Note: ‘f’ following a page number indicates a figure.
action, 267; allowing actions to complete before cutting camera, 234; axis of action, 151–153, 268–269; continuity of, 208; excess overlapping, 209; matching speed of, 208–209; overlapping action, 208, 209, 281; using pan and tilt tripod head for following, 206, 207f
action line, 151–153; see also axis of action; imaginary line; 180 degree line
amateur videos, 169
animatics, 26
ANSI rating, 116
answering shots, 57, 69, 157–159; see also matching shots
archive film, 241
art history, 259
artificial light, 114–115, 258, 268
ASA rating, 116
aspect ratio, 4, 5–7, 268; 4:3 aspect ratio, 267; see also frame size
assistant directors, 266
atmosphere/atmospherics, 93–94, 268
audience, what to show your audience, 3
Auto Focus, 103
axis of action, 151–153, 268–269; see also action line; imaginary line; 180 degree rule; sight lines
back light, 128, 129f, 132–133, 269
basic shots, 11–21, 22f; big close-up shots, 12f, 20; bust shots, 18; choker shots, 12f, 20; close-up shots see close-up shots; extreme close-up shots, 12f, 22f; extreme long shots, 12f, 13; extreme wide shots, 12f, 13; full shots, 15; long shots see long shots; medium close-up shots see medium close-up shots; medium shots, 8–9, 12f, 17, 22f, 279; very long shots, 12f, 14, 37f; very wide shots, 12f, 14, 37f; wide shots see wide shots
BCU see big close-up shots
binocular vision, 76, 269; see also human visual system
bird’s-eye view, 58
blue, 219
blue screen, 238
boom operator, 266
booms, 178f
breaking the fourth wall, 38, 275
bust shots, 18
camera(s), 2, 4; allowing actions to complete before cutting camera, 234; allowing enough time to record each shot, 232; handheld cameras, 168–169, 175; rolling camera, 232, 233f
camera angles, 45–61, 269; 3/4 back view, 53; 3/4 view, 51; 360 degrees method, 46–47, 48f; camera position method, 50–54; clock face method, 49, 50f; frontal view, 50, 51f; full back view, 53–54; horizontal, 46–54; matching, 214–215; profile view, 52; vertical, 54–61
camera aperture, 103, 104, 117, 268
camera assistants, 101, 180, 186, 265
camera lenses, 95–105; fish-eye lenses, 100, 274; lens focus, 101–103; lens perspective, 97–101; normal lenses, 280; prime lenses, 96, 282; prime vs zooms, 95–96; taking lens, 286; wide angle lenses, 98, 236; zoom lenses see zoom lenses
camera movement, 168–174; equipment, 175–181
camera operators, 2, 101, 180, 265, 269
camera set-up, 270
camera shake, 235
camera-to-subject distance, and depth of field, 194–195
canted angle see Dutch angle
catch light see eye light
charge-coupled devices (CCDs), 114, 270
chrominance, 116
Cinemascope, 6
cinematographers, 265
clean single, 270; see also dirty single
close-up shots, 10, 12f, 19, 22f, 198–199, 270; big close-up shots, 12f; examples of, 12f; extreme close-up shots, 12f, 22f; eye-line directions, 204, 205f; medium close-up shots, 12f, 22f; wide lenses and, 236
CMOS (complementary metal-oxide semiconductor), 114, 270
color(s), 126–127, 219; correcting or mixing colors on set, 115
color balance, 114
color saturation, 126
communication, with talent, 188, 189f
complementary metal oxide semiconductor (CMOS), 114, 270
composition, 33–74, 271; camera angles, 45–61; definition of, 33; framing human subjects, 35–37; look room, 40–41; rule of thirds, 42–43, 44f; subjective versus objective shooting styles, 38–39; three-shot, 70–71; two-shots, 62–69
continuity, 271; of action, 208; of performance, 146; of screen direction, 147–149; traps, 222, 223f
cool light, 113
cover set, 255
Cowboy shot see medium long shots
crab, 177
crane shots, 181
critical plane of focus, 194, 271
crossing the line, 154–155, 271; see also jumping the line
CU see close-up shots
cutting camera, allowing actions to complete before cutting camera, 234
deep focus techniques, 194
depth, 272
depth cues, 92–94; atmosphere, 93–94; object size, 92–93; overlapping, 92
depth of field (DOF), 101, 103–105, 272; camera-to-subject distance, 194–195; controlling, 194–195; focal length and, 194, 228; illumination and, 119, 120f, 194; shallow, 235; size and sensitivity of the recording medium, 195
depth of film space, 89–90; background, 90–91; foreground, 89, 90f; middle ground, 90; to stage shots with several people, 224, 225f
developing shots, 180
dialogue scenes: matching camera angles, 214–215; matching two-shots in three-person dialogue scenes, 226, 227f
digital zoom, 272
directional light, 121
direction, lines of, 150
director of photography (DP or DOP), 265, 272
directors, 265; art directors, 219, 265; assistant directors, 266
direct-to-camera two-shots, 65–66
dirty single, 68–69, 273; see also clean single
distracting objects, 220, 221f
documentary filming, being discrete during, 244
dolly grips, 266
DSLR HD video cameras, 103
editors, 266
electric, 266
ELS see extreme long shots
emulsions films: color balance, 114; frames per second, 167
equipment: camera movement, 175–181; knowledge of, 256
etiquette, 255
EWS see extreme wide shots
exposure, 117–119, 120f, 194, 273
exposure index (EU), 116
exposure time, 118
exterior, 274
extreme close-up shots, 12f, 21, 22f
eye-line match, 160, 161f, 274
eye lines, direction in close shots, 204, 205f
eye twinkle see eye light
face focus, 36
fast motion, 167
field of view, 235
50/50
profile 2-shots see profile two-shots
50–50
shots see profile two-shots fill light, 128, 129f, 274
filmmakers, 2
film noir, 274
film production, phases of, 27
film space, 274
filters, neutral density filters (ND filters), 104, 118, 280
fish-eye lenses, 100, 236, 274
focal length, 95, 96, 274–275; and depth of field, 194, 228; long, 235; short focal length to reduce handheld camera shake, 235
focus, 101–103, 180, 192, 193f, 275; Auto Focus, 103; critical plane of focus, 194, 271; deep focus techniques, 194; face focus, 36; following focus, 103–105, 275; pulling focus, 103–105, 282; pushing focus, 283; racking focus, 283
4:3 aspect ratio, 267
frames, 147, 275; break frames, 17, 269; choosing, 4–5; end frames, 173–174, 273; headroom in, 35–37; placing important objects in the top half of, 218; start frames, 173, 285
frame size, 4; see also aspect ratio
full shots, 15
gaffer, 265
gain control, 118
gaze, 150
God view (bird’s eye view), 58
golden hour, 276
grammar, definition of, 2
Grammar of the Edit, 143
green screen, 238
grey scale, 117
grip equipment, 137
grips, 266, 276; key grip, 265
handheld camera shake, 235
hard lights, 121–122, 137, 276
HD see high definition
headroom, 36–37, 196, 197f, 276
head shots see close-up shots
high angle shots, 56, 276–277; of an environment, 57–58; of an individual, 56; as a point-of-view, 57
high contrast images, 124
high-end video productions, frames per second, 167
hood mount, 277
horizontal camera angles, 46–54
hues, 126
human subjects: cutting the face in half, 42f; framing, 35–37
human visual system, 84, 102, 110, 172, 269; and the illusion of the third dimension, 76; proper focus, 192; response to brightness, color and movement, 166; see also binocular vision
illumination, and depth of field, 119, 120f, 194
illusion of three-dimensions, 76–77
image capture, 167
IMAX ®, 6
interior, 277
International Organization for Standardization (ISO), 116
interviews, talking head interviews, 198, 242, 243f
jib arm, 278
jibs, 181
jib shots, 181
jumping the line, 154–155, 278; see also crossing the line
key grips, 265; see also grips
knee shots (medium long shots), 12f, 16, 22f
LEDs, 115
lenses, 4, 54; fish-eye lenses, 100, 274; focus, 101–103; height, 54; normal lenses, 280; perspective, 97–101; prime lenses, 96, 282; and shooting close-up shots, 236; short focal length lenses to reduce handheld camera shake, 235; taking lenses, 286; wide angle lenses, 98, 236, 237f; zoom lenses see zoom lenses
life light see eye light
light(s), 109–141, 258; artificial light, 114–115, 258, 268; back light, 128, 129f, 132–133, 269; from behind, 132–133; controlling, 137; cool light, 113; and depth of field, 194; directional light, 121; as an element of composition, 110–111; as energy, 112; exposure and quality of, 117–119, 120f; eye light, 200, 201f, 274; fill light, 128, 129f, 274; front lighting, 131–132, 275; hard lights, 121–122, 137, 276; high key lighting, 125, 277; key light, 128, 129f, 278; kicker light, 132, 278; under lighting, 133, 134f; light meter, 278; low key lighting, 124, 125f, 279; motivated lighting, 130–131, 280; natural light, 114–115, 258, 280; point source lights, 121, 282; rim light, 132, 283; sensitivity and quality of, 116; set and location, 135–136; side lighting, 132, 284; soft light, 122, 123f, 137, 284; sources of, 133; three-point lighting method, 128, 129f, 286; top lighting, 133, 134f; warm light, 113
light flares, 258
lighting ratio, 130
light quality, hard versus soft, 121–122, 123f
lines, 78–87, 88f, 150, 151f, 278; curved lines, 87, 88f; diagonal lines, 82–87; of direction, 150; Dutch angle, 82; horizon line, 78–80; vertical lines, 80–81
long shots, 8, 12f, 15, 22f, 279; with proper headroom, 37f; with a single human subject, 9f; very long shots, 12f, 14
looking room see look room
look room, 40–41, 279; on shots that will edit together, 213
low angle shots, 58, 279; of an environment, 59–61; of an individual, 58–59; as a point-of-view, 59
low contrast images, 124
low key lighting, 124, 125f, 279
LS see long shots
luminance, 116
macrophotography, 195
magic hour see golden hour
Manual Focus, 103
master shots, 23
matching shots, 146–149, 157–159, 160f, 279
medium close-up shots, 12f, 18, 22f; with eyes looking away from lens axis, 39f; with headroom, 36f
medium long shots, 12f, 16, 22f
medium shots, 8–9, 12f, 17, 22f, 279
mid shot see medium shots
MLS see medium long shots
monocular vision (camera lens), 280
motion, camera in motion, 168–174
motion imagery, 2
motion picture, 2
motivated lighting, 130–131, 280
movement of subjects, 166
MS see medium shots
music videos, 169
natural light, 114–115, 258, 280
neutral angle shots, 55
neutral density filters (ND filters), 104, 118, 280
normal lens, 280
nose room, 40–41; see also look room
objective shooting, 38–39, 280
oblique angle see Dutch angle 180
degree line, 216, 217f, 267; see also axis of action; 180 degree rule; sight lines
180 degree rule, 151–153, 267; see also 180 degree line
organization, 186
OTS see over-the-shoulder shots
overcranking, 167
overlapping action, 92, 208, 281; excess of, 209
over-the-shoulder shots, 53, 158, 160f, 281; three-shots, 71; two-shots, 66–67, 68f
paintings, 259
pan, 169–172, 281; for following action, 206, 207f; shooting the tilt and, 173–174; and tilt head, 175
performance: continuity of, 146; quality of, 146
period pieces, 136
planning what to show your audience, 3
point of critical focus, 101
point-of-view (POV), 57, 59, 281; see also over-the-shoulder shots
post-production phase, 27, 282
power dynamic two-shots, 69
pre-production phase, 27, 210, 282
presentation speed, 167
principal photography, 27, 282
production designers, 219
production phase, 27, 144, 282
professional behavior, 255
profile two-shots, 62–63, 64f, 267
profile view, 52
proscenium style, 282
punch-in, 282
pushing focus, 283
quality, of performance, 146
racking focus, 283; see also pulling focus railroad tracks, 83–84, 286
reciprocating imagery, 157–159, 160f; see also matching shots
red, 219
research, 259
resources for filmmakers, 261–263
reveal of information, 283
reverse view see full back view
rule of thirds, 42–43, 44f, 283
rules and guidelines, 250
safe action line, 283
safe action zone, 190
safe title area, 190
sandbags, 176
saturated colors, 126
scenes, 145f, 283; matching shots in, 146–149, 157–159, 160f, 279
screen direction, 283; continuity of, 147–149; lines, 150
screenwriters, 265
script analysis, 25
script breakdown, 25
Script Supervisor, 23
SD see standard definition
2nd Unit, 240
sensitivity, of video camera digital imager, 195
set-up, 25
shooting: for editing, 143–163, 251; frontal shooting, 50, 51f; the pan and the tilt, 173–174
shooting styles, subjective versus objective, 38–39
short focal length, 235
shot lists, 25–26, 210, 211f, 284
shot-reverse-shots, 214, 215f, 284
shots, 284; allowing actions to complete before cutting camera, 234; allowing enough time to record each shot, 232, 233f; bust shots, 18; close-up shots see close-up shots; crane shots, 181; cutaway shots, 216, 271; developing shots, 180; direct-to-camera two-shots, 65–66; distracting objects, 220, 221f; dolly shots, 230, 231f; dynamic shots, 165–183; enticing the entire story, 252; establishing shots, 13, 273; frontal shooting, 50, 51f; full shots, 15; head of, 232, 276; high angle shots see high angle shots; jib shots, 181; knee shots see medium long shots; locked off, 8; long shots see long shots; low angle shots see low angle shots; master shots, 23; matching shots in scenes, 146–149, 157–159, 160f, 279; medium shots see medium shots; neutral angle shots, 55; reasons for different types of, 23–24; of several people, 224, 225f; shot-reverse-shots, 214, 215f, 284; slating shots, 233f; straight-to-camera shots, 202; tail of, 232; three-shots, 70–71; types, 8–10; very long shots, 12f, 14; very wide shots, 12f, 14; waist shots, 17; wide shots, 8, 9f, 12f, 15, 98
shutter speed, 118
size, of the camera digital imager, 195
slates, 186, 187f; noun definition, 284; verb definition, 284
slating shots, 233f
sliders, 177
slow motion, 167
soft light, 122, 123f, 137, 284
sound mixer, 266
speed, 232; presentation speed, 167
still photography, 241
stock footage, 240
storyboards, 26, 210, 211f, 285
straight-to-camera shots, 202
studying what has already been done, 259
subjective shooting, 285; versus objective shooting styles, 38–39
subjects: familiarity with, 257; in motion, 166; showing both eyes, 202, 203f
subtext, 34
support, 176
synchronization, 186
syncing, 186
taking lens, 286
taking pride in the quality of your work, 255
talent blocking, 166
talent movement, 166
talking head, 198, 242, 243f, 286
telephoto, 235
3/4 back view, 53
3/4 profile shots, 202
3/4 view (3/4/front, 3/4 profile), 51
360 degrees method, 46–47, 48f
3D video cameras, 76
three-point lighting method, 128, 129f, 286
tight close-up shots see big close-up shots
tilt, 169–172, 286; shooting the pan and, 173–174
tilt-pan, 170
tilt tripod head, for following action, 206, 207f
timecode syncing, 186
time, for the camera to record each shot, 232
tracking in, 177
tracking out, 177
trucking in, 177, 230, 231f, 286
trucking out, 177, 230, 231f, 286
tungsten lighting, 114
two-button shots see medium close-up shots two-shots, 62–69, 287; direct-to-camera, 65–66; dirty single, 68–69; over-the-shoulder two-shots, 66–67, 68f; power dynamic, 69; profile two-shots, 62–63, 64f, 267; in three-person dialogue scenes, 226, 227f
undercranking, 167
very long shots, 12f, 14; with proper headroom, 37f
very wide shots, 12f, 14; with proper headroom, 37f
viewers, keeping viewers involved as much as possible, 253–254
VistaVision, 6
visual plans, 3
waist shots, 17
warm light, 113
web sites for filmmakers, 261
white balance, 114
wide angle lenses, 98; shooting close-up shots with, 236, 237f
wide angle shots, 98
wide shots, 8, 12f, 15; with proper headroom, 37f; with a single human subject, 9f; very wide shots, 12f, 14
WS see wide shots
XLS see extreme long shots
XWD see extreme wide shots
zoom lenses, 97, 287; digital zoom, 272; manually focusing, 191; zooming during shots, 228, 229f