index
3 Monkeys (2008), 36–37
16mm film format
overview, 16-17
using for group shots, 98
using for long shots, 62
24p (progressive frame rate), 18
35mm blow up, 86
35mm film format, 17
35mm lens adapter kits
for close up shots, 38
for group shots, 98
for long shots, 62
for macro shots, 122
for medium close ups, 44
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
overview, 17-18
for two shots, 92
for zoom shots, 128
The 400 Blows (1959), 154, 155
A
abstract shots, 112–117
breaking the rules, 117
extreme close ups, 29
overview, 112–113
technical considerations, 116
use of, 114–115
using tilt shots with, 137
adapter kits. See also 35mm lens adapter kits
HD camera lens, 17
SD camera lens, 17
Akerman, Chantal, 51
Alfredson, Tomas, 156–157
Almodovar, Pedro, 132–133
American shots, 53
angles, 9
Antonioni, Michelangelo, 176
aperture
and canted shots, 104
fast versus slow lenses, 13-14
overview, 13
Apocalypto (2006), 15, 100, 101, 104
aspect ratios
overview, 6
in tilt shots, 140
asymmetry
in emblematic shots, 107
in extreme long shots, 65
attachments, follow focus, 10, 158, 152
Avildsen, John G., 3
axes, frame, 6. See also x axis; z axis
B
The Baader Meinhof Complex (2008), 11
backlights
for close up shots, 38
for long shots, 61
for medium shots, 50
Bad Boy Bubby (1993), 11
balanced compositions
in emblematic shots, 107
in extreme long shots, 65
in group shots, 95
in medium long shots, 53
overview, 8
barreling effect, 12
Barry Lyndon (1975), 13
Bay, Michael, 10
Being John Malkovich (1999), 87
The Blair Witch Project (1999), 19
Blue Velvet (1986), 29
Boe, Christoffer, 117
Bong, Joon-ho, 57
The Bourne Supremacy (2004), 126–127
Boyle, Danny, 153
Brazil (1985), 99
Broken Embraces (2009), 132–133
butterflies
for medium close up shots, 43, 44
for medium long shots, 56
C
camera to subject distance
in canted shots, 103
in crane shots, 169
in dolly shots, 145
in dolly zoom shots, 152
in emblematic shots, 110
in group shots, 98
in long shots, 62
in macro shots, 122
in medium long shots, 55
in medium shots, 50
in O.T.S. shots, 74
overview, 16
in pan shots, 133
in sequence shots, 176
in tracking shots, 158
in zoom shots, 127
Campanella, Juan José, 174–175
canted shots, 100–105
breaking the rules, 105
overview, 100–101
in sequence shots, 175
technical considerations, 104
use of, 102–103
CCD (charge-coupled device) sensors
and canted shots, 104
and emblematic shots, 110
and extreme close ups, 32
and group shots, 98
and macro shots, 122
and medium close ups, 44
and medium shots, 50
and O.T.S. shots, 74
overview, 16-17
and two shots, 92
and zoom shots, 128
Ceylan, Nuri Bilge, 36–37
charge-coupled device (CCD) sensors. See CCD sensors
Children of Men (2006), 78–79
City of God (2002), 68, 94, 95
clinometer, 80
Clockers (1995), 32–33
close up shots, 34–39
breaking the rules, 39
versus extreme close ups, 29
and macro shots, 119
versus medium close ups, 41
O.T.S. shots, 71
overview, 34–35
technical considerations, 38
use of, 36–37
using extreme long shots with, 65
using long shots with, 59
using with dolly zoom shots, 152
color, use of, 133
composition, principles of, 6–19
35mm lens adapter kits, 17-18
aspect ratios, 6
balanced/unbalanced compositions, 8
camera to subject distance, 16
closed frames and open frames,10-11
depth cues, 9–10
depth of field, 15-16
director’s viewfinders, 19
fast versus slow lenses, 13-14
field of view, 12
focal length, 12
focal points, 11
frame axes, 6
HD video, 18-19
high and low angles, 9
Hitchcock’s rule, 7–8
Neutral Density filtration, 16
normal lenses, 13
prime lenses, 14
rule of thirds, 7
SD video, 18-19
shooting formats, 16-17
specialized lenses, 14-15
telephoto lenses, 13
wide angle lenses, 12
zoom lenses, 14
continuity, lighting, 38
contra zoom shots, 148–153
The Conversation (1974), 124, 125
Coppola, Francis Ford, 2–3, 124, 125
core ideas of story, 22
counter zoom shots, 148–153
crane shots, 166–171
breaking the rules, 171
overview, 166–167
technical considerations, 170
use of, 168–169
cranes, types of, 170
Crouching Tiger, Hidden Dragon (2000), 166, 167
Cuarón, Alfonso, 78–79
D
Darabont, Frank, 72–73
day for night shots, 68
de Heer, Rolf, 11
De Palma, Brian, 14
deep depth of field
and close ups, 35
in dolly shots, 145
in medium long shots, 56
overview, 15–16
in tilt shots, 140
in two shots, 91
depth cues
in establishing shots, 79
overview, 9–10
depth of field
See also deep depth of field; shallow depth of field
in canted shots, 104
in dolly zoom shots, 152
in establishing shots, 80
and extreme close ups, 31
in long shots, 62
in macro shots, 122
in medium long shots, 55
in medium shots, 50
O.T.S. shots, 73
overview, 15–16
in pan shots, 134
in sequence shots, 176
in Steadicam shots, 163
Deutsch angle, 101
diffused lighting
in crane shots, 169
in dolly shots, 145
for macro shots, 122
for medium close up shots, 44
director’s viewfinders
overview, 19
using for Steadicam shots, 164
dirty single, 70–75
distancing effect, 81
distortion
in canted shots, 103
in crane shots, 170
in dolly zoom shots, 151
in extreme long shots, 67
in medium close ups, 44
in subjective shots, 85
with telephoto lenses, 13
with wide angle lenses, 12
The Diving Bell and the Butterfly (2007), 84–85
Dogville (2003), 81
dollies, 158
dolly shots, 142–147
breaking the rules, 147
combining tracking shots with, 155
overview, 142–143
technical considerations, 146
versus tracking shots, 155
use of, 144–145
using Steadicams, 161
versus zoom shots, 125
dolly zoom shots, 148–153
breaking the rules, 153
overview, 148–149
technical considerations, 152
use of, 150–151
doorway dolly, 146
dusk for night shots, 68, 80, 86
dutch angle, 101
E
Edel, Uli, 11
The Elephant Man (1980), 129
emblematic shots, 106–111
breaking the rules, 111
extreme long shots, 65
overview, 106–107
technical considerations, 110
two shot as, 93
use of, 108–109
using long shots for, 59
using medium long shots with, 53
equipment
for canted shots, 104
for crane shots, 170
for dolly shots, 146
for dolly zoom shots, 152
for pan shots, 134
for sequence shots, 176
for Steadicam shots, 164
for tilt shots, 140
for tracking shots, 158
establishing shots, 76–81
breaking the rules, 81
extreme long shots, 65
long shots, 59
overview, 76–77
technical considerations, 80
use of, 78–79
using crane shots for, 167
using tilt shots with, 137
extreme close up shots, 28–33
abstract shots, 116
breaking the rules, 33
versus macro shots, 119
overview, 28–29
technical considerations, 32
use of, 30–31
using extreme long shots with, 65
extreme long shots, 64–69
breaking the rules, 69
versus long shots, 59
overview, 64–65
technical considerations, 68
use of, 66–67
eyelights
for crane shots, 169
F
fast lenses, 13-14
field of view
in close up shots, 37
in extreme long shots, 68
overview, 12
in pan shots, 134
in sequence shots, 176
film formats
for abstract shots, 116
for close up shots, 38
for emblematic shots, 110
for establishing shots, 80
for extreme close up shots, 32
for extreme long shots, 68
for group shots, 98
for long shots, 62
for macro shots, 122
for medium close up shots, 44
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
overview, 16-17
for subjective shots, 86
for two shots, 92
for zoom shots, 128
filters, Neutral Density. See Neutral Density (ND) filters
fixed focal length lenses, 14, 128
focal lengths
in canted shots, 104
in close ups, 37
in crane shots, 170
in establishing shots, 80
in group shots, 98
and image systems, 21
in medium close up shots, 44
overview, 12
in pan shots, 134
in sequence shots, 176
in Steadicam shots, 164
in tilt shots, 140
in tracking shots, 158
in two shots, 92
focal points
and depth cues, 10
in canted shots, 103
in emblematic shots, 111
in extreme close ups, 31
in extreme long shots, 67
in group shots, 97
in long shots, 61
in medium close ups, 43
in medium shots, 49
in pan shots, 133
in Steadicam shots, 163
in tracking shots, 157
in two shots, 91
in zoom shots, 127
overview, 11
focus attachments, follow, 18, 128, 152
focus puller, 158
focusing distance, 14
follow focus attachments, 18, 128, 152
foreshadowing
with extreme close ups, 30
with tilt shots, 138
formats, film. See film formats
frame, composition of, 1–4
frame axes, 6
friction control, camera, 140
Full Metal Jacket (1987), 165
G
gain mode, 122
Garrone, Matteo, 75
Gattaca (1997), 123
Gibson, Mel, 15, 100, 101, 104
Gilliam, Terry, 99
Gilroy, Tony, 162–163
The Godfather (1972), 2–3
Gomorrah (2008), 75
graininess, 129
Greengrass, Paul, 126–127
group shots, 94–99
breaking the rules, 99
overview, 94–95
technical considerations, 98
use of, 96–97
using long shots for, 59
using medium long shots with, 53
using medium shots with, 47
using two shots with, 89
H
handheld cameras, 86
Haneke, Michael, 62–63
HD (High Definition) video
for extreme long shots, 68
for abstract shots, 116
for close up shots, 38
for establishing shots, 80
for extreme close ups, 32
for group shots, 98
for long shots, 62
for macro shots, 122
for medium close ups, 44
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
overview, 18-19
for Steadicam shots, 164
for subjective shots, 86
for tracking shots, 158
for two shots, 92
for zoom shots, 128
HD camera lens adapter kits, 17
headroom
in canted shots, 103
in dolly zoom shots, 151
in long shots, 61
in medium close-ups, 43
in medium long shots, 55
overview, 7
in pan shots, 133
in sequence shots, 175
in Steadicam shots, 163
in subjective shots, 85
in tilt shots, 139
in tracking shots, 157
in zoom shots, 127
Hero (2004), 8
Herzog, Werner, 11
Hidden (2005), 62–63
high angle shots
crane shots, 169
in dolly zoom shots, 151
medium close ups, 43
overview, 9
High Definition video. See HD video
high-key lighting, 32
Hillcoat, John, 8
Hitchcock, Alfred, 7, 149, 173
Hitchcock’s rule
in close ups, 35
in extreme close ups, 29
in extreme long shots, 65
in group shots, 95
in long shots, 61
in macro shots, 119
in medium long shots, 53
in O.T.S. shots, 71
overview, 7–8
horizon lines
in emblematic shots, 109
in establishing shots, 79
in subjective shots, 85
Hot Fuzz (2007), 135
Hunger (2008), 6
I
I am Legend (2007), 66–67
Im, Kwon-taek, 69
image system, 20–27
abstract shots as part of, 113
an emblematic shots, 107
and extreme close-ups, 29
macro shots as part of, 119
in Oldboy (2006), 22–27
overview, 20–22
using medium close ups, 41
In Bruges (2008), 138–139
indoor shots, lighting for
extreme long shots, 68
group shots, 98
long shots, 62
medium long shots, 56
sequence shots, 176
subjective shots, 86
Inglourious Basterds (2009), 9
intervalometer, 116
Into the Wild (2007), 120
J
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), 50–51
Jonze, Spike, 87
K
Kassovitz, Mathieu, 150–151
Kubrick, Stanley, 13, 76, 77, 164, 165
L
La Haine (1995), 150–151
Last Year at Marienbad (1961), 64, 65
Lawrence, Francis, 66–67
Lee, Spike, 32–33
Leigh, Mike, 48–49
lens adapter kits. See also 35mm lens adapter kits
HD camera, 18–19
SD camera, 18–19
lenses
See also normal lenses; telephoto lenses; wide angle lenses
for abstract shots, 116
for canted shots, 104
for close up shots, 38
for crane shots, 170
for dolly shots, 146
for dolly zoom shots, 152
for emblematic shots, 110
for establishing shots, 80
for extreme close up shots, 32
for extreme long shots, 68
fast, 13-14
for group shots, 98
for long shots, 62
for macro shots, 122
for medium close up shots, 44
for medium close ups, 43
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
for pan shots, 134
prime, 14
for sequence shots, 176
slow, 13-14
specialized, 14-15
for Steadicam shots, 164
for subjective shots, 86
for tilt shots, 140
for tracking shots, 158
for two shots, 92
zoom, 14
for zoom shots, 128
Leon: The Professional (1994), 52, 53
Leone, Sergio, 171
Let the Right One In (2008), 156–157
lighting
for close up shots, 38
for close ups, 38
for crane shots, 170
for dolly zoom shots, 152
for emblematic shots, 110
for establishing shots, 77, 80
for extreme close up shots, 32
for extreme long shots, 68
on eyes in close ups, 37
for macro shots, 122
for medium close up shots, 43, 44
for medium long shots, 56
for medium shots, 50
and Neutral Density filtration, 16
for Steadicam shots, 164
for tilt shots, 140
for tracking shots, 158
for zoom shots, 128
The Lives of Others (2006), 9, 159
long focal length lenses. See telephoto lenses
long shots, 58–63
breaking the rules, 63
combining medium close ups with,41
versus medium long shot, 53
overview, 58–59
technical considerations, 62
use of, 60–61
using medium shots with, 47
using tracking shots with, 155
long takes
sequence shots, 173
zoom shots, 125
looking room
and the rule of thirds, 7
in crane shots, 169
in dolly shots, 145
in O.T.S. shots, 73
in two shots, 91
in sequence shots, 175
low angle shots
in group shots, 99
overview, 9
tilt shots, 139
in two shots, 91
M
macro shots, 118–123
breaking the rules, 123
extreme close up shots, 29, 32
overview, 118–119
technical considerations, 122
use of, 120–121
The Marriage of Maria Braun (1979),30
master shots, 89
The Matrix Reloaded (2003), 60–61
McDonagh, Martin, 138–139
McQueen, Steve, 6
medium close up shots, 40–45
breaking the rules, 45
combining with crane shots, 169
versus medium shot, 47
overview, 40–41
technical considerations, 44
use of, 42–43
using long shots with, 59
using with dolly zoom shots, 152
using with two shots, 89
medium long shots, 52–57
breaking the rules, 57
versus medium shots, 47
overview, 52–53
technical considerations, 56
use of, 54–55
using tracking shots with, 155
using with dolly zoom shots, 152
using with two shots, 89
medium shots, 46–51
breaking the rules, 51
versus medium close up shots, 41
versus medium long shots, 53
O.T.S. shots, 71
overview, 46–47
technical considerations, 50
use of, 48–49
using long shots with, 59
using tracking shots with, 155
using with dolly zoom shots, 152
using with two shots, 89
Meirelles, Fernando, 68, 94, 95
Memories of Murder (2003), 57
Michael Clayton (2007), 162–163
Michelangelo Antonioni, 176
Misery (1990), 8
Myrick, Daniel, 19
N
Naked (1993), 48–49
ND (Neutral Density) filters. See Neutral Density filters
nets, 38
Neutral Density (ND) filters
overview, 16
using with close up shots, 38
using with establishing shots, 80
using with extreme long shots, 68
using with long shots, 62
using with O.T.S. shots, 74
using with tracking shots, 158
using with two shots, 92
Niccol, Andrew, 123
night shots, lighting for
crane shots, 170
establishing shots, 80
group shots, 98
for medium long shots, 56
sequence shots, 176
subjective shots, 86
Nineteen Eighty-Four (1984), 54–55
normal lenses
for abstract shots, 116
for close ups, 37–38
field of view of, 12
for medium close ups, 44
for O.T.S. shots, 74
overview, 13
for subjective shots, 86
for tilt shots, 139
O
off-screen space
in dolly shots, 145
in emblematic shots, 109
in extreme close up shots, 31
in extreme long shots, 67
Once Upon a Time in the West (1968), 171
open frames, 10-11
O.T.S. (over the shoulder) shots. See over the shoulder shots
outdoor shots, lighting for
crane shots, 170
extreme long shots, 68
group shots, 98
long shots, 62
medium long shots, 56
O.T.S. shots, 73
sequence shots, 176
tracking shots, 158
over the shoulder (O.T.S.) shots, 70–75
breaking the rules, 75
overlapping objects, 10
overview, 70–71
technical considerations, 74
as two shots, 93
use of, 72–73
using medium shots for, 47
overlapping objects, 9–10
Ozon, François, 147
P
pan shots, 130–135
breaking the rules, 135
combining with crane shots, 169
comparison with tilt shots, 137
overview, 130–131
technical considerations, 134
use of, 132–133
Paris, Texas (1984), 93
The Passenger (1975), 176
Perfume: The Story of a Murderer (2006), 42–43
The Piano (1993), 168–169, 170
point-of-view (P.O.V.) shots, 83
for group shots, 98
for Steadicam shots, 164
for subjective shots, 86
preview monitors, 18, 32, 158, 170
The Proposition (2005), 8
Pulp Fiction (1994), 38–39
R
Radford, Michael, 54–55
Raiders of the Lost Ark (1981), 144–145
Raise the Red Lantern (1991), 108–109
ratios
reaction shots, 83
Reconstruction (2003), 117
Reiner, Rob, 8
relative size depth cues, 9, 79
repetition, image, 22–25
repoussoir
in establishing shots, 79
in group shots, 97
in medium long shots, 55
in zoom shots, 127
Requiem for a Dream (2000), 118, 119
resolution, camera, 18
reverse tracking shots, 155
ring lights, 122
The Rock (1996), 10
Rocky (1976), 3–4
Rope (1948), 173
The Royal Tenenbaums (2001), 46, 47, 50
rule of thirds
in emblematic shots, 107
in extreme long shots, 65, 67, 69
in group shots, 95
O.T.S. shots, 73
overview, 7
in pan shots, 133
in Steadicam shots, 163
in tilt shots, 137
in tracking shots, 157
in two shots, 91
in zoom shots, 127
S
S16mm film format, 17
Sánchez, Eduardo, 19
Schnabel, Julian, 84–85
Scott, Ridley, 90–91
scrims, 38
SD (Standard Definition) video
for close up shots, 38
for extreme long shots, 68
for group shots, 98
for long shots, 62
for medium close ups, 44
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
overview, 18-19
for Steadicam shots, 164
for tracking shots, 158
for two shots, 92
using for extreme close ups, 32
for zoom shots, 128
SD camera lens adapter kits, 17-18
The Secret in Their Eyes (2009),174–175
Seopyeonje (1993), 69
sequence shots, 172–177
breaking the rules, 177
overview, 172–173
technical considerations, 176
use of, 174–175
using crane shots for, 167
shallow depth of field
in abstract shots, 115
in canted shots, 103
in close up shots, 35, 37, 38, 39
in dolly shots, 146
in long shots, 62
in macro shots, 121
for medium long shots, 56
in medium shots, 49
in O.T.S. shots, 71, 72–73, 74
overview, 15–16
in sequence shots, 175
in subjective shots, 85
The Shawshank Redemption (1994),72–73
The Shining (1980), 76, 77, 164
shooting formats, 16-17
Sid and Nancy (1986), 58, 59, 62
The Silence of the Lambs (1991), 82, 83, 111
silhouetting of characters, 97
skateboard dolly, 146
slow lenses, 13-14
slower stocks, 74
specialized lenses, 14-15
Spielberg, Steven, 144–145
split field diopters
for abstract shots, 116
for emblematic shots, 110
for O.T.S. shots, 74
overview, 14
Standard Definition video. See SD video
Star Wars (1977), 107
Steadicam shots, 160–165
breaking the rules, 165
dolly zoom shots, 152
overview, 160–161
sequence shots, 177
technical considerations, 164
use of, 162–163
story
core ideas of, 22
essence of, 3–4
strobing effect, 134
subject placement
in crane shots, 169
in dolly shots, 145
in group shots, 96–97
in long shots, 61
in medium close ups, 43
in medium shots, 49
in O.T.S. shots, 73
in pan shots, 133
in sequence shots, 175
in tilt shots, 139
in two shots, 91
using rule of thirds, 7
in zoom shots, 127
subjective shots, 82–87
breaking the rules, 87
overview, 82–83
technical considerations, 86
use of, 84–85
Super 16 mm format
using for extreme long shots, 68
using for group shots, 98
using for subjective shots, 86
Super 35 mm format, 68
Swimming Pool (2003), 147
symbolism, 23–24
symmetry
in emblematic shots, 107
in establishing shots, 79
in extreme long shots, 66
in tilt shots, 139
T
Tarantino, Quentin, 1, 3, 9, 39
telephoto lenses
for abstract shots, 116
for canted shots, 104
for close ups, 37–38
for dolly shots, 146
field of view of, 12
for group shots, 98
for long shots, 62
for medium close ups, 44
for medium long shots, 56
for O.T.S. shots, 74
overview, 13
for pan shots, 134
for Steadicam shots, 164
for subjective shots, 86
for tracking shots, 158
for two shots, 92
Thelma & Louise (1991), 90–91
The Thin Red Line (1998), 12, 114–115
tilt-shift lenses
for abstract shots, 116
for emblematic shots, 110
for establishing shots, 80
for extreme long shots, 68
for O.T.S. shots, 74
for subjective shots, 86
overview, 14
tilt shots, 136–141
breaking the rules, 141
combining with crane shots, 169
overview, 136–137
technical considerations, 140
use of, 138–139
time lapse, 119
Touch of Evil (1958), 172, 173, 176
tracking shots, 154–159
breaking the rules, 159
overview, 154–155
technical considerations, 158
use of, 156–157
using Steadicams, 155
Trainspotting (1996), 153
tripods
using for canted shots, 104
using for pan shots, 134
using for tilt shots, 140
trombone shots, 148–153
Truffaut, François, 7, 154, 155
The Truman Show (2002), 105
Tsai Ming-Liang, 45
two shots, 88–93
breaking the rules, 93
overview, 88–89
technical considerations, 92
use of, 90–91
using medium long shots with, 53
using medium shots with, 47
Tykwer, Tom, 42–43
U
unbalanced compositions
emblematic shots, 107
extreme long shots, 65
group shots, 95
medium long shots, 53
overview, 8
undercranking, 116
The Untouchables (1987), 14
V
variable focal length lenses. See zoom lenses
Vertigo (1958), 149
Vertigo effect, 148–153
video assist system, 32
viewfinders, director’s, 19, 164
viewing room, 39
von Donnersmarck, Florian Henckel, 9, 159
Von Trier, Lars, 81
W
Wachowski, Andy, 60–61
Wachowski, Lana, 60–61
walking room, 7
Weir, Peter, 105
Werner Fassbinder, Rainer, 30
What Time Is It There? (2001), 45
wide angle converter, 122
wide angle lenses
for abstract shots, 116
for dolly shots, 146
for extreme close ups, 32
for extreme long shots, 67
field of view of, 12
for group shots, 98
for long shots, 62
for medium close ups, 44
for medium long shots, 56
for medium shots, 50
for O.T.S. shots, 74
overview, 12
for pan shots, 134
for sequence shots, 176
for Steadicam shots, 164
for subjective shots, 86
for tracking shots, 158
for two shots, 92
wide field of view, 97
Wings of Desire (1987), 141
Wright, Edgar, 135
X
x axis
exaggerating movement on, 44
in group shots, 95
overview, 6
in pan shots, 134
in tilt shots, 140
Z
z axis
in abstract shots, 115
in canted shots, 104
and depth cues, 9
in dolly shots, 143
in dolly zoom shots, 151
in emblematic shots, 109
emphasis in establishing shots, 79
exaggerating movement on, 44
in extreme long shots, 68
and image systems, 21
in macro shots, 121
overview, 6
in Steadicam shots, 164
in tilt shots, 140
in two shots, 92
zolly shots, 148–153
zoom lenses
camera to subject distance, 16
overview, 14
using for extreme close ups, 32
zoom shots, 124–129
breaking the rules, 129
combining tracking shots with, 155
comparison with dolly shots, 143
overview, 124–125
technical considerations, 128
use of, 126–127