The world of television and film is a curious one.
In some ways it's amazingly simple; all you need is a little
imagination and a lot of good taste.
But as any experienced director will tell you it's
also very very complex; you're constantly juggling with a thousand
and one details. So where does the newcomer to the business start?
You can't learn creativity but you can learn a few ground rules
that will allow your creativity to flourish unfettered.
The guiding principle is:
Do with the Camera what you'd do with the Eye
That's a vast over-simplification,
of course, but it really is fundamental. And you need to know
what you do with your eye. Did you know, for instance, that we
see by cutting from picture to picture? You might think that
if you're looking at someone talking, when he talks about the
weather that you pan to the window. It seems obvious. But think
- do you really pan? Do you really take in the bookcase, the
clock, the painting of the bird in flight and the curtains? No
- what actually happens is that your eyes close momentarily,
'whip pan' to the window, then open again. The effect is the
same as a cut. Seeing things in separate shots is the most vital
thing about the camera and the eye. Shot sizes follow a similar
principle.
Take a simple example; You go into your office.
You're not looking at anything in particular, so the camera equivalent
is a 'wide shot' of the room. A colleague says good morning,
but as he's someone you see every day you probably don't look
close. You look at your desk, and there's an unusual envelope
on top of the pile of mail. You'd probably mentally see a 'close-up'
of it as you try to fathom the handwriting. Then a voice asks
for you by name. You look up; there are two people in the doorway
- strangers so you might well be looking at a 'two shot'. They
come in and sit. One of them does most of the talking, so you'd
be seeing him in 'mid shot' much of the time. Except for the
bit where he offers you a lot of money. You'd be much more interested
in him then and probably cut to a 'medium close-up'. Then when
he mentions his friend as being the richest man in the world
you'd look closer at the friend then. And so on and so on. I've
cheerfully gone on about close-ups and things. Most businesses
have their own peculiar jargon, and television is no exception.
You'll need to learn some of the terms, and one of the most useful
and easiest to comprehend is the language of shot size.
SHOT SIZES
Most shots include a person, so let's start
there. The most common sizes are:
| The Long Shot: Top to toe plus a little
bit spare. All the person. The screen will be largely empty
if the shot is of just a person.
Written abbreviation LS. |
| The Mid Shot (MS):
The top half of a person - the waist is usually at the bottom
of the shot. Slightly wasteful of space - at least half the
screen is empty if you're just featuring a person. Most useful
for people plus things; for example a lady plus vase of flowers
she's arranging. |
| The Medium Close-up (MCU):
The top bit of a person. Head and chest down to the top of
the breast pocket. This is probably the most common shot used
on television; close enough to see the face clearly, not so
close you feel you're intruding. |
| The Close-up (CU):
Head and shoulders - just wide enough to include the tie knot
if there is one. |
There are many other shots, most of them obvious
from their names. A two shot contains two people, for instance.
How wide the shot is will probably depend mostly on how close together
the people are. A useful interview shot is the over shoulder shot
- the back of the head and shoulders of one person (over shoulder)
plus the front of the other one.
Here are two examples of two shots:
| A two shot. That's all. You hardly
ever have to specify the size of a two shot (three shot, four
shot, whatever); if the two stand close together, then the
shot is naturally closer. Abbreviation 2S. |
|
| A mid-shot of the girl over the
man's shoulder. Abbreviation MS Susan O/S |
|
And a couple of Close-ups - one nearly full
face, the other profile:
Knowing the correct names for things is quite
important. You can always indicate to your cameraman or photographer
how big the shot should be, but if you know some of the terms
you're ahead on credibility. And that's a large part of being
a director!
Right. That's enough for now. It's not brain surgery but if, you want
to practice a bit, get a magazine and label some of the pictures in it.
Then check with this crib.
Or, if you're happy with things so far, press on to Part Two.
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