1. Camera terms Film Studies

2. Important Terms Frame: 1) the rectangle itself in which the film appears, 2) each still photograph in the series, that makes up a strip of film. Shot: what is recorded by a single operation of the camera from the time the director gives the command “action!” to the time the director says “cut.” Scene: a group of shots that are coherently related to each other, with continuous action usually in a single location, but not always.

3. And then the combination of scenes… Sequence: a group of scenes forming a self-contained unit

4. Angles and what they do High angle: a shot taken from above the subject/action. What is the effect? The effect is that it makes the character seem small and vulnerable. Low angle: a shot taken from below the subject/action. What is the effect? The effect is that it makes the character seem dominating or frightening, larger-than-life.

5. More Angles Bird’s eye: a shot taken directly above the action. What is the effect? The effect is that is makes the viewer feel disoriented or God-like. Eye-level: a shot from the eye-level of the subject. What is the effect? The effect is that it is straight-forward, doesn’t draw attention to itself, it feels balanced, calm, ordered.

6. Camera distance Close-up: a shot filmed up close to the subject, concentrates on a relatively small object (e.g.the human face). The use of a close-up elevates the importance of the subject, creates intimacy (helps us to identify with the character), or it can create a sense of menace and intrusion. Medium Shot: the figure is seen from the knees or waist up, good for shots with two or three people. These shots are fairly straight-forward and don’t draw attention to themselves. They’re almost casual. Long Shot: corresponds to the approximate distance between the audience and the stage, takes in a great deal of landscape. A long shot objectifies the action, encourages a sense of detachment from the action.

7. More Camera Distance Full Shot: shows the human body in full. Establishing Shot: usually exterior, it’s a long shot that shows the audience the location of the action before moving on to the actual action.

8. Camera Movement Pan: the movement of the camera (on the tripod) from left to right, vice versa. Tilt: the movement of the camera from top to bottom, vice versa. Dolly: any shot where the entire camera moves from one actual point to another.

9. More Movements Zoom: a shot using a lens whose focal length is adjusted during the shot (a little like the dolly shot—only the camera doesn’t actually move). This shot is used sparingly except in campy kung fu movies. Rack (Roll) Focus: to shift the focus from close to distant (or vice versa) during a shot, used to direct the viewer’s attention from one subject to another. In other words, it’s when something in the foreground is focused on and then the focus switches to the focus to whatever is in the background (or vice versa).

10. Transitions Fade: an image dissolving to a blank screen (usually black or white) or vice versa. Dissolve: when the first image gradually disappears while the second image appears. Note: the moment while the two images are simultaneously blended on screen is called “superimposition.”

11. More Transitions Wipe: when a line passes across the screen in any direction, eliminating the first image as it passes and leaving the second image in its place, like Home Improvement (if anyone remembers that show). Iris: when a circle begins (or ends) at a single point in the screen and expands (or contracts) to fill the entire screen, leaving a second image or blank screen behind it, like a Looney Tunes ending.

12. Cuts Cut: a straightforward, unobtrusive joining of two shots or scenes. Match cut: a cut which connects two adjacent shots by means of matching similar physical shapes or layouts, creates a visual or psychological link between them. Cross cut: cutting between two scenes of parallel action to suggest simultaneity, or build suspense

13. Unusual cut Jump cut: generally avoided; it means a sudden jump forward/backward/to the sides which has no apparent logical reason; nothing else in the camera angle or scene has changed. Usually an accident, but sometimes meant to purposely jar the viewer psychologically