Changing Shot — Moving Performer
It is all too easy to devise presentations that consist of little more than intercut ‘pot-shots’ from static viewpoints. But for interest and visual appeal, movement and change are essential.
Performer movement
A long series of static shots can be a bore. Try to introduce some movement of the camera or subject, however slight. Even having someone pointing out details is better than still pictures. When the camera pans as it follows someone around, we get a sense of participation, of anticipation. The picture becomes dynamic. We react to the location.
In longer shots, we are strongly influenced by the surroundings. In closer shots, the performer dominates the picture. So, by varying shot size and performer distance, you can alter visual emphasis.
You can deliberately create ‘reasons’ for these changes. Talent can walk from one item to another, shifting attention to new action areas. They can gesture— e.g. pointing over to a feature that the camera zooms in on. They can turn away from the camera, this body turn being used to zoom or pan to the next subject Finally, a verbal clue (‘Over there we have …’) is a direct invitation for the shot to change.
Group shots
You can present groups of people in several ways. In a static situation (e.g. a discussion) you can selectively shoot individuals, pairs, subgroups, excluding the rest. Intercutting gives shot variety.
Instead of a static arrangement, you can form changing groups. These changes are motivated by natural-looking actions. As people sit to mate themselves more comfortable, light a cigarette, pour a drink, or fetch a book, they join or leave a group, varying the composition.
Even a gesture can motivate regrouping (illustration opposite):
Three people are talking. One turns away annoyed (and provides a single shot), while his puzzled neighbor turns towards the third person (forming a two-shot).
By repositioning in this way, you can move people around within the frame, vary the pictorial balance, relocate the center of attention, alter visual emphasis. Regrouping offers fresh shot opportunities that static grouping cannot provide.
Forming shots by isolation
Where people are grouped, and cameras segment the scene Into single shots, two-shots, etc., the resylt is a rather static presentation.
Forming shots by subject movement
People can move ‘naturally’ to form new groypings. Here, in a three-shot, person a turns away; we cut to CU of him. Person b looks towards c, to motivate a two-shot.
Recomposition by subject movement
The girl confronts her father ( her frame position is stronger than his). He rises; the strength of his upward move and new position now make him dominant.