Shot Development

When organizing a scene, you need to consider not only how you are going to arrange each key shot, but how it is going to develop into subsequent shots.

Setting up the shot

Preferably using a ‘normal’ lens angle of around 20–27°, adjust the camera’s distance from the subject, to give you the shot size you want– e.g. a waist shot. Although you could simply alter the zoom lens’ angle instead, remember that this will exaggerate or compress depth to some extent, (Slight changes in lens angle to tighten or loosen the shot a little will not be noticed.)

Choose the camera’s height to suit the situation.

• Higher viewpoints diminish the subject’s strength or importance, and reveal more of the floor and middle distance.

• Lower viewpoints do the opposite, and foreground objects become more prominent, while the middle distance becomes foreshortened.

Arrange the shot’s framing to provide the most effective composition making sure that the headroom is appropriate.

Changing the viewpoint

When you record shots one at a time, you can modify each a little if necessary (‘cheat’) for the best effect. But remember that rearranging any shot may upset its continuity with previous ones.

When you move a camera from one viewpoint to another, there are no problems with visual continuity. But when you switch to a new viewpoint, there is always the possibility that this will produce a disturbing visual upset (e.g. a jump cut). To avoid this happening, you can;

• Use equalized viewpoints. Arrange subjects so that they look good from several directions.

• Readjust people’s positions as the shot changes. You cut as they can move on a word cue (‘Come in’… he turns towards the door), or on an action cue (as she sits), or on ‘business’ (as he puts down the glass).

Carefully done, the action will appear continuous; even when pictures shot at different times and places are cut together. Cut from someone at a window to a person in the street looking up, and you have a relationship where none actually existed!

Developing shots

Here, instead of intercutting static viewpoints, we move the camera around within the scene. This not only gives the audience a strong subjective feeling, as if they were taking part in the action, but conveys a clearer idea of layout and positions than when intercutting cameras. However, it does require skilled, carefully controlled camerawork.

Its slow pace makes the developing shot particularly effective in building up tension, when creating expectancy, or when you are shooting solemn occasions.

Developing shot

Developing shots

In this bedside scene, intercutting would have disrupted the solemn mood. And yetyou want to show various reactions, and create continous visual interest. This slow developing shot provides movement which is unobtrusive, yet contrasting with the stillness of the scene.112