zoom

A shot deploying a lens with a variable focal length that allows the cinematographer to change the distance between camera and object without physically moving the camera. Also see Crash Zooms that do the same but only quicker.

Crane Shot

A shot where the camera is placed on a crane or jib and moved up or down. Think a vertical tracking shot. Beloved by directors of musicals. Often used to highlight a character's loneliness or at the end of a movie, the camera moving away as if saying goodbye.