1 / 16

FILM AND VIDEO STUDIES

FILM AND VIDEO STUDIES. SHOTS AND ANGLES. EXTREME LONG SHOT (ELS) / WIDE SHOT (WS) TAKEN FROM A GREAT DISTANCE – ALMOST ALWAYS AN EXTERIOR SHOT SHOWING A LOCATION – SUBJECT, IF IN PICTURE, ALWAYS VERY SMALL.

robinbowers
Download Presentation

FILM AND VIDEO STUDIES

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. FILM AND VIDEO STUDIES SHOTS AND ANGLES

  2. EXTREME LONG SHOT (ELS) / WIDE SHOT (WS)TAKEN FROM A GREAT DISTANCE – ALMOST ALWAYS AN EXTERIOR SHOT SHOWING A LOCATION – SUBJECT, IF IN PICTURE, ALWAYS VERY SMALL

  3. THE LONG SHOT (LS)CORRESPONDS ROUGHLY TO THE DISTANCE BETWEEN THE AUDIENCE AND THE STAGE IN LIVE THEATRE

  4. THE FULL SHOT (FS)JUST BARELY CONTAINS THE HUMAN BODY IN FULL, WITH THE HEAD NEAR THE TOP AND THE FEET NEAR THE BOTTOM

  5. THE MEDIUM SHOT (MS)CONTAINS A FIGURE FROM THE KNEES OR WAIST UP

  6. THE CLOSE-UP (CU) CONCENTRATES ON A SMALLER OBJECT, MAGNIFYING IT TO ELEVATE THE IMPORTANCE OF SOMETHING, OFTEN FOR SYMBOLIC REASONS

  7. EXTREME CLOSE-UP (ECU) MAGNIFIES TO ELEVATE THE IMPORTANCE OF SOMETHING, OFTEN SYMBOLIC – SHOWS ONLY A PERSON’S MOUTH OR EYES

  8. THE TWO SHOTCONTAINS TWO FIGURES FROM THE WAIST UP

  9. THE THREE SHOTCONTAINS THREE FIGURES, ANY MORE PEOPLE AND THE SHOT BECOMES A FULL SHOT

  10. OVER-THE-SHOULDER SHOTONE FIGURE FACES AWAY FROM CAMERA, THE 0THER TOWARD IT

  11. DEEP-FOCUS SHOTALL SUBJECTS IN VIEW

  12. THE BIRD’S-EYE VIEWINVOLVES PHOTOGRAPHING A SCENE FROM DIRECTLY OVERHEAD

  13. THE HIGH ANGLEGIVE VIEWERS A GENERAL OVERVIEW, HEIGHTENING THE IMPORTANCE OF SETTING AND REDUCING THE IMPORTANCE OF THE SUBJECT

  14. THE EYE-LEVEL SHOTMOST SCENES FILMED THIS WAY – VIEWING THE WAY ONE WOULD NORMALLY SEE SOMETHING

  15. THE LOW ANGLEHEIGHTEN THE IMPORTANCE OF A SUBJECT AND MOTION IS SPED UP

  16. THE OBLIQUE ANGLEINVOLVES A LATERAL TILT OF THE CAMERA – DISORIENTS THE VIEWER AND SUGGEST TENSION, TRANSITION OR IMPENDING MOVEMENT

More Related