camera angles, movements, framing

8/16/2019 Camera Angles, Movements, Framing

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CAMERA ANGLES

The connection between the camera and the article being captured (i.e. the ANGLE)

proide! emotional in"ormation to an audience# and aide! their $udgment about the

character or ob$ect in !hot. The more e%treme the angle (i.e. the "urther awa& it i!

"rom e&e le"t)# the more repre!entatie and heail&'loaded the !hot.

Bird’s Eye View:

Thi! portra&! a !cene "rom a birds-eye-view# an e%tremel& unnatural and intere!ting

angle. ell nown ob$ect! ma& appear to be ab!olutel& bi*arre at +r!t (umbrella! in a

group# dancer!, leg!). Thi! !hot put! the audience in a godlie locu!# looing down at

the action taing place. -ndiidual! can be made to loo unimportant# in!ect lie# part

o" a more e%ten!ie plan o" thing!. itchcoc

(and hi! admirer!# a! /rian de 0alma) i!

enamoured with thi! !t&le o" !hot.

High Angle:

Not all that great a! a bird,! e&e iew. The camera i! hoi!ted oer the action utili*ing acrane to gie a general oeriew. igh angle! mae the article captured appear to be!maller# and in!igni+cant (or terri"&ing). Thearticle or character "re1uentl& get! gobbled upb& their !etting ' the& turn out to be a piece o" amore e%ten!ie picture.

Eye Level:

A genuinel& neutral !hot2 the camera i! !ituated $u!t a! it i! a human reall& watching a!cene# !o that e.g. on'!creen character!3 head! are on a leel with the "ocu!. The

camera will be put roughl& +e to !i% "eet "rom the ground.


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Low Angle:

-t up!urge! height (aluable "or !hort on'!creen character! lie Tom Crui!e or 4ame!McAo&) and delier! a "eeling o" !peeded motion. Low angle! gie a "eeling o"di!arra& to a iewer# o" weane!! in!ide the action o" a !cene. The "oundation o" a lowangle !hot will tend to be !impl& !& or ceiling# the ab!ence o" in!ight about the!etting adding to the con"u!ion o" the iewer. The additional height o" the article ma&mae it motiate apprehen!ionand in!tabilit& in the iewer# who

i! mentall& ruled b& the +gure onthe !creen.

Oblique/Caned Angle:

5cca!ionall& camera i! tilted (i.e. i! not !et hori*ontal to 6oor leel)# to propo!e

imbalance# tran!ition and !haine!! (e%ceptionall& prealent in horror +lm!). Thi!

!trateg& i! utili*ed to propo!e 05-NT'57'8-E !hot! (i.e. when the camera turn! into

the 9e&e!9 o" one !peci+c character#

!eeing what the& !ee : a hand held

camera i! regularl& utili*ed "or thi!.


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CAMERA M58EMENTS

A director ma& thin o" moing action along b& telling the !tor& a! a progre!!ion o"

cut!# traeling between di;erent !hot!# or the& ma& choo!e to moe the camera with

the action. Moing the camera "re1uentl& tae! a lot o" time# and mae! the actionappear to be !lower# a! it tae! a "ew !econd "or a moing camera !hot to be

!ucce!!"ul# when the !ame data might be !et on !creen in a !erie! o" 1uic cut!. Not

$u!t the !t&le o" moement be piced# but the techni1ue "or reall& moing the camera

mu!t be cho!en a! well.

!ans:

A moement which tae! a !cene hori*ontall&. The camera i! !et on a tripod# whichwor! a! a !tationar& a%i! point a! the camera i! turned# "re1uentl& to tae a"ter amoing article which i! ept amid!t the"rame.

"ils:

A moement which tae! a !cene erticall !omething that i! alie to a pan.

#olly $hos:

Al!o nown a! TR


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doll& !hot! will include a trac being laid on !et "or the camera to "ollow# there"ore thename. The camera ma& be mounted on a car# a plane# or een a !hopping trolle&(great techni1ue "or independent +lm maer! hoping to !pare a couple o" pound!). Adoll& !hot might be a decent method "or depicting moement# the trip o" a character"or e%ample# or "or moing "rom a long !hot to a clo!e'up# progre!!iel& "ocu!ing theaudience on a !peci+c ob$ect or character.

Hand%Held $hos:

The hand'held +lm camera +r!t !aw "ar reaching u!e amid orld ar --# when new!

reporter! too their windup Arri6e%e! and E&emo! into the heat o" +ght# deliering

probabl& the mo!t capturing "ootage o" the twentieth centur&. A"ter the war# it too a

while "or monetaril& produced +lm! to catch up# and documentar& maer! droe the

wa re1ue!ting the production o" !maller# lighter camera! that could be moed all

through a !cene with !peed# deliering a 96&'on'the'wall9 e;ect. Thi! i!ual too a

while to get on with !tandard oll&wood# a! it gie! a $er battered impact#

ab!olutel& incon!i!tent with the organi!ed !moothne!!

o" a doll& !hot. The Steadicam (a !ub!tantial contraptionwhich i! appended a camera to an operator b& a

harne!!. The camera i! balanced out !o it moe!

independentl&) wa! appeared in Marathon Man (>?@)#

cone&ing a new !moothne!! to hand held camera

moement and ha! been utili*ed to awe!ome impact in

motion picture! and T8 !how! "rom that point onward.

and held camera! !igni"& a !peci+c !ort o" gritt&

authenticit and the& can mae the audience "eel $u!t

a! the& are a part o" a !cene# rather than reiewing it "rom an i!olated# !olidi+ed

po!ition.

Crane $hos:

E!!entiall doll&'!hot!'in'the'air. A crane (or $ib)# i! a big# !ub!tantial bit o"e1uipment# howeer i! a aluable method "or moing a camera ' it can tilt up# down#


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pan le"t# right# !wooping in on action or moing diagonall& out o" it. The cameraoperator and camera are counter'balanced b& a a !ub!tantial weight# and tru!t their!ecurit& to a pro"e!!ional craneB$ib operator.

&oo' Lenses:

A *oom len! hold! a component that progre!!ion! the magni+cation o" a picture. 5n a!till camera# thi! implie! the picture photographer can get a clo!e up3 !hot while a!&et being !ome !eparation "rom the !ub$ect. A ideo *oom len! can alter the po!itiono" the audience# either rapidl& (a !ma!h *oom) or graduall without moing thecamera an inch# hence !paring a great deal o" time and inconenience. The down!ide!to *oom u!e include the wa& that while a doll& !hot include! a balanced moementlie the "ocu!ing change in the human e&e# the *oom len! ha! a tendenc& to be $er&(unle!! utili*ed gentl&) and to twi!t a picture# maing article! !eem clo!er togetherthan the& trul& are. oom len!e! are liewi!e de+nitel& oer'utili*ed b& numerou!director! (counting tho!e holding palmcorder!)# who attempt to gie the impre!!ion o"

moement and energ& in a !cene where it doe!n3t e%i!t.


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7RAM-NG

Cinema i! a cra"t o" choice. The edge! o" the picture mae a 9"rame9 that incorporate!

or re$ect! part! o" what happen! in "ront o" the camera ' the 9pro+lmic eent9. The

e%pre!!ie characteri!tic! o" "raming incorporate the angle o" the camera to the

article# the per!pectie proportion o" the pro$ected picture# the relation!hip among!t

camera and ob$ect# and the relation!hip o" camera with character.

(ule o) hirds:

The rule o" third! i! a compo!itional rule o" thumb in i!ual talent!# "or e%ample#

painting# photograph& and de!ign. The tenet e%pre!!e! that a picture ought to be

eni!ioned a! partitioned into nine part! b& two !imilarl& di!per!ed hori*ontal line!

and two !imilarl& !eparated ertical line!# and that critical compo!itional component!

ought to be put along the!e line or their cro!!ing!. Adocate! o" the procedure

guarantee that ad$u!ting a !ub$ect to the!e point! generate! more pre!!ure# italit&

and enthu!ia!m "or the compo!ition than ba!icall& "ocu!ing the !ub$ect would.

#e*h o) +eld% #ee* and $hallow )o,us:

The !eparation through which component! in a picture are in !harp "ocu!. /right lightand a narrow len! opening tend to delier a bigger depth o" +eld# a! doe! utili*ing awide'angle rather than a long len!. A !hallow depth o" +eld i! "re1uentl& utili*ed a! aprocedure to "ocu! audience attention on the mo!t noteworth& part o" a !cene withoutu!ing an anal&tic cut'in.


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epth o" +eld i! !peci+call& a!!ociated with "ocu!. 7ocu! i! the 1ualit& (the9!harpne!!9 o" an article a! it i! enli!ted in the picture) and depth o" +eld allude! tothe degree to which the !pace repre!ented i! in "ocu!. 7or a gien len! aperture andleel o" lighting# the more e%tended the "ocal di!tance (the !eparation between thelen! and the article that i! in "ocu!) the more prominent the "ocal depth. 7or a gien"ocal di!tance# the grander the leel o" lighting or the !maller the aperture# the moreprominent the "ocu! depth. Thu!# clo!e'up !hooting and !hooting in low e& lighting!ituation! "re1uentl& bring! image! with e%tremel& !hallow depth o" +eld. A picturewith !hallow depth o" +eld# a! thi!"rame "rom 0eing 5pera /lue! (oMa aan# T!ui ar # >?F)# ha! a "ewcomponent! in "ocu!# &et other! arede+nitel& not.

#ee* -o,us:

Similar to deep !pace# deep "ocu! include! arranging an occa!ion on +lm !uch thatcritical component! inole widel& !eparated plane! in the picture. i!tinct to deep!pace# deep "ocu! nece!!itate! that element! at di;erent pro"unditie! o" the pictureboth be in "ocu!. -n the!e two !hot! "rom Touch o" Eil (5r!on elle!# >?F) /e!ieged(L3A!!edio# /ernardo /ertolucci#>??F) all o" the di!tinctie plane! o" the picture aregien e1uialent !igni+cance through deep "ocu!# not $u!t to the character! (lie theman looing at the window in the +r!t picture)# additionall& to the !pace!(Shandura&3! cellar room in the !econd).

eep "ocu! might be utili*ed !ometime!# a "ew auteur! u!e it reliabl& "or the& tru!t it

accompli!he! a more genuine repre!entation o" !pace. irector! lie 4ean Renoir#5r!on elle!# ou !ao'!ien# or Abba! =iaro!tami utili*e! deep "ocu! a! a crucial

piece o" their !ignature !t&le.


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$hallow -o,us:

A limited depth o" +eld# which eep! onl& plane in !harp "ocu!2 the iner!e o" deep"ocu!.


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