3 periods
Part A: Learning the Angles
Camera Angles
The relationship between the camera and the object being photographed (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.
1. The Bird's-Eye view
This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.
2. High Angle
Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture.
3. Eye Level
A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.
4. Low Angle
These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.
5. Oblique/Canted Angle
Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see — a hand held camera is often used for this.
6. The Worm's-Eye view
Similar to the Low Angle, this shot is used to create drama and symbolize power. The extreme nature of the angle is imposing on the viewer and the subject maintains power in the scene.
Part B: Learning the Shots
Basic Camera Shot types:
Extreme Wide Shots (EWS) act to establish the area.
Wide Shots (WS) show the entire person or area. They’re great for establishing the scene and allow for good action of the characters. Sometimes this is known as the long shot.
Medium Shots (MS) frame the subject from the waste up. This is the most common shot and allows for hand gestures and motion.
Medium Close Ups (MCU) shots show the subject in more detail and are often framed from just below the shoulders to the top of the head.
Close Ups (CU) show a particular part of your subject. For people this usually means the shot frames just the head!
Extreme Close Ups (ECU) are much tighter close-up shots in which you get detail greater than the human eye might be able to normally perceive. An example of this shot might be of the mouth and eyes together
Advanced Camera Shot Types
Two Shot: This is a shot of two peoples (or other individuals) together.
Cut Away (CA): Cutaways are used in the editing process to fill in footage which is different from the main action. B-roll is often used for cut-aways. An example might be a cut away of a bird singing if the shot is focused on a couple in the woods.
Over the Shoulder Shots (OSS) are shot from behind the person towards their subject. Generally the frame is cut off just behind the ear, although there are several variations. A good technique to use to get this shot is to frame the person facing the subject with about one third of the frame.
Point of View (POV): This is an effective shot that gives the audience the feel that you’re seeing it from the eyes of the performer. It is taken from near the eye-level of the actor and shows what he might see. It could be used to give the perspective of other animals too like a frog, a bird, or a fish.
Selective Focus: By using a large aperture value (f/1.4, f/2.0) you will be able to create a shallow depth of field. This effectively leaves one part of the frame in focus while blurring others, such as the foreground or background. When you change the focus in the shot from the foreground to the background you’re doing another advanced camera shot called a rack focus.
Part C: Learning the Movements
CAMERA MOVEMENT
Camera movement, too, makes a significant contribution to storytelling. Here is a list of different types of camera movement that you might encounter in narratives:
• Dolly.
A dolly is a moving platform that a camera is mounted on; often tracks which the camera can be moved along. Sometimes, the camera is mounted in the back of a car. Skateboards, office chairs etc for low budget camera crews. The camera gradually dollies in on the couple to suggest a rekindled sense of intimacy.
• Pan. The camera turns horizontally when mounted on a tripod.
• Tilt. The camera tilts up/down when mounted on a tripod.
• Crane/ Boom. The camera is mounted on a crane or telescopic hoist, helping filmmakers to achieve dynamic overhead shots or rising.
• Truck. The lens of a camera is used to magnify an image or the camers dollies in or out from the subject.
• Roll. A rotational movement of the camera to increase dramatic intensity
Other Devices:
• Handheld. Handheld camera movement is often used to achieve a sense of realism. Films like The Blair Witch Project, The Bourne Supremacy and Syriana. Handheld camera movement achieves a sense of realism partly because audiences associate this sort of camera movement with documentary film.
• Steadicam. A device that allows camera operators to achieve smooth, fluid camera movement.