1. Film Terms Using Abbreviations for Taking Notes

2. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Close-up (cu) Focuses on a character’s face or an object Focuses on a character’s face or an object In the case of a face, most of the face is shown In the case of a face, most of the face is shown Helps convey character’s reaction to a situation Helps convey character’s reaction to a situation

3. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Extreme close-up (ecu) Shows a detail close-up, such as a tear in an eye Shows a detail close-up, such as a tear in an eye Makes the object or facial very obvious Makes the object or facial very obvious

4. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Medium shot (ms) Between a close-up and a full shot, showing most but not all of a figure or several objects in close proximity Between a close-up and a full shot, showing most but not all of a figure or several objects in close proximity Can show part of a person’s body against a backdrop, showing some props in the frame with the character Can show part of a person’s body against a backdrop, showing some props in the frame with the character

5. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Full or long shot (fs) Reveals a character’s entire body in the frame Reveals a character’s entire body in the frame Can show more than one character Can show more than one character Will show some background behind the character Will show some background behind the character Could be a shot without characters if just part of a setting is shown in closer range than in an extreme long shot would show Could be a shot without characters if just part of a setting is shown in closer range than in an extreme long shot would show

6. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Three-quarter shot (3/4s) Shows only about three-quarters of the characters’ bodies Shows only about three-quarters of the characters’ bodies Is somewhere between a full shot and a medium shot Is somewhere between a full shot and a medium shot

7. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Pan shot (ps) The point of view pivots from the left to the right, or vice versa, but without changing its vertical axis The point of view pivots from the left to the right, or vice versa, but without changing its vertical axis The shot continues without a cut to show additional people or objects in the scene with the camera pivoting to capture additional details The shot continues without a cut to show additional people or objects in the scene with the camera pivoting to capture additional details The camera is usually affixed to a tripod and pivots to show more of the action The camera is usually affixed to a tripod and pivots to show more of the action

8. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Shot/reverse shot pattern (r/rs) S/rs gives both characters’ views in conversation scenes S/rs gives both characters’ views in conversation scenes The camera shows the face of one person talking and then shifts to show the face of the other person when he or she starts talking The camera shows the face of one person talking and then shifts to show the face of the other person when he or she starts talking

9. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Cut (ct) The film changes from one image to another The film changes from one image to another In most contemporary films, a straight cut is used In most contemporary films, a straight cut is used “Editing continuity” makes consecutive cuts seem seamless so viewers do not notice a change “Editing continuity” makes consecutive cuts seem seamless so viewers do not notice a change

10. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Long take (lt) The camera stays on one action without cutting for an unusually long time The camera stays on one action without cutting for an unusually long time

11. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Crane shot (crs) The point of view is from above, often of an outdoor scene shown from high above The point of view is from above, often of an outdoor scene shown from high above The camera is mounted on a crane above the scene to capture the expanse The camera is mounted on a crane above the scene to capture the expanse

12. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Tracking shot (ts) The entire point of view moves, on tracks or a dolly, following, for instance, a walking figure The entire point of view moves, on tracks or a dolly, following, for instance, a walking figure The direction that the camera tracks can be indicated by using an arrow The direction that the camera tracks can be indicated by using an arrow

13. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 Low angle (la) The point of view is low, tilted upward The point of view is low, tilted upward The exact angle can be made clear by using arrows when taking notes The exact angle can be made clear by using arrows when taking notes There are numerous reasons for using a la, including trying to make a character look powerful or domineering There are numerous reasons for using a la, including trying to make a character look powerful or domineering

14. Notes taken from A Short Guide to Writing About Film, Carrigan, Chapter 3 High angle (ha) The point of view is above, tilted downward The point of view is above, tilted downward The exact angle can be made clear by using arrows when taking notes The exact angle can be made clear by using arrows when taking notes A ha can make a character look small and inferior A ha can make a character look small and inferior