In media, there are many types of shot sizes, which are all used by film makers to convey some sort of meaning. Without knowing, the audience is constantly reading a shot and justifying it with the action that takes place, the film makers know this and therefore attempt to use shot sizes which are relevant to what is being shown. I am going to explain each shot size and its meaning.
Extreme close up - This is generally a shot of a specific object, for example certain letters of a keyboard, or a specific part of the body/face, usually the eyes of lips. This is done in order to show extreme important of the object.
Close up – This is generally a shot of the face. It is a very personal shot, to be so close to the face, the consequence of this is that the audience is shown the detail of the face, and therefore can fully understand the emotions being portrayed. It is quite an intrusive shot; therefore the audience can feel quite uncomfortable, which is also a feeling which the film making may want to achieve. This is also a useful shot for film makers if they want to establish famous stars in the film or pop video, using these close up’s will sell their face, and subsequently sell the product.
Mid Shot – This is a shot generally of the top half of the body, from head down to the waist. These are most often used in situations of dialogue between characters; this enables the actors to support what they are saying through their hands, and the audience being able to see this. It is also a far more comfortable shot, compared with close up’s and extreme close up’s. Therefore, for an audience it is an enjoyable shot because they don’t feel intrusive.
Long Shot – The whole body is generally shown in these shots. This enables the audience to see the entire action of the body to justify the plot. It shows the physical action of the whole body, whether characters are in a fight or are anxiously waiting for someone, their entire body language can support their emotions. It also creates atmosphere and a particular mood, due to the clothes and characteristics of the actor being shown and audience can understand what is being implied much more easily.
Wide Shot – This shot is frequently used to establish context, place and time. It can show characters inside the scene, as well as showing the landscape surrounding them. Therefore, although the emotions of the characters may not be as easily portrayed, the surroundings can support the action, will can provoke an audience reaction.
Very Wide Shot/Establishing Shot – This is extremely far away, so that the characters inside the frame are not shown specifically for their emotion. This is usually used to show the landscape, whether it be space, a desert, or an entire city. It portrays the idea that the landscape is more important than the characters actions due to the entire place being shown.
Very Wide Shot/Establishing Shot – This is extremely far away, so that the characters inside the frame are not shown specifically for their emotion. This is usually used to show the landscape, whether it be space, a desert, or an entire city. It portrays the idea that the landscape is more important than the characters actions due to the entire place being shown.
2. CAMERA POSITON
The position of the camera can be an extremely important element to portray meaning. Many film makers use numerous positions to provoke an initial opinion from the audience in reference to a character. I am going to explain what the different positions represent:
Down Shot – This is when the camera is positioned above the character so it looks down on them. Equally, this gives two contrasting impressions. The character can either inconspicuous and humble, or seem weak, and therefore lower status, shown in ‘Blue Lamp’ where the villain is looked down upon. Here Tom Riley, the antagonist, is shown to be looking up at the camera, whilst holding a gun, making him look villainous aswell as scared and anxious.
The angle of the shot is something very important in provoking a reaction. If a camera is position straight ahead of the character, it immediately makes them look boring and unrealistic. Therefore, the camera must always be plus or minus 30 degrees towards the character. This gives them depth and makes them look life like, which consequently produces a positive reaction from the reader. However, the direction in which they are shown can have an affect on the audience’s opinion. Generally in film making, the villain appears on the right of the scene, and evidently the protagonist on the left. Therefore if the character is shown to be on the right side of the screen, or walk from the right to left, the audience, unknowingly, has had an initial opinion of dislike, and visa versa.
3. CAMERA MOVEMENT
The movement of the camera is just as important as the camera position and shot size. The decision for the movement is crucial as it creates a mood, or can even set up the plot for the next scene. I am going to explain each camera movement:
Tracking – This is the movement of the entire camera in any direction, either horizontal or
vertical. As with the position of the camera portraying meaning, the movement can also provoke the audience’s opinion. If the tracking moves from left to right, generally the character is a protagonist, or just good, and a track from right to left suggests they are the villain, or rebellious. Film Makers can either imitate these conventions to gain a predictable reaction, or they may subvert them, ie make the protagonist move from right to left on screen, therefore confusing the audience. This is generally done in films where there is a twist and the villain is left hidden until the end, consequently keeping the audience’s attention.
Tracking back and forth is entirely different. If you track away from a character, it creates an atmosphere of isolated and loneliness. This may be done in a pop video about a heart break, therefore showing the characters sadness. On the contrary, tracking into a character, especially if extremely fast, can build excitement and suggest that character is prominent and interesting. This is most frequently done in dance and upbeat pop videos to create a positive mood.
Crane – A camera can put be onto a crane for complex and interesting shots to take place. The camera is attached, and the crane is controlled to move in any direction necessary. Most of these shots would be used to show a bird’s eye view of the area, for example, in a pop video where the band are playing live at a gig, a crane could be used so a shot is shown of the crowd jumping with enjoyment. This can build the audience’s excitement because they feel involved with the action taking place.
Tilt – A tilt action is the angle of the camera going up or down, but the actual camera remaining still. This could be done up a women’s body, to suggest that it is the most important feature of her, and suggest she is a sexual object. Also, this could be done to build tension because the audience is anticipating what will be show at the end of the shot, whether it be the primary showing of the villain’s face or the transformation of a girl into a women.
Pan – This is the camera angle from left to right, whilst the camera remains in the same position. This could show what a character is looking at, and similarly to the tilt, build anticipation of what is revealed.
4. LIGHTING
The lighting of a scene is important to portray meaning. There are many different colours to represent character, such as a cold blue light would symbolise isolation and loneliness, whilst a warm red/orange light portrays a happy and cosy character. The most frequent way used to light a scene is shown below:
The ‘key light’ is to light up the subject, whilst the ‘fill light’ prevents shadows occurring, and finally the ‘back light’ makes the object look 3D, and therefore realistic.5. RULE OF THIRDS
This is when the screen is cut up into sections as shown below:
Uncontrollable, the audiences eye moves across the screen from left to right, top to bottom. The 1,2,3,4 show the hot spots of where are the most important places on the screen. Film Makers use this to their advantage by placing important images in the hot spots, for example, by placing a character in hot spot 1, the audience will immediately be interested in them. Moreover, placing a character in hot spot 4 would imply they were insignificant and maybe even slightly rebellious. If a film maker is attempting to provoke a connection between a character and the audience, they may, in a close up shot, place the eye of the character in hot spot 1. The eyes are meant to be the ‘mirror of the soul,’ therefore by placing them in hot spot 1; the audience grows fond of that particular character. Equally, if one character is placed in hot spot 1, and the other in hot spot 2 facing towards eachother, an initial reaction that hot spot 1 character is the protagonist, and hot spot 2 is the antagonist. Film makers can either imitate this convention, or subvert them for a specific reason, to confuse the audience.
6. LEADING THE EYE
This is a technique which film makers use to primarily confuse the audience. The set out is similar to the ‘rule of thirds’:
Instead of the characters being placed on a particular hot spot, they are positioned just away from the hot spot, that way, when the audience first glances at the screen, they initially miss the characters. However, the film makers use; lines, light or colour to ‘lead the eye’ back towards the action. For example, a wide shot may be used and two characters are standing under hot spot 2, there is a road leading up towards them, and this is what makes the audience return to looking at them. This method can be used in pop videos to shock the audience, and consequently provoke a more complex reaction.
7. COLOURS
Not only the lighting, but also the colours of the set, clothes and make-up are essential in descriptive narrative. For example, in “The Wild Bunch” all the characters where dark and neutral colours, this suggest the dark and mysterious plot of the film. I have outlined the colours and what they can interpret below:
8. SHAPES AND LINES
The shapes and lines which are included in the frame are vital for expressing emotion for the audience to read. Different shapes and lines mean different things; some have positive outcomes, others negative. I have outlined the shapes and lines below and explained their meaning:
Horizontal Lines – Create a restful, oppressive, calm distant, languid or a reposeful feeling. The viewer feels stability and peacefulness.
Perpendicular Lines – Express height, grandeur, dignity, regal or forced impressiveness, frigidity, spiritual, ethereal or soaring or aspiring qualities.
Diagonal Lines – Express a sense of movement, or an unreal or artificial quality. This line is often found in the climax of a movie.
Curved Lines – Express femininity, naturalness and intimacy.
Straight Lines – Express strength, sternness and regularity.
Broken Lines – Express informality and disorderliness.
Zig-Zag Lines – Express craziness, unpredictable and uncertainty. Depending on how thick the line is, the meaning could be heightened.
Circular Lines – Create comedic and exasperating moods. This creates a relaxed and comfortable mood for the audience.
The layout of the objects in the frame can also suggest the narrative. For example, if it is in “Symmetrical” form it implies formality, grace, and rigidity. Contrasting, “Asymmetrical” form implies flexibility, casualness and a lack of order, which in turn creates a different mood.
9. EDITING STYLES
There are many different styles of editing which can reinforce the narrative being shown in the frame, or can subvert it for a particular meaning.
If “Balletic Editing” is used, where an easy shape is created, for example a circle, a comfortable and easy atmosphere is created. This can be used to emphasize the relaxed tone of the scene, or to go against a scene which someone is being shot. A prime example of this is in “The Wild Bunch” where Balletic editing is used in the opening fight scene, a character falls from the roof, and their journey to the ground is shown through Balletic editing. Here the plot is juxtaposed with the editing, this puzzles the audience.
Conversely, the use of “Jagged Editing” is where distorted shapes are made, for example a jagged, distorted line. This is used to make a situation uncomfortable. It can be used in a death scene to accentuate the crime, or to subvert the meaning, for example pleasant scene could used jagged editing to confuse the audience, or prefigure what is to come.
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