Cinematography #1: Camera Shots | Communicate Through Frame | Film in Flame | Skillshare

Cinematography #1: Camera Shots | Communicate Through Frame

Film in Flame, Filmmaking Teacher

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6 Lessons (12m) View My Notes
    • 1. Trailer

      1:03
    • 2. Basic Shot Sizes

      3:17
    • 3. Relational Shots

      3:29
    • 4. Shots of Places and Things

      1:55
    • 5. Angles

      2:17
    • 6. Conclusion

      0:23
32 students are watching this class

About This Class

A Shot in film is how you invite people to feel a certain way about something. and that’s what you’re gonna learn in this class.

Shots are different in their sizes, angles, subject relationships and movements. In this class we focus on shot sizes, shot angles, and subject relationships which are essentials in film grammar.

This class is essential for writers, directors, camera operators, cinematographers, photographers and anyone who has to communicate through visual elements of a shot.

After this class, you’re gonna be able to make better decisions for framing the shots of a scene and telling your story through visuals.

Have fun.

Transcripts

1. Trailer: one of the first things students are thought in film school is the basic times. Off camera shots. Shots are different in their size, angles, subject relationships and movements. There are essentials in film grammar, and each one has different effects on the audience. Shot a film is how you invite people to feel a certain way about something. That's what you're gonna learn in this class. I'm gonna talk about different shot sizes, different shot angles, subject relationships, how they communicate with the audience on how the audience feel about age. If you learn them, they become great schools for you to sell your stories, and he can make better decisions when framing a scene. This topic is the same shell for writers, directors, Chammah, operators and cinematographers to effectively communicate visual elements of a shot. No some to begin. Let's start with basic single shots. 2. Basic Shot Sizes: close up. It's a calls shut on someone's face that includes all of their features but nevermore than a little bit of their neck, and it's up of their head. The only thing in the frame is a face, forcing us to see the details of the face and its movements, which are failed with emotions so close up at its most essential, focuses us in human emotion, long shot or wide shot or full shut while close up heights. What the body's doing long shot includes. It, highlights it and relies upon it. Close up limits the visibility of this pace, but Long shot makes the great part of its composition. Long shot is not about nuance anymore. It's about movements, form and space. It's less about revealing internal machination, but more about external ones. On Lee, the broad strokes of facial emotion is accessible. Watch shot at its most essential is about the physical or spatial relationship. Medium shots halfway between close up and the long shelf is the medium shot, neither close enough to show the closeness of intimacies nor far enough to go for the best spatial relationships. But it provides you with some access to both intimacy and space. It's the perfect shell for connecting the two comparing or contrast Singer, it simply ties the emotionality to physicality. At its best, the medium shot can shows how character feels about their surrounding extreme, close up extreme close ups or shelves that are so its height. They can Onley fit a feature or two on screen at a time. It fractures the human face and Brexit into component parts that we haven't experienced interacting with that closely. What coal sub gives us the human emotion extreme close up gives us the symbol of an emotion . For example, here at Series Cry and I is watch a mouth, this cream and sweat is fear. Extreme long shot extreme long shot is so four that bodies become individual indistinguishable and faces are not identifiable, readable anymore. But like the extreme close up it uses, the humor form a symbolic images like The Long Show. It's about the relationship between characters and space, but it communicates with symbols, arrangements and movements, not the inner sides off people. In the next lecture, I'm gonna talk about relational shots, which are the shots with two or Mawr people in them, 3. Relational Shots: over the shoulder over the shoulder shot is basically just what it sounds like. You feel one person from or the shoulder of another in over the shoulder shots. We watch someone watching. So on their mostly using conversation scenes, if you come her clean singles with or the shoulder shots, you can see that in clean singles. We are in the middle of the action, but an over the shoulder shots we are outside of Spectators spying the scene, dual layer shot julier shot is when you take the shoulder in over the shoulder and turn the shoulder around. Suddenly, the looker is the subject of this shot. By turning just this one person around, something incredible happens to the grammar of the shot. It goes from being a shot of looking at it to shut of being looked at two shot. The two shot takes a regular single shot and replaces the one character with two characters you must know of any can only show the audience one thing at a time, because the I can see two things at a time on the screen as it chance read two wars at a time. This sins so instead of focusing on either person A or person B. The to Shut makes a subject the relationship between person A and person B two shells from close up to longer shots are photography. The relationship. How the characters are placed in the shot sets up the relation and changing that changes their relation. Group shot Gosh Stones is a human psychological phenomena. As healers, we tend to conceptually group individual items, instrumental sets and then deal with them in our minds as one thing. Just like Hala, Tushar isn't a shot off two different subjects about their single relationship. The group shot is first and foremost, a shot of a group dynamic or state of the entirety of the crew of a team, a family gathering. The director's challenges to block stage position, a move characters in a way that contributes an impression of a group dynamic rather than chaos. So viewers can get that after a quick scan crowd shot in crowd shots. We are thinking terms off masses. People are far away from being individuals. They are just composite parts of greater entities armies, factions, sects, cultures. There are three kinds of crowds shots. There is one crowd shot. That is when everyone is doing the same thing. There's one crowned with one man shot that pits a man against the whole world. I'm. Finally, there's two crowd shows that pits opposing forces against each other. In the next lecture, I'm gonna explore shots with no people in them, shots off places and things. 4. Shots of Places and Things: establishing shot establishing shot is a shot of a place, a location or space. Traditionally, the establishing shot comes before a scene establishing where that seeing will take place. Clever establishing shots playoff our mental archetypes about places to create an impression about what kind of place we are about saying to our necks and give us an expectation or wants to come. Establishing shells shows places as if their possibilities. Is it safe? Skerry hating trap. They can make us wonder. Hope, dream, fear or dread. Concert insert is a shot for objects, items, details Things in search chance. Ask us to pay a little more attention to on I them that has some above average importance. They invite us to see things in a new way and at their best, reveal information about people through the objects toe, which they connect. Conaway cut away might not be that distinguishable from an insert shot or an establishing shot. It's a thing, maybe a place. But the difference is the context. The stab she shot and vain. Sir. Shop shows something we need to know, but the Conaway doesn't do that cutaways. A look at something on related to the plot. It's a breath break, a distraction of feeling and mood. Now, in the next next year, which is the final lecture, I'm going to tell you how different camera angles impact your shelves and how they can be great tools to tell your story. 5. Angles: level. The most neutral camera angle is the eye level shot. The camera points us trade ahead out of about the same level as the subject's face. This is how you would shoot on in service seen if you wanted to maintain a sense of objectivity. The goal is to let the viewer follow the action without manipulating their emotions. While it's called eye level, it doesn't have to be a shot off the character's face. We can get an eye level shelf oven object by maintaining a neutral camera angle. Low angle, low angle shot adds some subjectivity to the scene. Instead of facing a straight ahead, the camera looks up at the subject from low angle. This can make a character appear threatening dominance or in a position of power relative to another character. As with some of the other shots with looks at, you can vary the intensity of it s Lie low and Go might be used to convey a sense of authorities, such as a T shirt looking down as students. An extreme low angle shot might be used to show a monster like Godzilla or King Kong barons on on other characters, high angle the reverse of the low angle shot is the high angle shot, which creates the opposite impression and makes the subject of the camera seems small. For example, a shot from King Kong's P O. V. My point down from a higher angle to show how powerless the characters are in relation to him. You can also take this to the extreme with a top angle or bird's eye view. This shot looks down on the catcher from above and can be used indoors or outdoors. Dutch angle. A Dutch angle is one of the most common ways to convey disorientation for this shot, simply till the camera to one sign. So it isn't little with the horizon. He won't use this shot to show the pyo V of a drunk taxer some bling down the streets or in a horror movie to give the impression that the walls of a haunted house are closing in 6. Conclusion: Now that you know what these shells on angles are good for before shooting or store boarding a scene, you should ask yourself What is this frame about what it should tell the audience. Then choose the perfect shot on perfect angle for the scenes needs. Thank you for watching this course. Make sure to follow film enflame. You have lots of other filmmaking classes coming soon. Goodbye.