1. AVP CAMERA SHOTS 3

2.  TAKE NOTES  ASK QUESTIONS  PAY ATTENTION THEY ARE ALL VERY STRONGLY ENCOURAGED  TAKE NOTES  ASK QUESTIONS  PAY ATTENTION THEY ARE ALL VERY STRONGLY ENCOURAGED

4. CAMERA SHOTS 3

5. SHOT COMPOSITION

6. Headroom A term used with shots of people. This refers to the space above the subject's head. You'll see different amounts of headroom, depending on the intent of the creator of the video.

7. In general, if you're standing right in front of someone, you'll see that they have space all around them - they aren't cut off by a frame. By leaving headroom, or space beside them, you are imitating what you see in real life.

8. Headroom Proper amount of headroom

9. Headroom Proper amount of headroom Wrong amount of headroom

10. Headroom Proper amount of headroom Wrong amount of headroom

11. Talking/Walking Room or Nose Room If you are interviewing someone or have video of someone talking, you generally do not want them looking directly at the camera (again, it depends on your goals - certain situations may call for that).

12. Generally you want the person to be looking off to the left or right of the camera a bit. When you do this, frame your shot so that there is some talking room. That is, you want to leave some extra space in front of their face as if you were going to draw a dialogue box in for them.

13. This space is "talking room." If the person is talking to another person, this shows space between them. Walking room, if the person in motion, gives them space to walk to. Talking/Walking Room leaves space in the shot for the action, whether it be words or movement.

15. Talking/Walking Room or Nose Room Proper amount of Talking room

16. Talking/Walking Room or Nose Room Proper amount of nose room Wrong amount of nose room

17. Talking/Walking Room or Nose Room Proper amount of nose room Wrong amount of nose room

18. Talking/Walking Room or Nose Room Proper amount of nose room Wrong amount of nose room

20. Reaction Shot 1.A shot of someone looking off screen. Used either to lead into a P.O.V. Shot (and let the viewer know that it is a P.O.V. shot), or to show a reaction right after a P.O.V. shot.

21. 2.A reaction shot can also be a shot of someone in a conversation where they are not given a line of dialogue but are just listening to the other person speak

22. Common in interviews, this is a shot of the person listening and reacting to the subject. In fact, when shooting interviews with one camera, the usual routine is to shoot the subject (using Over the shoulder shots and one-shots) for the entire interview.

23. Then you shoot some reaction shotd of the interviewer once the interview is finished. The reaction shots are edited into the interview later.

24. Reverse Shot A shot from the other side of the previous shot (though preferably on the same side of the 180° Line), such as cutting between two characters talking, a person exiting and entering though a doorway, a reaction shot and P.O.V. shot, etc.

25. Cutaway (CA) A cutaway is a shot that's usually of something other than the current action.

26. It could be a different subject, a CU of a different part of the subject (eg. a CU of the subject's hands), or just about anything else. The CA is used as a "buffer" between shots (to help the editing process), or to add interest/information.

27. Cut-In Shows some part of the subject in detail. Like a cutaway, but specifically refers to showing some part of the subject in detail.

28. Can be used purely as an edit point, or to emphasize emotion etc. For example, hand movements can show enthusiasm, agitation, nervousness, etc.

29. Two Shot There are a few variations on this one, but the basic idea is to have a comfortable shot of two people. Often used in interviews, or when two presenters are hosting a show.

31. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Two-shots are good for establishing a relationship between subjects.

32. A two-shot could also involve movement or action. It is a good way to follow the interaction between two people without getting distracted by their surroundings.

33. Over the Shoulder Shot (OSS) Looking from behind a person at the subject, cutting off the frame just behind the ear. The person facing the subject should occupy about 1/3 of the frame.

34. This shot helps to establish the positions of each person, and get the feel of looking at one person from the other's point of view. A variation of this shot can be a bit wider and include the shoulder of the person facing the subject.

37. Point-of-View Shot (POV) A shot from the perspective of one of the characters, as if the audience were seeing the scene from their eyes. This shot is usually edited in such a way that it is obvious whose POV it is.

38. In a point of view (POV) shot, the camera is placed at the eye position of a character.

40. Shot 2 POV (Point Of View) Shot 1 WS (Wide Shot) Shot 3 OSS (Over -Shoulder) Shot 4 POV (Point Of View) Sequence of shots

41. American shot (Hollywood shot) Refers to a medium-close ("knee") film shot of a group of characters, who are arranged so that all are visible to the camera.

42. The usual arrangement is for the actors to stand in an irregular line from one side of the screen to the other, with the actors at the end coming forward a little and standing more in profile than the others.

43. The purpose of the composition is to allow complex dialogue scenes to be played out without changes in camera position.

44. Dutch Tilt A composition with the camera viewing the scene at a diagonal. Same as a canted angle. A shot composed with the horizon not parallel with the bottom of the frame.

45. The tilt might be used to illustrate disorientation, confusion or even a threatening situation. Someone suffers a blow, perhaps to the head, or falls down.

47. Rack Focus A shot where focus is changed while shooting. Unlike a Follow Focus shot, a rack focus shot is usually done not from the necessity of keeping someone in focus but to shift attention from one thing to another.

51. BIBLIOGRAPHY/REFRENCES/SOURCES Millerson, Gerald (1988) Video Production Handbook, Focal Press Mitchell, Wanda (1974) Televising Your Message, NTC Company Schihl, Robert J. (1989) Single Camera Video, Focal Press Scientific American (2000) How Things Work Today, Crown Publishers Steward, Winston (2002) Digital Video Solutions, Muska & Lipman Publ Zettl, Herbert (1976) Television Production Handbook, Wadsworth Publ Wurtzel, Alan (1979) Television Production, McGraw Hill Book Company Videomaker & Computer Videomaker Magazine (various issues) www.howstuffworks,com www.mediacollege.com www.homepage.newschool.edu www.accad.osu.edu