Camera shots and angles are cinematic techniques to create visual information or an effect that alters te audience's reading of a film.
Types of Camera Shots
First I will be researching camera shots and the effects they have on the audience. Camera shots are used to communicate visual information to the audience and, generally, refer to how much space is shown in one frame. They can be used to demonstrate certain aspects of setting, characters or themes etc. However, they can also be utilised to signify where a significant interest lies within a scene by drawing attention to it through the use of an appropriate camera shot.
- Extreme Long Shot - Extreme long shots are the first form of a long shot, they usually depict a vast expansion of a location and generally the subject or character is so far away they are barely or not visible. These shots can be used as establishing shots; they are an effective way (particularly used as the first shot seen in the film) to give the viewer a sense of setting and introduce the audience to where the subject or character is supposed to be. Another use of the extreme long shot, however, is when the director wants the character or subject to look engulfed by their surroundings and are therefore made to look insignificant - generally invisible. These shots generally depict an exterior of a building or a landscape as opposed to an interior. It may be used to show the weather.
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| This is an example of an extreme long shot from The Hunger Games franchise, which is used to show the huge length of the bridge and signify to the audience where the current location is. The subjects (a group of people) can be seen on the bridge, however, appear as very, very small dark spots on the bridge. This is highly contrasting to the vastness of their surroundings and not only creates an overwhelming effect on the audience once establishing the sheer size, but also signifies the extent the subjects have to travel, which the audience can interpret as them showing dedication. |
- Very Long Shot - This shot is a balance between the extreme long shot and the long shot - it shows vast terrain or environment but also keeps the subject in focus and blatantly visible. This still establishes location, however, maintains the fact that the character is there despite the largest portion of the shot showing location. It creates a harmony between the character and their surroundings and therefore isn't quite as overwhelming with the setting as an extreme long shot or making the character completely obvious like a regular long shot. Essentially, the subject is just about visible but the purpose of it is to place them in their setting as opposed to the main focus being to establish a setting.These shots generally depict an exterior of a building or a landscape as opposed to an interior.
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| This photo clearly has the subjects in view, however still shows a heavier fraction of the image as location. It shows you who the subjects are, but maintains the emphasis on placing them in their setting. We can see the vast difference between the size of the location and the subjects, which indicates the enormity of the setting, perhaps suggesting the extent of their travels. |
- Long Shot - This is where the subject fits comfortably from head-to-toe in the full frame, This is to introduce a character in a setting as it is still visible in the frame. It also depicts a character's full physical appearance which allows the audience to form an opinion on the character. If they've first been introduced with this shot it may have been used to allow the audience to make a prejudgement of the character, as they're in full view - they can judge them from their appearance and their fashion sense. The purpose of this is to maintain an equal balance between setting and character, as it provides an extended view of the scenery as well as maintaining the character as the main focus.
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| This is a long shot in which the character fits almost perfectly, head-to-toe, in the frame. It allows the audience to see the character in good detail, as opposed to a distant figure like in the very long shot, but also depicts them as part of their surroundings instead of showing them and them alone. |
- Mid Shot - This shot shows a subject in greater detail, generally from the waist upwards if they are a human. It shows them in great detail, however remains far enough away for the audience to feel as though they are looking at them wholly. This is an estimation of what it would look like if you were having a conversation with someone in real life, as you wouldn't be paying attention to their lower half. This shot is effective if the subject is talking casually, as it isn't an overwhelming view of the character and therefore doesn't effect how lines are delivered because its the most natural shot based on what we see in real life when talking to someone. It's also an effective way of delivering information, which is why this is the most frequently used shot for news presenters etc. It allows room for mild hand gestures of movement.
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| This is an example of a mid shot, it shows the subject from a medium distance, allowing the audience to see them in detail, but it isn't extremely close and therefore doesn't overwhelm the audience with excessive detail of the subject. |
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| This shows the subject in close detail so they're clearly the sole focus of the image, however they're not uncomfortably close that it overwhelms the audience. |
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| From this close up, we can see the character's facial expressions in more detail. She clearly has a look of worry or sadness on her face, however this is subtle. Because of the subtlety of this facial expression, if a close up hadn't have been used the audience wouldn't know how she was feeling because any other shot would have been too far away to capture their feeling. The character is the only focus in this image because the broader scene is not in view, this therefore signifies the importance of the character's emotion in regards to the plot etc. |
- Extreme Close Up - This is where the shot is so tight and close, only a fraction of an object or character can be seen. This is to show extreme amounts of detail, generally to convey emotion via something small such as the eyes. It's an unnatural viewpoint because we do not see people or objects from this angle. It can be used to enter a character's intimate space and therefore create an uncomfortable feeling in the audience. It can also be used to draw attention to a particular aspect, especially when used on an object that would otherwise not have been acknowledged by the audience. A form of extreme close up is the choker shot, which depicts a person's face in the entire frame, only it shows from just above their eyebrows to just below their mouth.
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| This extreme close up shows somebody's eyes. This is an effective shot because it shows intricate details on their face which otherwise wouldn't have been admired or noticed if it was from a shot any further away. By demonstrating the intricacy of their face it may signify beauty that would have gone unnoticed. Moreover, if you look closely you can see that their eyes are slightly glazed, suggesting emotion and tears. Given that it is subtle in this shot, it would have been practically invisible in a larger shot |
- Two Shot - this shot is fairly straightforward - it shows two people comfortably placed in one shot, and generally shows them from the waist and upwards, similar to a mid shot only with two subjects in. They often seen in interviews or when two people are presenting a show together. Two-shots are useful for filmmakers when wanting to signify two character's relationship, depending on how close they are together. When used for presenting, if two subjects show equal prominence within the frame, it suggests that they'll give equal contribution, although this might not always apply. It's a good way to introduce two as equally significant people so that the audience doesn't feel bias towards one because they were introduced first.
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| In this image, you can see two people in the shot together, this one shows someone placed further forward than the other, therefore meaning that more of them is in the frame as they are overlapping the other person. This may suggest each persons significance in the film, based on their positioning in the shot. This two shot may signify their relationship, for example, the person placed in front may be more in control etc. |
- Point-of-View Shot - Also known as the POV shot, this shot is used to make it feel like its coming from the subject's perspective as opposed to seeing them from an outside perspective. It generally shows the character's feet or them doing something with their hands so the audience can recognise what type of shot it is straightaway. This shot may be quite unnatural to the audience because they're not used to seeing it from someone else's viewpoint - they are obviously only used to their own. This may be an effective method to get the audience to engage with the character though, as they're witnessing it from their perspective and therefore can put themselves in their shoes - therefore creating a connection between themselves and the character.
- Over-the-Shoulder Shot - This shot is framed from behind a character looking at the subject. This is used to show two characters interacting without having both of them entirely in the shot - like a two shot. Moreover, it can frame on the person talking from the front as in order to show both in the frame as well as interacting it'd have to show their side profile. This allows more detail as you can see their entire face and therefore interpret their responses better. Furthermore, it allows the audience to see their positioning and interpret their relationship relationship between two characters based on how close they are standing near each other. It also allows the audience to compare the character's physically, as even though one is slightly out of frame you can still see their height in contrast to the other character. These shots are commonly used during scenes which incorperate heavy dialogue and can therefore be used to alternate between looking at each characters while reinforcing the idea that they're talking to each other by keeping them both in frame.
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| In this image, the audience can see that is from over the shoulder and therefore implies that these two characters are engaging in conversation. The audience can also compare the height difference between two characters, the fact that the character with the angered facial expression is shorter than the character facing him suggests that he may be feeling threatened because the other character is physically dominant over him. |
Camera angles are used to create an effect on the audience. As opposed to what is contained in the frame - like a shot - its based on the direction its taken from. There are camera angles that feel quite unnatural to viewers and there are camera angles that the viewers are used to because they see them in every day life. They help give emotional information to the audience in the way that they guide their judgement. They can be used artistically to be symbolic and create a larger effect.
- Bird's-Eye-View - This angle is taken from overhead of the scene, and appears very unnatural to the audience. By positioning the camera directly above the set, it can make everyday objects become completely unrecognisable because they're seen from an angle the audience has never seen them from before - obviously because humans aren't constantly looking down from an extremely high angle. It is from an unnaturally high angle, however still maintains a relative amount of detail of the scene. This is effective when used to create a sense of vulnerability in regards to the characters, as it simulates the idea of them being stalked from above, like a bird's prey. It can highlight the character's insignificance or lack of control in a situation.
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| This is from a bird's eye view, you can see that it's taken from a very high angle, but you can still see what's going on and all the objects and people in the image still. |
- Aerial View - Aerial view is similar to a Bird's Eye View because its taken from overhead, however is from a much higher angle so all intricate features, for example objects and people, are too far from view to see. This gives off the impression that it's been taken from a satellite or a helicopter, because it's from such a high angle. It is generally used to establish a scene, if paired with an extreme long shot, as its too far away to introduce a subject.
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| This is an aerial view of New York City, you can clearly see that only large things, such as buildings, bodies of water or collections of trees, can be seen. Things such as people or vehicles cannot be seen because it is from such a high angle. This gives a sense of the sheer size of a location, but can also be an interesting angle to use because it shows beauty out of something that would normally be quite bland from an everyday angle a human being would see. |
- High Angle - This shot is also taken from overhead, however is from a less extreme angle so there is more detail in this shot in contrast to aerial or bird's eye view angles. Although still from an unnatural viewpoint, it focuses less on the setting but more on the action unfolding. This is because the audience can see what's happening in great detail because it's not from too high an angle. This can create a sense of vulnerability or submissiveness too, as the audience is above the subjects and seems like they're in control.
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| This is a high angle. This shows the subjects looking up at something past the camera, so it gives the impression the angle is coming from the area in which they're looking's perspective. This reinforces the idea of vulnerability, as they look quite worried or threatened, signifying that whatever is above them is harmful as it looks like its coming from a predator's view. |
- Low Angle - low angles are when a shot is filmed looking up at the subject as opposed to looking from the same level or from above. These add height to subjects and is a useful technique to make short actors look taller - as this may be seen as more desirable and attractive. Furthermore, adding height may make the subjects look more intimidating and makes the audience feel powerless and perhaps vulnerable. It invokes fear and insecurity because the subject is above them if they immerse themselves in the scene. It can create disorientation for the viewer because the floor cannot be seen and therefore they can't see exactly where the subjects are placed. A low angle may make people look quite unflattering, making people look 'ugly' may be symbolic of the ugliness within them because beauty is associated with heroes and unattractiveness is associated with villains. If a character looks unattractive the audience may interpret them as a villain.
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| This image shows two subjects from a low angle, ignoring the fact that they're acting is intimidating, the low angle makes the audience feel like they're in the position of the victim, and therefore feel insecure because they are being dominated by the subjects on the screen. The audience cannot see whereabouts they are because most of the background is hidden and all that can really be seen is the middle of the trees and not the floor. |
- Worm's-Eye-View - Worm's eye view is the direct opposite of bird's-eye-view, typically used to capture scenery as opposed to people. It generally shows objects shown from directly below so that the vanishing point is at the top of the object. It can be used to add height to an object and make it look powerful and mighty. It can disorientate the viewers because they can't see what's going on on the ground, where the action would generally be taking place, and therefore it hard to tell where they are situated. A good use is to use a worm's eye view paired with a point of view shot, so it looks like its from the perspective of someone on the ground. This can help the audience understand how the character is feeling because they can see the overwhelming view of the sky or ceiling too.
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| This is a worm's eye shot showing trees, the base of the trees cannot be seen and the vanishing point is at the very top of the tree. It's an interesting shot to use because it draws the viewers attention to what's above as opposed to what's on the ground - which is what people would normally pay attention to. This signifies the beauty of nature and the sky if people took a chance to look up and admire it. |
- Eye Level (Neutral) - This shot captures the subject from their height and therefore imitates a human actually looking at the scene, as it is at average height and therefore shows the most natural viewpoint. This is one of the most common angles as it has a neutral effect and therefore doesn't connote anything about the action or characters. It doesn't have any emotional impact on how the audience interprets the scene and therefore works well when delivering information and facts. It's easier to separate the background from the subject because they're not enmeshed in the background and don't look apart of it like they would from a high angle. It's relatable because its where the audience would normally see things from, moreover, it's more intimate because there is nothing effecting how the audience interprets the character. Shooting at eye level allows the audience to respect the character because they're not seen as submissive or dominant: they're on the audience's level.
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| This shot depicts the character at eye level. By having it at this angle it doesn't make the character look dominant or submissive, the audience can engage with them because they can see the character in a neutral light and more intimately, as opposed to a completely separate area to simulate it as though the audience is above or below the subject. |
- Oblique/Canted Angle - this is where the shot is taken when the camera isn't horizontal to the floor, it's seen from a tilted angle and is therefore very unnatural as the audience would be used to seeing things from straight angles unless they slanted their head to the side. It can be used to portray unsteadiness, disorientation, uneasiness, tension or even intoxication. Not only can it be used to disorient or disturb the viewer, it creates dramatic effect to intensify drama or frantic action scenes by creating tension and making the scene more chaotic because the audience not only has to pay attention to the plot, but also has to adjust themselves to this odd and unnatural angle. It can be used to manipulate how the viewer sees the film - for example it could make the audience think the subjects are walking on one thing when in fact they're not.
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| This is the canted angle being used to create tension and uneasiness in the viewer, it correlates with the action in the scene and therefore is used effectively to intensify the drama. |
Camera shots and angles are film techniques - film techniques are what is used to create meaning within a film. Camera shots are used to convey visual information about a setting, theme or character. They help the audience understand relevant and significant information based on what is contained within one frame. They can provide a sense of intimacy, exposure or insignificance for a subject, however their key purpose is to convey relevant visual information within a scene, for example where it's set and who is involved. It is important to use a selection of camera shots, especially during particular moments of a scene, to put forward relevant information and ensure the audience's focus remains on the significant aspect of a setting. For example, a long shot would not be used if the audience was only supposed to be focused on a certain character or object likewise with a close up; a close up would not be appropriate if the director wanted to establish a setting to the audience, as the audience wouldn't receive a sense of setting in a close up because it does not depict the setting. If there is lots of visual information needed to be conveyed to the audience, it would be more effective if they did this in segments through a selection of different camera shots - this way the audience isn't overwhelmed with mounds of information and can be introduced to certain significant aspects slowly through the use of various shots. Furthermore, using certain shots draws attention to different things, so if all the information was conveyed through one shot then the audience cannot acknowledge and pay attention to every aspect in the scene because there would be too much to focus on.
On the other hand, camera angles are used to manipulate the viewer's interpretation of a scene and symbolise deeper aspects of a film. They position the viewer so that they can understand the relationships between characters, psychological aspects of characters (for example if they are seen as dominant etc.) as well as other in depth analyses based on the connotations conveyed through the use of different angles. It is principle to use a selection of different camera angles because they change how the viewers read the film based on the connotation or effect produced by the angle - for example a low angle can be used to make someone look intimidating whereas a high angle can make someone seem vulnerable. Using a high angle on someone who is supposed to appear intimidating won't work well, which is why its useful to use a variety of angles as opposed to the same angle all the way through the film. Moreover, it allows the audience to see things from different perspectives which may be refreshing or insightful because they've seen something from every angle.
How do Camera Shots and Angles Aid Storytelling?
Camera shots and angles aid storytelling by communicating information to the audience as well as manipulating how they interpret scenes. Types of camera shots are defined by the amount of space contained in the frame and therefore conveys visual aids for the audience to understand relevant or significant information. This aids storytelling because they can be used to make sure the audience understand what is going on and therefore do not sit through the entire film confused. Moreover, they can be used to convey minor information - for example an object in the background - to add clues for the audience regarding the plot or what the character is like. This makes the film more subtle and realistic as opposed to directly telling the audience about someone or the plot through dialogue or even breaking the fourth wall - it's more natural because people in real life wouldn't constantly put across information as though there's an audience needing to understand. Camera angles aid storytelling because they help the audience interpret something about the film and therefore understand relationships or characters throughout the film. They can create tension too, therefore help change the mood of the film and fit the genre.
Types of Camera Movements
Se7en (1995, David Fincher)
This film opening utilises close-ups and extreme close-ups prominently, featuring intricate action using objects or hands. This puts the focus on the intricate detail as opposed to establishing a definitive location or character. This is effective because it maintains the mystery and therefore doesn't giveaway any plot or characters. However, the audience are given the opportunity to infer something about the plot or characters based on what the close up is of. For example, the items being used are very artistic things eg. books and drawings, this may suggest something about one of the characters. Moreover, one shot contains an extreme close up of skin being shaved off a finger with a sharp razor - the extreme close up was an effective choice because it allows the audience to solely focus on this. For example, if a mid shot had been used for this, the audience might not have even noticed what was happening to the finger because there would have been too much in the frame to focus on eg. the rest of the person. This would take away the horror of what is going on and therefore wouldn't have the same effect of disturbing the audience. Furthermore, it disturbs the audience more because the graphic content is shown in great detail as opposed to lower quality because its further away. This opening sequence creates mystery because the audience do not know where it is situated or who is involved - this is because of the use of close ups not revealing anything like this by not containing it in the frame.
Submarine (2010, Richard Ayoade)
In this film opening sequence, different variants of long shots (eg. extreme, very) are featured predominantly. These are used to introduce the character and the setting - this gives the audience an idea as to who the film follows and where it is set and is fairly straightforward because it literally shows the audience who is involved, removing any mystery as to who the film is about. This gets the basic information out of the way quickly and leaves more time to develop the plot during the film. The first shot seen is a tracking long shot across the interior of a bedroom - assumed to belong to the character introduced in the same shot. The choice of the long shot was effective because it captures in the frame many elements of mise-en-scene which indicate what the character is like and how old they are based on the objects included in the frame. When the long shot/extreme long shot is incorporated on the landscapes it is effective because it gives the audience a sense of setting - suggesting the scenery might be a prominent factor in the film. A mid shot is used with back lighting to make the character appear like a silhouette. This mid shot is nice because although the background is featured heavily the main aspect that stands out is the figure because they are quite close to the camera. This therefore doesn't drown the character out in the background and creates a balance between the two, which is both aesthetically pleasing but may also suggest the significance of the character and his relationship with his surroundings.
Chariots of Fire (1981, Hugh Hudson)
A varied selection of shots are used in this film opening sequence. It opens with a very long shot of a church, without the text at the bottom the audience wouldn't know it was specifically London, however the style of the buildings around may suggest where it was set. This shot is effective because it gives a sense of setting to the audience and establishes where the sequence of shots to follow are based in. Moreover, it suggests to the audience that the setting may correlate with a theme in the film - perhaps religion. It may also suggest that the characters are religious because it's set inside a church. The next shot depicts another long shot inside the church, of a person speaking in front of a crowd of people. This shot is effective because it allows the audience to understand what is happening inside the church, istead of just cutting to the shot of the speaker alone, it shows who he is speaking in front of. The next shot is a mid shot of the speaker, it allows the audience to see him in more detail and perhaps suggests that he's a significant character in the plot. Another mid shot is used to capture the upper halves of the crowd, allowing the audience to see their reactions to the speaker - they look bored. In the middle of the shot, a man looks up at the speaker with discontent on his face, this suggests there is some sort of connection between the speaker and this man, as nobody else in the crowd react this way. This shot allows the audience to be made aware of this by showing the man in relative detail and including him in the shot - although its quite subtly done. The next shot is of a close up, depicting the bottom halves of a group of runners legs on sand. This introduces a new and separate group of characters from the last scene and establishes a new location - most probably a beach as they're running on wet sand. The shot is far enough away to see that there are many legs - making it clear that it is a group of characters as opposed to one or two. The shot then pans upwards into a tracking mid shot of one particular character, suggesting the significance of him. It does this to a few other characters, noting to the audience who the main characters of this film are. It then cuts to a very long shot where the characters are fairly distant from the camera. This enmeshes the characters into the background and therefore signifies the vastness of their surroundings, as well as making it clear where it is set by focusing mainly on the background. Another long shot is used to depict a separate building, where the characters run into shot. This shows the audience where the characters are running and gives a sense of setting - A coastal town (as buildings are visible and they've just run from a beach.
Inception (2010, Christopher Nolan)
In this opening sequence, the protagonist is first captured from eyelevel (although he is laying on the ground), this allows the audience to connect with him because it is quite an intimate angle and imitates as though they were laying next to him. It then shows children playing on the beach from a low angle, as though it was captured from the protagonist's perspective. This reinforces the connection between the audience and the protagonist because it's as though they can empathise with him better because they put themselves in his shoes by witnessing things from the same angle as him. Furthermore, the low angle of the children make them look bigger and more intimidating, which is quite artistic because it juxtaposes the pureness and innocence associated with children. The protagonist is also captured from a high angle, this is effective because it makes him look vulnerable - which correlates with the situation at hand (him laying confused in the ocean waves). A high angle is used to capture the man in uniform, this makes him appear larger and therefore dominant and intimidating. This may render the audience threatened by this character, and therefore interpret him as as a potential antagonist. This angle may make him appear larger and more dominant to symbolise his power associated with his occupation - his uniform indicates he's in a significant job and the low angle may emphasize this.
Deadpool (2016, Tim Miller)
In this film opening sequence, it mostly features high angles (captured with a tracking shot, the entire opening is a tracking shot so there are no cuts). I think the use of high angles could be to disassociate the audience from the film and its events by looking at things from above, and make the audience feel superior to the characters. This has a contrasting effect to the majority of the film as the audience is often addressed by breaking the 4th wall. Because everything is paused, it's as though the audience is spectating an exhibit as opposed to an actual scene, and the use of high angles could be used to make the audience feel as though they are looking at things from a superior angle - they can feel like a God in some sense, particularly with the pause it's as though they have power. The first character is seen from a high angle which correlates with his action because it victimises him and makes him seem vulnerable to attack, which is amusing because he is being attacked.
What Effect Does Shorter Shot Lengths Have?
Shorter shot lengths in terms of time allow the audience only a short amount of time to observe something in that particular camera shot. This is when insignificant information can be put across, because the audience doesn't need a long time to acknowledge it. On the other hands, short shot lengths can be used to introduce a reference to something by quickly flashing on screen, creating a challenge for the audience to spot it. They won't get boring for the audience to see because they don't last too long, moreover many short shot lengths in a sequence can make the film look chaotic, which therefore may suit the action or mood of the scene.
Shorter shot lengths in terms of depth of field means how much the camera focuses on. A shallow depth of field contains only a small amount in the frame in focus and is defined by the aperture of the lens; the larger the aperture the shallower the depth of field will be. Using a shallow depth of field is useful to keep important things in focus so the audience will pay attention to that particular factor. Anything irrelevant or insignificant to the scene will be out of focus. Essentially, it highlights important aspects within the composition of a scene.
Shorter shots lengths in terms of space contained in the frame allows the audience to see something in more detail. This could be used to highlight or emphasize a specific element to the audience, for example a facial expression they otherwise wouldn't have noticed in a larger spaced frame. By keeping the image tight it can help the audience feel intimate with the characters, which may develop their connection with them. Moreover, it may create an overwhelming effect on the audience because the camera is so uncomfortably close to the subject.
What Effect Does Longer Shot Lengths Have?
Longer shot lengths in terms of time allows more time for the audience to observe the scene. This can be used to capture a particularly long action, or even allow the audience to acknowledge everything significant within the frame. If a certain object or character is focused on for a long period of time, it suggests to the audience that they/it may be significant to the film's plot. Take a key for example, if in one shot someone drops a key, and the key is focused on for a long time, this implies that the key is vital to open something important for the plot and it sends the audience into a panic because they know that the key is important, even if dropping the key doesn't have immediate effect. Using a small depth of field is best suited when focusing on small, individual objects etc.
Longer shot lengths in regards to depth of field means the camera is focusing on more. This is because the depth of field is deep because the aperture is small. This can be used to capture more in the image, which may be vital if a lot of significant aspects are incorperated into one frame. For example, capturing a location would be more effective using a larger depth of field becuase there is more to focus on.
Longer shot lengths in terms of space contained in the frame allows the audience to see more in the shot. These can be used to establish a location and give the audience a sense of setting. Moreover, particularly in extreme long shots, they can make a character look isolated and enmeshed in their surroundings because they look so small and insignificant in contrast to the location.
How do Camera Shots and Angles Aid Storytelling?
Camera shots and angles aid storytelling by communicating information to the audience as well as manipulating how they interpret scenes. Types of camera shots are defined by the amount of space contained in the frame and therefore conveys visual aids for the audience to understand relevant or significant information. This aids storytelling because they can be used to make sure the audience understand what is going on and therefore do not sit through the entire film confused. Moreover, they can be used to convey minor information - for example an object in the background - to add clues for the audience regarding the plot or what the character is like. This makes the film more subtle and realistic as opposed to directly telling the audience about someone or the plot through dialogue or even breaking the fourth wall - it's more natural because people in real life wouldn't constantly put across information as though there's an audience needing to understand. Camera angles aid storytelling because they help the audience interpret something about the film and therefore understand relationships or characters throughout the film. They can create tension too, therefore help change the mood of the film and fit the genre.
Types of Camera Movements
- Tracking - This is when the camera moves to follow a subject, generally horizontally and looks very smooth. It is generally used to follow a subject.The footage isn't shakey and is generally achieved by mounting a camera to a platform and rolling it along tracks (tracking), mounting the camera to a dolly and moving it freely along an open floor, or mounting the camera to a steadicam and moving it by hand.
- Panning - When the camera is rotated horizontally while remaing stationary. It resembles the motion created when a person turns their head in a stationary position.
- Tilt - This is when a camera points upwards or downwards while in a stationary postion. It's similar to panning, however, tilts vertically and remains in one position.
- Zoom - This is when the camera looks at a subject from one shot (eg a long shot) and then gradually (or quickly), but smoothly transitions into a different shot (eg. a close up). This is achieved by zooming in and out with a lens.
- Arc - This is when the camera moves around a subject in a semi circle. Essentially it pans 180 degrees in a half circle.
- Pedestal - This is when the camera moves up or downwards, as opposed to staying stationary like in a tilt.
- Dolly Zoom - This is zooming, except its done by moving the camera on a dolly while simultaniously moving the lens the opposite way. This makes it seem as though the background is changing while the subject[s] stays the same size.
Examples of Specific Camera Shots in Film Openings:
Se7en (1995, David Fincher)
This film opening utilises close-ups and extreme close-ups prominently, featuring intricate action using objects or hands. This puts the focus on the intricate detail as opposed to establishing a definitive location or character. This is effective because it maintains the mystery and therefore doesn't giveaway any plot or characters. However, the audience are given the opportunity to infer something about the plot or characters based on what the close up is of. For example, the items being used are very artistic things eg. books and drawings, this may suggest something about one of the characters. Moreover, one shot contains an extreme close up of skin being shaved off a finger with a sharp razor - the extreme close up was an effective choice because it allows the audience to solely focus on this. For example, if a mid shot had been used for this, the audience might not have even noticed what was happening to the finger because there would have been too much in the frame to focus on eg. the rest of the person. This would take away the horror of what is going on and therefore wouldn't have the same effect of disturbing the audience. Furthermore, it disturbs the audience more because the graphic content is shown in great detail as opposed to lower quality because its further away. This opening sequence creates mystery because the audience do not know where it is situated or who is involved - this is because of the use of close ups not revealing anything like this by not containing it in the frame.
Submarine (2010, Richard Ayoade)
In this film opening sequence, different variants of long shots (eg. extreme, very) are featured predominantly. These are used to introduce the character and the setting - this gives the audience an idea as to who the film follows and where it is set and is fairly straightforward because it literally shows the audience who is involved, removing any mystery as to who the film is about. This gets the basic information out of the way quickly and leaves more time to develop the plot during the film. The first shot seen is a tracking long shot across the interior of a bedroom - assumed to belong to the character introduced in the same shot. The choice of the long shot was effective because it captures in the frame many elements of mise-en-scene which indicate what the character is like and how old they are based on the objects included in the frame. When the long shot/extreme long shot is incorporated on the landscapes it is effective because it gives the audience a sense of setting - suggesting the scenery might be a prominent factor in the film. A mid shot is used with back lighting to make the character appear like a silhouette. This mid shot is nice because although the background is featured heavily the main aspect that stands out is the figure because they are quite close to the camera. This therefore doesn't drown the character out in the background and creates a balance between the two, which is both aesthetically pleasing but may also suggest the significance of the character and his relationship with his surroundings.
Chariots of Fire (1981, Hugh Hudson)
A varied selection of shots are used in this film opening sequence. It opens with a very long shot of a church, without the text at the bottom the audience wouldn't know it was specifically London, however the style of the buildings around may suggest where it was set. This shot is effective because it gives a sense of setting to the audience and establishes where the sequence of shots to follow are based in. Moreover, it suggests to the audience that the setting may correlate with a theme in the film - perhaps religion. It may also suggest that the characters are religious because it's set inside a church. The next shot depicts another long shot inside the church, of a person speaking in front of a crowd of people. This shot is effective because it allows the audience to understand what is happening inside the church, istead of just cutting to the shot of the speaker alone, it shows who he is speaking in front of. The next shot is a mid shot of the speaker, it allows the audience to see him in more detail and perhaps suggests that he's a significant character in the plot. Another mid shot is used to capture the upper halves of the crowd, allowing the audience to see their reactions to the speaker - they look bored. In the middle of the shot, a man looks up at the speaker with discontent on his face, this suggests there is some sort of connection between the speaker and this man, as nobody else in the crowd react this way. This shot allows the audience to be made aware of this by showing the man in relative detail and including him in the shot - although its quite subtly done. The next shot is of a close up, depicting the bottom halves of a group of runners legs on sand. This introduces a new and separate group of characters from the last scene and establishes a new location - most probably a beach as they're running on wet sand. The shot is far enough away to see that there are many legs - making it clear that it is a group of characters as opposed to one or two. The shot then pans upwards into a tracking mid shot of one particular character, suggesting the significance of him. It does this to a few other characters, noting to the audience who the main characters of this film are. It then cuts to a very long shot where the characters are fairly distant from the camera. This enmeshes the characters into the background and therefore signifies the vastness of their surroundings, as well as making it clear where it is set by focusing mainly on the background. Another long shot is used to depict a separate building, where the characters run into shot. This shows the audience where the characters are running and gives a sense of setting - A coastal town (as buildings are visible and they've just run from a beach.
Examples of Camera Angles in Opening Sequences:
Reservoir Dogs (1992, Quentin Tarantino)
In this opening sequence, the majority of the angles are at eye level - especially whilst individually introducing the characters. This suggests the relationships of all the characters are very balanced because they're all captured at eyelevel. There is no connotations suggesting one is more control as they're all filmed at the same level. Moreover, eyelevel is a very neutral angle, which suggests that the characters themselves are very balanced people. Not much can be interpreted about the characters because the eye-level angle is quite neutral. It doesn't have any emotional impact on the audience however they stand out because they aren't one with their background - they're significant. If a high shot had been used it would make them seem as though they were part of the ground and would reduce their significance as characters because they would be enmeshed in their surroundings. On the other hand, it imitates as though the characters were walking towards the audience as its the most natural angle seen in real life. This may intimidate the audience based on how they're dressed and the manner they conduct themselves in.
Inception (2010, Christopher Nolan)
In this opening sequence, the protagonist is first captured from eyelevel (although he is laying on the ground), this allows the audience to connect with him because it is quite an intimate angle and imitates as though they were laying next to him. It then shows children playing on the beach from a low angle, as though it was captured from the protagonist's perspective. This reinforces the connection between the audience and the protagonist because it's as though they can empathise with him better because they put themselves in his shoes by witnessing things from the same angle as him. Furthermore, the low angle of the children make them look bigger and more intimidating, which is quite artistic because it juxtaposes the pureness and innocence associated with children. The protagonist is also captured from a high angle, this is effective because it makes him look vulnerable - which correlates with the situation at hand (him laying confused in the ocean waves). A high angle is used to capture the man in uniform, this makes him appear larger and therefore dominant and intimidating. This may render the audience threatened by this character, and therefore interpret him as as a potential antagonist. This angle may make him appear larger and more dominant to symbolise his power associated with his occupation - his uniform indicates he's in a significant job and the low angle may emphasize this.
Deadpool (2016, Tim Miller)
In this film opening sequence, it mostly features high angles (captured with a tracking shot, the entire opening is a tracking shot so there are no cuts). I think the use of high angles could be to disassociate the audience from the film and its events by looking at things from above, and make the audience feel superior to the characters. This has a contrasting effect to the majority of the film as the audience is often addressed by breaking the 4th wall. Because everything is paused, it's as though the audience is spectating an exhibit as opposed to an actual scene, and the use of high angles could be used to make the audience feel as though they are looking at things from a superior angle - they can feel like a God in some sense, particularly with the pause it's as though they have power. The first character is seen from a high angle which correlates with his action because it victimises him and makes him seem vulnerable to attack, which is amusing because he is being attacked.
What Effect Does Shorter Shot Lengths Have?
Shorter shot lengths in terms of time allow the audience only a short amount of time to observe something in that particular camera shot. This is when insignificant information can be put across, because the audience doesn't need a long time to acknowledge it. On the other hands, short shot lengths can be used to introduce a reference to something by quickly flashing on screen, creating a challenge for the audience to spot it. They won't get boring for the audience to see because they don't last too long, moreover many short shot lengths in a sequence can make the film look chaotic, which therefore may suit the action or mood of the scene.
Shorter shot lengths in terms of depth of field means how much the camera focuses on. A shallow depth of field contains only a small amount in the frame in focus and is defined by the aperture of the lens; the larger the aperture the shallower the depth of field will be. Using a shallow depth of field is useful to keep important things in focus so the audience will pay attention to that particular factor. Anything irrelevant or insignificant to the scene will be out of focus. Essentially, it highlights important aspects within the composition of a scene.
Shorter shots lengths in terms of space contained in the frame allows the audience to see something in more detail. This could be used to highlight or emphasize a specific element to the audience, for example a facial expression they otherwise wouldn't have noticed in a larger spaced frame. By keeping the image tight it can help the audience feel intimate with the characters, which may develop their connection with them. Moreover, it may create an overwhelming effect on the audience because the camera is so uncomfortably close to the subject.
What Effect Does Longer Shot Lengths Have?
Longer shot lengths in terms of time allows more time for the audience to observe the scene. This can be used to capture a particularly long action, or even allow the audience to acknowledge everything significant within the frame. If a certain object or character is focused on for a long period of time, it suggests to the audience that they/it may be significant to the film's plot. Take a key for example, if in one shot someone drops a key, and the key is focused on for a long time, this implies that the key is vital to open something important for the plot and it sends the audience into a panic because they know that the key is important, even if dropping the key doesn't have immediate effect. Using a small depth of field is best suited when focusing on small, individual objects etc.
Longer shot lengths in regards to depth of field means the camera is focusing on more. This is because the depth of field is deep because the aperture is small. This can be used to capture more in the image, which may be vital if a lot of significant aspects are incorperated into one frame. For example, capturing a location would be more effective using a larger depth of field becuase there is more to focus on.
Longer shot lengths in terms of space contained in the frame allows the audience to see more in the shot. These can be used to establish a location and give the audience a sense of setting. Moreover, particularly in extreme long shots, they can make a character look isolated and enmeshed in their surroundings because they look so small and insignificant in contrast to the location.
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