Camera Shots

A camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different
aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film.
Reviewing the examples on the right hand side of this page should make the different camera shots clearer.

An extreme long shot (animation on right) contains a large amount of landscape. It is often used at the beginning of a scene
or a film to establish general location (setting). This is also known as an establishing shot.

A long shot (animation on right) contains landscape but gives the viewer a more specific idea of setting. A long shot may
show the viewers the building where the action will take place.

A full shot (animation on right) contains a complete view of the characters. From this shot, viewers can take in the costumes
of characters and may also help to demonstrate the relationships between characters. For more information on costumes
and acting refer to Chapter 4.

A mid shot (animation on right) contains the characters or a character from the waist up. From this shot, viewers can see the
characters' faces more clearly as well as their interaction with other characters. This is also known as a social shot

A close-up (animation on right) contains just one character's face. This enables viewers to understand the actor's emotions
and also allows them to feel empathy for the character. This is also known as a personal shot.

An extreme close-up (animation on right) contains one part of a character's face or other object. This technique is quite
common in horror films, particularly the example above. This type of shot creates an intense mood and provides interaction
between the audience and the viewer.

When analysing a film you should always think about the different camera shots and why they are being used. The next time
that you are at the cinema or watching television see what camera shots are being used.

Important: These camera shots are used in all forms of visual texts including postcards, posters and print advertisements.

Camera angles
It is important that you do not confuse camera angles and camera shots. Camera shots are used to demonstrate different
aspects of setting, themes and characters. Camera angles are used to position the viewer so that they can understand the
relationships between the characters. These are very important for shaping meaning in film as well as in other visual texts.

The following examples will help you to understand the differences between the different camera angles

A bird's eye angle (animation on right) is an angle that looks directly down upon a scene. This angle is often used as an
establishing angle, along with an extreme long shot, to establish setting.

A high angle (animation on right) is a camera angle that looks down upon a subject. A character shot with a high angle will
look vulnerable or small. These angles are often used to demonstrate to the audience a perspective of a particular character.
The example above demonstrates to us the perspective or point of view of a vampire. As a viewer we can understand that
the vampire feels powerful.

An eye-level angle (animation on right) puts the audience on an equal footing with the character/s. This is the most
commonly used angle in most films as it allows the viewers to feel comfortable with the characters.

A low angle (animation on right) is a camera angle that looks up at a character. This is the opposite of a high angle and
makes a character look more powerful. This can make the audience feel vulnerable and small by looking up at the character.
This can help the responder feel empathy if they are viewing the frame from another character's point of view.
As with camera shots, you will be able to see many examples of camera angles in any film or visual text that you view. The
next time that you watch television or see a film, take note of the camera angles and think of how they affect your perception
(idea) of different characters.

Another camera angle that you might come across is a Dutch angle.

A Dutch angle (animation on right) is used to demonstrate the confusion of a character. The example above should
disorientate you.

Camera movement
Composers of films also use camera movement to shape meaning. The following are some examples of common camera
movements and how they can be used to shape meaning in films.

A crane shot (animation on right) is often used by composers of films to signify the end of a film or scene. The effect is
achieved by the camera being put on a crane that can move upwards

A tracking shot and a dolly shot (animation on right) have the same effect. A tracking shot moves on tracks and a dolly shot is
mounted on a trolley to achieve the effect in the example above. This camera movement is used in a number of ways but is
most commonly used to explore a room such as a restaurant. By using a tracking shot or a dolly shot the composer of a film
gives the viewer a detailed tour of a situation. It can also be used to follow a character.

Panning (animation on right) is used to give the viewer a panoramic view of a set or setting. This can be used to establish a
scene

A director may choose to move action along by telling the story as a series of
cuts, going from one shot to another, or they may decide to move the camera
with the action. Moving the camera often takes a great deal of time, and makes
the action seem slower, as it takes several second for a moving camera shot to
be effective, when the same information may be placed on screen in a series of
fast cuts. Not only must the style of movement be chosen, but the method of
actually moving the camera must be selected too. There are seven basic
methods:
1. Pans
A movement which scans a scene horizontally. The camera is placed on a
tripod, which operates as a stationary axis point as the camera is turned, often
to follow a moving object which is kept in the middle of the frame.
2. Tilts
A movement which scans a scene vertically, otherwise similar to a pan.
3. Dolly Shots
Sometimes called TRUCKING or TRACKING shots. The camera is placed on a
moving vehicle and moves alongside the action, generally following a moving
figure or object. Complicated dolly shots will involve a track being laid on set for
the camera to follow, hence the name. The camera might be mounted on a car,
a plane, or even a shopping trolley (good method for independent film-makers
looking to save a few dollars). A dolly shot may be a good way of portraying
movement, the journey of a character for instance, or for moving from a long
shot to a close-up, gradually focusing the audience on a particular object or
character.
4. Hand-held shots
The hand-held movie camera first saw widespread use during World War II,
when news reporters took their windup Arriflexes and Eyemos into the heat of
battle, producing some of the most arresting footage of the twentieth century.
After the war, it took a while for commercially produced movies to catch up, and
documentary makers led the way, demanding the production of smaller, lighter
cameras that could be moved in and out of a scene with speed, producing a
"fly-on-the-wall" effect.This aesthetic took a while to catch on with mainstream
Hollywood, as it gives a jerky, ragged effect, totally at odds with the organised
smoothness of a dolly shot. The Steadicam (a heavy contraption which is
attached a camera to an operator by a harness. The camera is stabilized so it
moves independently) was debuted in Marathon Man (1976), bringing a new
smoothness to hand held camera movement and has been used to great effect
in movies and TV shows ever since. No "walk and talk" sequence would be
complete without one. Hand held cameras denote a certain kind of gritty
realism, and they can make the audience feel as though they are part of a
scene, rather than viewing it from a detached, frozen position.
5. Crane Shots
Basically, dolly-shots-in-the-air. A crane
(or jib), is a large, heavy piece of
equipment, but is a useful way of moving
a camera - it can move up, down, left,
right, swooping in on action or moving
diagonally out of it. The camera operator
and camera are counter-balanced by a
A crane in use, following the path of a balloon floating
heavy weight, and trust their safety to a
into the sky
skilled crane/jib operator.
6. Zoom Lenses
A zoom lens contains a mechanism that changes the magnification of an image.
On a still camera, this means that the photographer can get a 'close up' shot
while still being some distance from the subject. A video zoom lens can change
the position of the audience, either very quickly (a smash zoom) or slowly,
without moving the camera an inch, thus saving a lot of time and trouble. The
drawbacks to zoom use include the fact that while a dolly shot involves a steady
movement similar to the focusing change in the human eye, the zoom lens
tends to be jerky (unless used very slowly) and to distort an image, making
objects appear closer together than they really are. Zoom lenses are also
drastically over-used by many directors (including those holding palmcorders),
who try to give the impression of movement and excitement in a scene where it
does not exist. Use with caution - and a tripod!
7. The Aerial Shot
An exciting variation of a crane shot, usually taken from a helicopter. This is
often used at the beginning of a film, in order to establish setting and
movement. A helicopter is like a particularly flexible sort of crane - it can go
anywhere, keep up with anything, move in and out of a scene, and convey real
drama and exhilaration — so long as you don't need to get too close to your
actors or use location sound with the shots.

•Telegraph - Invented by Samuel Morse. The telegraph revolutionized long-distance

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