Page 1
Basic Film Terminology
Shot Designations
Page 2
Apparent camera-subject distance
Camera appears far away
Page 3
Apparent camera-subject distance
Camera appears far away = LONG SHOT
Page 4
Apparent camera-subject distance
Subject seen from head to toe
Page 5
Apparent camera-subject distance
Subject seen from head to toe = FULL SHOT
Page 6
Apparent camera-subject distance
Subject seen from waist up
Page 7
Apparent camera-subject distance
Subject seen from waist up = MEDIUM SHOT
Page 8
Apparent camera-subject distance
Subject seen from waist up = MEDIUM SHOT
Alternate term = WAIST SHOT
Page 9
Apparent camera-subject distance
Only head & shoulders are seen
Page 10
Apparent camera-subject distance
Only head & shoulders are seen
= MEDIUM CLOSE SHOT
Page 11
Apparent camera-subject distance
Only head & shoulders are seen
= MEDIUM CLOSE SHOT or SHOULDER SHOT
Page 12
Apparent camera-subject distance
Subject’s face fills the frame
Page 13
Apparent camera-subject distance
Subject’s face fills the frame = CLOSE SHOT
or CLOSE-UP
Page 14
Apparent camera-subject distance
A portion of the subject’s face fills the frame
Page 15
Apparent camera-subject distance
A portion of the subject’s face fills the frame
= EXTREME CLOSE SHOT
Page 16
Apparent camera-subject distance
Camera too far away to identify subject
Page 17
Apparent camera-subject distance
Camera too far away to identify subject
= EXTREME LONG SHOT
Page 18
Apparent camera-subject distance
Closer when facial expression is important…
Page 19
Apparent camera-subject distance
Farther away when environment is important
Page 20
Angle of camera’s viewpoint
From below looking up at subject
Page 21
Angle of camera’s viewpoint
From below looking up at subject
= LOW ANGLE SHOT
Page 22
Angle of camera’s viewpoint
From above looking down at subject
Page 23
Angle of camera’s viewpoint
From above looking down at subject
= HIGH ANGLE SHOT
Page 24
Angle of camera’s viewpoint
EXTREME LOW ANGLE
Page 25
Angle of camera’s viewpoint
EXTREME HIGH ANGLE
Page 26
Angle of camera’s viewpoint
Low angle shot used for dramatic emphasis
Page 27
Angle of camera’s viewpoint
Camera tilted on the horizontal
Page 28
Angle of camera’s viewpoint
Camera tilted on the horizontal
= OBLIQUE ANGLE (aka CANTED ANGLE)
Page 29
Angle of camera’s viewpoint
OBLIQUE ANGLE is sometimes referred to
as a “DUTCH ANGLE”
Page 30
Angle of camera’s viewpoint
OVER THE SHOULDER SHOT
Page 31
Angle of camera’s viewpoint
OVER THE SHOULDER SHOT
Page 32
Functional Description
ESTABLISHING SHOT
Page 33
Number of subjects in frame
TWO SHOT
Page 34
Number of subjects in frame
THREE SHOT
Page 35
Number of subjects in frame
FOUR SHOT
Page 36
Number of subjects in frame
FIVE SHOT
Page 37
Number of subjects in frame
GROUP SHOT
Page 38
Aspect Ratio
Academy Ratio = 3 units high x 4 units wide
1:1.33
Page 39
Aspect Ratio
Flat Widescreen
1:1.85
Page 40
Aspect Ratio
European Flat Widescreen
1:1.66
Page 41
Aspect Ratio
Anamorphic Widescreen
(CinemaScope, Panavision, etc.)
1:2.25
Page 42
Aspect Ratio
Anamorphic Lens
Page 43
Aspect Ratio
Anamorphic Lens
Page 44
Aspect Ratio
Anamorphic Lens
Page 45
Pan & Scan
Widescreen on standard TV
Page 46
Pan & Scan
Widescreen on standard TV
Page 47
Pan & Scan
Widescreen on standard TV
Page 48
Letterbox
Widescreen on standard TV
Page 49
Aspect Ratio
Widescreen TV (16 x 9)
1:1.77
Page 50
Aspect Ratio
Widescreen TV (16 x 9)
1:1.85
1.66
1.85
16 x 9
Page 51
Focus description
Page 52
Focus description
Page 53
Focus description
Page 54
Focus description Selective Focus
Page 55
Focus description Selective Focus
Page 56
Focus description Selective Focus
Page 57
Focus description Deep Focus
Page 58
Focus description Deep Focus
Page 59
Focus description Soft Focus
Page 60
Focus description Soft Focus
Page 61
Focus description Soft Focus
Page 62
Lighting Description
Entire scene well lit
Page 63
Lighting Description
Entire scene well lit = HIGH KEY LIGHTING
Page 64
Lighting Description
Isolated pools of light intended to simulate darkness
Page 65
Lighting Description
Isolated pools of light intended to simulate darkness = LOW KEY LIGHTING
Page 66
Lighting Principles
Standard lighting is designed to create the illusion of depth.
Page 67
Lighting Principles
Standard lighting is designed to create the illusion of depth.
Page 68
Lighting Principles
Variations: No fill
Page 69
Lighting Principles
Variations: No fill
Page 70
Lighting Principles
Variations: No eye light
Page 71
Lighting Principles
Variations: Dominant back light
Page 72
Lighting Principles
Variations: Dominant back light
Page 73
Lighting Principles
Variations: Light from below subject
Page 74
Lighting Variables
Not enough light through the lens
Page 75
Lighting Variables
Not enough light through the lens
= UNDEREXPOSURE
Page 76
Lighting Variables
Too much light through the lens
Page 77
Lighting Variables
Too much light through the lens = OVEREXPOSURE
Page 78
Lighting Variables
Overexposure used for dramatic emphasis
Page 79
Lighting Variables
Use of shadows
Page 80
Lighting Variables
Use of shadows
Page 81
Lighting Variables
Use of shadows
Page 82
Lighting Variables
Use of shadows
Page 83
Lighting Variables
Lighting the background but not the subject
Page 84
Lighting Variables
Lighting the background but not the subject
= SILHOUETTE
Page 85
Lighting Variables
Lighting the background but not the subject
= SILHOUETTE
Page 86
Lighting Variables
Lighting the background but not the subject
= SILHOUETTE
Page 87
Lighting Variables
Lighting the subject but not the background
Page 88
Lighting Variables
Lighting the subject but not the background
= LIMBO LIGHTING
Page 89
Lighting Variables
Luminescent subject: subject gives off light rather than reflecting light.
Page 90
Lens Variables
Depth perspective
Page 91
Lens Variables
Depth perspective
Page 92
Lens Variables
Linear distortion:
“Fish eye” lens
Page 93
Lens Variables
Linear distortion:
“Fish eye” lens
Page 94
Lens Variables
Linear distortion
Page 95
Lens Variables
Linear distortion
Page 96
Lens Variables
Linear distortion
Page 97
Color Variables
Hand Coloring
Page 98
Color Variables
Hand Coloring
Page 99
Color Variables
Tinting
Page 100
Color Variables
Tinting
Page 101
Color Variables
Tinting
Page 102
Color Variables
Two-Tone Technicolor
Page 103
Color Variables
Two-Tone Technicolor
Page 104
Color Variables
Two-Tone Technicolor
Page 105
Color Variables
Three-Tone Technicolor
Page 106
Color Variables
Saturation: High
Page 107
Color Variables
Saturation: Low
Page 108
Color Variables
Palette: Broad
Page 109
Color Variables
Palette: Narrow
Page 110
Color Variables
Dominant Color
Page 111
Color Variables
Dominant Color
Page 112
Color Variables
Dominant Color
Page 113
Contrast Variables
Low Contrast
Page 114
Contrast Variables
High Contrast
Page 115
Image Texture Variables
Grain
Page 116
Image Texture Variables
Grain
Page 117
Image Texture Variables
Grain
Page 118
Image Texture Variables
Interposed materials
Page 119
Image Texture Variables
Interposed materials
Page 120
Image Texture Variables
Interposed materials
Page 121
Compositional Variables
Horizontals and Verticals
Page 122
Compositional Variables
Diagonals
Page 123
Compositional Variables
Diagonals
Page 124
Compositional Variables
Diagonals
Page 125
Compositional Variables
Symmetry
Page 126
Compositional Variables
Symmetry
Page 127
Compositional Variables
Asymmetry
Page 128
Compositional Variables
Balance
Page 129
Compositional Variables
Balance
Page 130
Compositional Variables
Balance
Page 131
Compositional Variables
Balance
Page 132
Compositional Variables
Density
Page 133
Compositional Variables
Density
Page 134
Compositional Variables
Depth
Page 135
Compositional Variables
Depth
Page 136
Compositional Variables
Depth
Page 137
Compositional Variables
Depth
Page 138
Compositional Variables
Framing
Page 139
Compositional Variables
Framing
Page 140
Compositional Variables
Framing
Page 141
Compositional Variables
Framing
Page 142
Compositional Variables
Framing
Page 143
Compositional Variables
Masking
Page 144
Compositional Variables
Masking - IRIS
Page 145
Compositional Variables
Masking - IRIS
Page 146
Compositional Variables
Masking
Page 147
Compositional Variables
Masking
Page 148
Compositional Variables
Natural Masking
Page 149
Compositional Variables
Natural Masking
Page 150
Compositional Variables
Natural Masking
Page 151
Cinematic Metaphors
Page 152
Cinematic Metaphors
Page 153
Cinematic Metaphors
Page 154
Cinematic Metaphors
Page 155
Cinematic Metaphors
Page 156
Cinematic Allusion
Page 157
Cinematic Allusion
Page 158
Cinematic Allusion
Page 159
Cinematic Allusion
Page 160
Camera Movements
Horizontal movement on a fixed axis
Page 161
Camera Movements
Horizontal movement on a fixed axis
= PAN
Page 162
Camera Movements
Vertical movement on a fixed axis
Page 163
Camera Movements
Vertical movement on a fixed axis
= TILT
Page 164
Camera Movements
Movement of entire camera forward or back
Page 165
Camera Movements
Movement of entire camera forward or back = DOLLY
Page 166
A Brief Digression: The “camera movement” that isn’t. Adjustment of the lens focal length while the
camera is running
Page 167
A Brief Digression: The “camera movement” that isn’t. Adjustment of the lens focal length while the
camera is running = ZOOM
Page 168
Camera Movements
Movement of entire camera horizontally
Page 169
Camera Movements
Movement of entire camera horizontally
= TRACKING (or TRUCKING)
Page 170
Camera Movements
Movement of entire camera up or down
Page 171
Camera Movements
Movement of entire camera up or down
= BOOM
Page 172
Transitions
Instantaneous transition
Page 173
Transitions
Instantaneous transition
= CUT
Page 174
Transitions
Gradual transition from a completely dark screen to a fully illuminated screen or from a fully illuminated screen to a completely dark
screen
Page 175
Transitions
Gradual transition from a completely dark screen to a fully illuminated screen (FADE IN) or from a fully illuminated screen to a
completely dark screen (FADE OUT) = FADE
Page 176
Transitions
A fade out superimposed on a fade in
Page 177
Transitions
A fade out superimposed on a fade in
= DISSOLVE
Page 178
Transitions
A line moves across the screen; behind the line is the incoming shot and ahead of the
line is the outgoing shot
Page 179
Transitions
A line moves across the screen; behind the line is the incoming shot and ahead of the
line is the outgoing shot = WIPE
Page 180
Transitions
A line moves across the screen; behind the line is the incoming shot and ahead of the
line is the outgoing shot = WIPE
Page 181
Transitions
A line (or a graphic shape) moves across the screen; behind the line is the incoming shot and ahead of the line is the outgoing shot =
WIPE
Page 182
Transitions
NATURAL WIPE
Page 183
Editing Concepts
Similar shots made from opposing directions
Page 184
Editing Concepts
Similar shots made from opposing directions =REVERSE ANGLES
Page 185
Editing Concepts
A transition in which the conceptual content is greater than the conceptual content of the
two shots when viewed separately
Page 186
Editing Concepts
A transition in which the conceptual content is greater than the conceptual content of the
two shots when viewed separately
= THEMATIC (CONCEPTUAL) EDITING
Page 187
Editing Concepts Conveying a large amount of narrative time in a minimal amount of screen time through
intensive use of time compression
Page 188
Editing Concepts Conveying a large amount of narrative time in a minimal amount of screen time through
intensive use of time compression
= MONTAGE
Page 189
Editing Concepts Parallel editing which cuts back and forth
between two different settings to establish a dramatic connection between the two
Page 190
Editing Concepts Parallel editing which cuts back and forth
between two different settings to establish a dramatic connection between the two
= CROSS CUTTING
Page 191
Editing Concepts Parallel editing which cuts back and forth
between two different settings to establish a dramatic connection between the two
= CROSS CUTTING
Page 192
Editing Concepts Editing does not necessarily entail cutting,
although the words are frequently used interchangeably.
Page 193
Editing Concepts Editing to create content