Delving Deeper into Camera Composition and Techniques

As filmmakers, it is our duty to understand the reasoning behind every single shot that we take when producing content. The width of our shot, the closeness of our subject, the pan to the right, the pan to the left, every single decision has a subsequent effect upon the viewer whether they realise it or not. Below I attempt to compile my own list of camera shots and techniques for future reference when approaching the storyboarding of a film.

	Style of Shot	Effect
	This is an Extreme Wide Shot focused upon the character who is so small in the frame it would be hard to see without the characters movement drawing the eye line. This is not an Extreme Wide shot of the building because it is too large in frame, Extreme Wide Shots are typically exterior shots.	An Extreme Wide Shot is often used at the start of a new scene or film to establish the general location hence why it is also known as an  “establishing shot”. Little detail is visible, it’s meant to give a general impression rather than specific information.
	This is a Very Wide Shot. The subject is barely visible. As with the Extreme Wide Shot, this still establishes the setting that the character is in.	This shot differs from the Extreme Wide Shot in that it is much closer to the subject, but still much further away than a wide shot. The problem with this is the difference between the two can come down to a matter of opinion.
	In the Wide Shot, the subject takes up full frame, from head to toe whilst establishing a little of his surrounding space.	The shot is as close as we can get without losing a part of the subject. What room is left above the subject can be thought of as safety room so you aren’t cutting parts of the head or feet off.
	The Medium Long Shot typically crops off between the shins and the knee area but maintains the safety head space.	This can also be called a Three Quarter shot. It enables the viewer to see most of the character including any handheld objects. This is a very common shot type were in the Western genre so the audience could see the characters weapons.
	The Mid Shot shows the character up closer from the waist.	The Mid Shot is a very emotionally neutral shot. It is the best simulation of how we see most people in day to day conversations during a casual conversation. The lower body half of the body isn’t important, so that part of the character is lost from frame. This shot is not the only to be used during conversation however as it shows body motion rather than a focus on emotion.
	The Medium Close Up falls between a Mid Shot and a Close Up, cutting from the chest upwards.	This framing focuses on the face more clearly, whilst keeping at a comfortable distance also.
	The Close Up shot chooses a certain aspect or part of the subject and fills the frame with it.	Close Ups show great detail and emphasise emotional states and facial expressions which allow the viewer to be drawn into the subject’s personal space and feel empathy for the character.
	An Extreme Close Up  pulls in close and allows the viewer to examine extreme detail.	You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes. It draws our attention to key information relevant to the story.

	A Cutaway is a shot of something away from the action taking place.	This shot type is used as a sort of buffer zone between shots which may assist the edit to establish a pace, or a shot of something that adds genuine interest. A cutaway must still be relevant to the scene, character or storyline in some way however.
	A Cut-In is when the next shot specifically closes in, showing some part of the subject in greater detail.	Can be used purely as an edit point, or to emphasise and emotion.
	An Over-the-Shoulder Shot is when a camera is positioned so an individuals head and shoulder slightly obscures frame. These can be set at eye level or at a low or high angle depending on what is being revealed in front or behind the character and the angle required.	This shot establishes the space and subsequent position of each character. It gives the impression of looking at the subject/s from the other’s point of view.
	A Point-of-View Shot also abbreviated to POV. Shows a view from the subject’s perspective.	This shot is usually edited in such a way that it is obvious whose POV it is, however in horror it can be used in a way that nobody knows who’s POV it is.
	The Rule of Thirds is a composition technique that breaks the screen into three equally sized segments. Things of interest should occur at 1/3 or 2/3 of the way up or across the frame, rather than in the centre. However, this rule can be broken to cause an unnatural effect within film language.	In most people shots, the main line of interest should be the eyes thus the line is placed here. In this shot, the eyes are placed approximately 1/3 of the way down the frame. It is one of those rules you should understand well before you break.
	Foreground Focus is when the subject in the foreground focused upon whilst the subject of the background is out of focus.	Focus is a powerful tool for pulling the audiences attention from one part of the screen to another, especially when there is no or little movement occuring. It’s most commonly used when a person in the foreground is speaking, or they could be listening and reacting.
	Background Focus is when the background is in focus and the subject in the foreground is out of focus, the opposite to Foreground Focus.	The Background Focus operates in exactly the same manner as the Foreground Focus and often the two exchange during a single shot as two characters communicate, though this should not be overused as it becomes disorientating.