Cemera Angles and Editing

Camera Angles and
Editing
Media Language
Lesson Outcomes
 Understand that the positioning of the
camera can create and change the
meaning of the scene
 Understand how the editing of different

shots can also create and change the
meaning of a scene and a film
EXTREME LONG SHOT
 A framing in which the
scale of the object
shown is very small; a
building, landscape, or
crowd of people will
fill the screen.
 Usually the first or last

shots of a sequence,
that can also function
as establishing shots..
LONG SHOT
scale of the object shown
is small; a standing human
figure would appear nearly
the height of the screen.
 It makes for a relatively

stable shot that can
accomodate movement
without reframing
MEDIUM LONG SHOT
 Framing such an
object four or five feet
high would fill most of
the screen vertically.
 Also called plain

américain, given its
recurrence in the
Western genre, where
it was important to
keep a cowboy's
weapon in the image.
MEDIUM CLOSE-UP
scale of the object
shown is fairly large;
a human figure seen
from the chest up
would fill most of the
screen.
 Another common
shot scale.
CLOSE-UP
scale of the object
shown is relatively
large.
 In a close-up a
person's head, or
some other similarly
sized object, would fill
the frame.
EXTREME CLOSE-UP
scale of the object
shown is very large;
most commonly, a
small object or a part
of the body usually
shot with a zoom lens.
 Again, faces are the

most recurrent images
in extreme close-ups
CRANE SHOT
 A shot with a
change in
framing rendered
by having the
camera above
the ground and
moving through
the air in any
direction.
 It is
accomplished by
placing the
camera on a
crane (basically,
a large
cantilevered arm)
or similar device.
HANDHELD CAMERA,
STEADYCAM
 The use of the camera
operator's body as a camera
support, either holding it by
hand or using a gyroscopic
stabilizer and a harness.
 Used by newsreel and

wartime camera operators.
Recently, they are extensively
used in music videos and in
the films of the Dogme
movement
PAN
 Camera body turning to the
right or left. On the screen, it
produces a mobile framing
which scans the space
horizontally.
 A pan directly and

immediately connects two
places or characters, thus
making us aware of their
proximity. The speed at which
a pan occurs can be exploited
for different dramatic
purposes.
TILT
 The camera body swiveling
upward or downward on a
stationary support. Scans
the space vertically.
 A tilt usually also implies a

change in the angle of
framing;
 High angle view – inferior
 Low angle – superior

TRACKING SHOT
 A mobile framing that
travels through space
forward, backward, or
laterally. Usually
follows a character or
object as it moves
along the screen
WHIP PAN
 An extremely fast
movement of the camera
from side to side, which
briefly causes the image to
blur into a set of indistinct
horizontal streaks.
 Commonly used in flashy

action genres such as
kung-fu movies from the
70s, like Fists of Fury
EDITING - WIPE
 A transition between shots
in which a line passes
across the screen,
eliminating the first shot as
it goes and replacing it
with the next one.
 A very dynamic and

noticeable transition, it is
usually employed in action
or adventure films.
DISSOLVE
 A transition between two
shots during which the first
image gradually disappears
while the second image
gradually appears; for a
moment the two images
blend in.
 Can be used as a fairly

straighforward editing
device to link any two
scenes, or in more creative
ways, for instance to
suggest hallucinatory
states.
JUMP CUT
 An elliptical cut that
appears to be an
interruption of a single
shot.
 Either the figures

seem to change
instantly against a
constant background,
or the background
changes instantly
while the figures
remain constant
CROSSCUTTING, aka PARALLEL
EDITING
 Editing that alternates

shots of two or more lines
of action occurring in
different places, usually
simultaneously.
 The two actions are

therefore linked,
associating the characters
from both lines of action.
CONTINUITY EDITING
 A system of cutting to
maintain continuous and
clear narrative action.
Continuity editing relies
upon matching screen
direction, position, and
temporal relations from
shot to shot.
 The film supports the

viewer's assumption that
space and time are
contiguous between
successive shots.
MONTAGE
 An approach to editing
developed by the Soviet
filmmakers of the 1920s
such as Pudovkin, Vertov
and Eisenstein;
 It emphasizes dynamic,
often discontinuous,
relationships between
shots and the juxtaposition
of images to create ideas
not present in either shot
by itself.
ELLIPTICAL EDITING
 Shot transitions that omit
parts of an event, causing
an ellipses in plot and
story duration.
 In this clip from Traffic a

drug party is rendered
through elliptical editing
(achieved with a plentiful
use of dissolves and jump
cuts) in order to both
shorten the time and
suggest the character's
rambling mental states.
EYELINE MATCH (MATCHES)
 A cut obeying the axis
of action principle, in
which the first shot
shows a person off in
one direction and the
second shows a
nearby space
containing what he or
she sees.
GRAPHIC MATCH (MATCHES)
 Two successive shots
joined so as to create
a strong similarity of
compositional
elements (e.g., colour,
shape).
 Used in transparent
continuity styles to
smooth the transition
between two shots
MATCH ON ACTION (MATCHES)
 A cut which splices two
different views of the same
action together at the
same moment in the
movement, making it seem
to continue uninterrupted.
 Quite logically, these

characteristics make it one
of the most common
transitions in the continuity
style.
LONG TAKE, aka PLAN-
SEQUENCE (DURATION)
 A shot that continues for
an unusually lengthy time
before the transition to the
next shot.
 The average length per

shot differs greatly for
different times and places,
but most contemporary
films tend to have faster
editing rates.
 In general lines, any shot

above one minute can be
considered a long take.
OVERLAPPING EDITING (DURATION)
 Cuts that repeat part or all
of an action, thus
expanding its viewing time
and plot duration.
 Most commonly associated

with experimental
filmmmaking, due to its
temporally disconcerting
and purely graphic nature,
 it is also featured in films

in which action and
movement take
precedence over plot and
dialogue.
RHYTHM (DURATION)
 The perceived rate and
regularity of sounds, series
of shots, and movements
within the shots.
 Rhythmic factors include

beat (or pulse), accent (or
stress), and tempo (or
pace).
 Rhythm is one of the

essential features of a film,
for it decisively contributes
to its mood and overall
impression on the
spectator.

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Camera Angles and

 Understand how the editing of different

 Usually the first or last

 It makes for a relatively

 Also called plain

 Again, faces are the

 Used by newsreel and

 A pan directly and

 A tilt usually also implies a

 High angle view – inferior

 Low angle – superior

 Commonly used in flashy

 A very dynamic and

 Can be used as a fairly

 Either the figures

 Editing that alternates

 The two actions are

 The film supports the

 In this clip from Traffic a

 Quite logically, these

 The average length per

 In general lines, any shot

 Most commonly associated

 it is also featured in films

 Rhythmic factors include

 Rhythm is one of the

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