Shots













						*Names of shots are given by the amount of space taken by a subject, the most widely used are below. From this, we'll use screen shots from "Reservoir Dogs" to visualize the concepts:*






											An example of a 'Master Shot'

					1. Master shot: the camera does not move, and is a flat image of the entire scene 2. Establishing shot (Extreme Long Shot [ELS]): the master shot at the beginning of a scene to designate setting 3. Full shot (Long Shot [LS]): a subject or character from �head to toe� 4. � or Hollywood shot: subject or character from head to knees


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										5. Middle-shot (MS): subject from the waist up 6. Close-up (CU): subject from the bust up, or face, used for �fresh reactions� Fact: 80% of shots are close-ups (Hines 87) 7. Extreme Close-up (ECU): shot that emphasizes specific features on a subject Advice: �Depending on where the camera was and the distance between the lens of the camera and the screen, it would take on different characters� (Robbins, Dead Man Walking).



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									8. Two-shot: includes two characters in the same shot *Advice*: Would be best to place one subject at a 90 degree angle and the other at 45 degrees to create diversion (Harmon, 64). 9. Walking two-shot: characters move together, must step out with the foot closest to the camera and know their marks 10. Standing two-shot: mostly necessary through dialogue exposition 11. Over�the�Shoulder (OTS): �over the shoulder of partner(s)� 12. Reversal: the same framed shot, without the same subject matter 13. Telephone conversation: mostly using MS or CU�s, actors must seem to face each other by, for example, having one character in New York look left while the other in Miami looks right which talking to each other on the phone. (Harmon, 59-67) 14. Low angle: camera is placed below the subject to make them appear tall or enlarged 15. High angle: camera is placed above the subject to make them appear small or unaware


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				*The second category of storyboarding, or frame planning, has to do with the moving shot. This can even be made into an illusion depending on the type of shot. These include:*
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1. Tilting�making a �vertical� move from top to bottom 2. Panning�making a �horizontal� move from left to right or vice versa *Advice: �Panning or tilting the camera while making a zoom takes off the curse of pure zoom moves� (Hines). 3. Tracking�moving the camera with the subject, forward or backward* *Advice: lead the subject with the camera, don't follow the subject and leave room behind them 4. Cutaway�transitioning from �one subject to the next� 5. Zoom�instead of moving the camera towards a subject, the image is just magnified from a distance.* *Advice: �Zoom in with a dolly in; zoom out with a dolly out� (Hines) 6. �Pull In/Out"�moving the camera towards or away from a subject to achieve different emotional attachments to a scene (Harmon, 67�73)* **Advice: �A zoom�out gives appearance of 2-D material; whereas movement of the camera toward the subject matter transports the viewer or carries the viewer� (Hines, 50).** There are many definitions and rationales to what each camera move means, such as: �Camera movement should be motivated by the action and should not call attention to itself,� according to Hines, but for exceptions such as Federico Fellini�s 8 1/2, the camera is a �major character (with) the absence of any real sound,� and does attract attention from the subject on screen.

	In the movie, �Riding in Cars with Boys�, around five automobiles were required for one �object� in the scene. Some had cameras mounted on the side to get different angles when the characters were talking, and others were kept in tact to get a complete exterior scene. In certain films, cars or equipment is deconstructed in order to get the camera into certain spaces. Orson Welles had the floor cut out or had the set elevated in order to get the extreme low-angle shots he visualized (�Citizen Kane�). This is one reason movies cost such a mint: multiple objects must be bought or constructed to achieve a level of �disbelief� that either a ship was blown up, or a car smashed to pieces, without using the computer to assist the effect. Towers can be demolished and buildings can be destroyed with the drop of a hat, only if the scene is planned strategically enough to avoid injury or technical damage.

Pictures courtesy of: � www.gonemovies.com/WWW/WanadooFilms/Misdaad JohnBadly � http://www.pg.ru/dogs/dogs.html

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