Camerawork

An Introduction
Camerawork

Cameras are a vital contributor to

the overall effect of a film.

Cameras become the eyes of the

audience, and the clever use of
them can tell us not only what to
look at, but how to look at it.
Types of Camera Shot
• Camera shots come in three different forms:
framing angles movement
• Each type of shot has its own distinct purpose and effect, and there are few
hard and fast rules as those effects will depend on what is happening in the
shot or scene.
• Some of the more common camera shots may be used simply to provide a
clear contrast to more stylised ones.
• Look at the following slides that outline camera use.
• In the tables, record what you think the possible effects of each technique
could be.
 Technique Effect
Framing: Size within frame
extreme long shot
long shot
full shot
medium shot
close-up
extreme close-up
Framing: Subjects in frame
one shot
two shot
group shot
over-the-shoulder shot
point-of-view-shot
 Technique Effect
Angles: Adjusting camera height for impact
eye-level angle
low angle shot
high angle shot
worm’s-eye angle
bird’s-eye angle
Dutch angle shot
aerial shot
Movement: Meaning through motion
static shot
dolly shot
zoom lens shot
dolly zoom shot
pan shot
tilt shot
tracking shot
crab shot
Hand Camera
It can be helpful to practise
camera shots by using your
hands to create a “frame”.
Close one eye to focus on
the space within the frame.
You can then practise shots,
angles and movement (a
wheely chair makes a good
dolly!)
Camerawork
Framing: Size within frame
extreme long shot
long shot
full shot
medium shot
close-up
extreme close-up
Framing: Some Potential Uses
Size within frame
EXTREME LONG SHOT emphasise location or isolation; can be used as an ESTABLISHING
(ELS) SHOT at head of scene to establish location
LONG SHOT (LS) highlights background or onlookers while keeping subject in plain
sight
FULL SHOT (FS) highlights costume or shows multiple characters at once

MEDIUM SHOT (MS) good for dialogue scenes

CLOSE-UP (CU) reveals emotions and reactions; intensity

EXTREME CLOSE-UP (ECU) emphasis on smaller details; pulls attention to importance;

intensity
Camerawork
Framing: Subjects in frame
one shot
two shot
group shot
over-the-shoulder shot
point-of-view shot
Framing: Some Potential Uses
Subjects in frame
ONE SHOT gives character importance or creates isolation from others

TWO SHOT creates a relationship between characters

GROUP SHOT more efficient way of following a number of characters; shows

connection
OVER-THE-SHOULDER for conversation or to emotionally connect characters
SHOT (OTS)
POINT-OF-VIEW SHOT we see what the character sees so can understand their reaction; can
(POV) create empathy with character whose eyes we’re using
Camerawork
Angles: Adjusting camera height for impact
eye-level angle
low angle shot
high angle shot
worm’s-eye shot
bird’s-eye shot
Dutch angle shot
aerial shot
Angles: Some Potential Uses
Adjusting camera height for impact
EYE LEVEL ANGLE mimics how we see people in real life
LOW ANGLE SHOT makes subject appear larger and more dominant
HIGH ANGLE SHOT makes subject appear smaller and weaker
WORM’S EYE SHOT highlights what is happening on the ground
BIRD’S-EYE SHOT creates a sense of scale and movement, or acts as God’s eye
looking down from Heaven
DUTCH ANGLE SHOT creates disorientation
AERIAL SHOT establishes a large expanse of scenery
Camerawork
Movement: Meaning through motion
Movement
• static shot: camera stays in one place, no zoom or movement
– 'Dumb and Dumber' (Peter and Bobby Farrelly, 1994)
• dolly shot: camera moves smoothly, mounted on a track (dolly)
– 'CJ7' (Stephen Chow, 2008)
• zoom lens shot: camera stays in one place, using zoom to “move” closer; less
of the setting is seen
– Top zoom shots in movies
• dolly zoom shot: camera zoom is used to keep character same size while
camera physically moves in on a dolly (more setting can be seen)
– 'Jaws' (Steven Spielberg, 1974) (at 0:21)
Movement
• pan shot: the camera base is in a fixed position but the camera moves around
the scene
• tilt shot: as a pan shot, only vertical instead of horizontal
– Tilt and Pan in 'Avengers Assemble' (Joss Whedon, 2012)
– whip pan/tilt shot: as a regular pan or tilt, but moving very quickly, creating a blurred
effect
• tracking shot: the camera moves from behind or beside the subject
– 'The Shining' (Stanley Kubrick, 1980)
• crab shot: camera moves sideways with a subject
– Crab shot
Movement: Some Potential Uses

Meaning through motion

STATIC SHOT good for comedy as it emphasises performer’s movement
DOLLY SHOT creates a sense of movement/pace
ZOOM LENS SHOT can show a character’s shock or surprise
DOLLY ZOOM SHOT creates a warping or disorienting feel
PAN SHOT can reveal something or allow the following of an action
TILT SHOT can reveal something or allow the following of an action
WHIP PAN SHOT as with a pan/tilt but more exciting and dramatic
TRACKING SHOT makes audience feel as if they are following character
CRAB SHOT allows focus on character with movement/pace
Camerawork
Camera Operators
Camera Operators
• Imagine that your group are camera operators and have been given
excerpts from a screenplay by the director.
• Your job is to choose the best camera shots for each excerpt.
• Using what you have learned, you are going to take a photograph of
each one to demonstrate the best shot for the moment.

Embarrassment Warning:
Some of the group will need to appear in the
photo!
 GROUP ONE GROUP TWO

1) Junior looks up at Britches McGee, the biggest 1) Sheila is in the middle of an argument with Bruce.
bully in school, in terror. 2) Bobby stares at his daughter, clearly angry, and in
2) She runs away as fast and far as she can. the middle of telling her off.
3) We can see that all of the others have gone, and 3) Louis looks around and sees that he is all alone.
only one bag remains. 4) The banging sound comes again and Franklyn
4) As Carlos tells his story, he becomes more and stares around wildly, terrified.
more excited and animated.

GROUP THREE GROUP FOUR

1) Joanie stares straight at him. It is an 1) We suddenly realise we are seeing it through

uncomfortable moment. Shuggle McSnort’s drunken eyes.
2) Donnie is smartly dressed in shirt and tie and 2) Regina and Florence laugh together. It is a
polished shoes. moment of pure connection.
3) We can see in the distance two people having a 3) Dazzled, all Bruno can see right now is her smile.
chat. 4) Beanie and Boris circle each other warily as the
4) Ruthie’s eyes narrow evilly. others look on in thinly-disguised horror.
Camera Operators:
Recommended Shot Choices
GROUP ONE GROUP TWO
1. low angle 1. over-the-shoulder shot
2. long shot 2. high angle
3. bird’s-eye angle 3. extreme long shot
4. mediumd shot 4. close-up

GROUP THREE GROUP FOUR

1. eye-level angle 1. Dutch angle
2. full shot 2. two shot
3. long shot 3. extreme close-up
4. extreme close-up 4. long shot
 Credits

Resource developed by Gail

Robertson on behalf of
Screen Scotland.

For more information on Film

Education resources and
opportunities, go to Home |
Screen Scotland.