i am owner of this blog. with this blog i am trying to give information, knowlage and give support to whom who want to learn the mass communication . i know that this is not a big step but i am just thinking that if 10 persons take steps on it on my motivation my work ill gone up 10 time faster. so this is my thinking good or bad you batter know.
a hatke thinking
Saturday, January 15, 2011
LONG SHOT In photography, film and video, a long shot (sometimes referred to as a full shot or a wide shot) typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. It has been suggested that long-shot ranges usually correspond to approximately what would be the distance between the front row of the audience and the stage in live theatre. It is now common to refer to a long shot as a "wide shot" because it often requires the use of a wide-angle lens. When a long shot is used to set up a location and its participants in film and video, it is called an establishing shot. A related notion is that of an extreme long shot. This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an exterior, eg the outside of a building, or a landscape, and is often used to show scenes of thrilling action eg in a war film or disaster movie. There will be very little detail visible in the shot, as it is meant to give a general impression rather than specific information.
MEDIUM SHOT In film, a medium shot is a camera shot from a medium distance. The dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up". In some standard texts and professional references, a full-length view of a human subject is called a medium shot; in this terminology, a shot of the person from the knees up or the waist up is a close-up shot. In other texts, these partial views are called medium shots. (For example, in Europe a medium shot is framed from the waist up). It is mainly used for a scene when you can see what kind of expressions they are using. There is no evident reason for this variation. It is not a distinction caused by, for example, a difference between TV and film language or 1930s and 1980s language. Medium shots are relatively good in showing facial expressions but work well to show body language. Depending where the characters are placed in the shot, a medium shot is used to represent importance and power
CLOSE UP SHOT In film, television, still photography and the comic strip medium a close-up tightly frames a person or an object. Close-ups are one of the standard shots used regularly with medium shots and long shots. Close-ups display the most detail, but they do not include the broader scene. Moving in to a close-up or away from a close-up is a common type of zooming. Close-ups are used in many ways, for many reasons. Close-ups are often used as cutaways from a more distant shot to show detail, such as characters' emotions, or some intricate activity with their hands. Close cuts to characters' faces are used far more often in television than in movies; they are especially common in soap operas. For a director to deliberately avoid close-ups may create in the audience an emotional distance from the subject matter. Close-ups are used for distinguishing main characters. Major characters are often given a close-up when they are introduced as a way of indicating their importance. Leading characters will have multiple close-ups. There is a long-standing stereotype of insecure actors desiring a close-up at every opportunity and counting the number of close-ups they received. An example of this stereotype occurs when the character Norma Desmond in Sunset Boulevard, announces "All right, Mr. DeMille, I'm ready for my close-up" as she is taken into police custody in the film's finale. Close-up shots do not show the subject in the broad context of its surroundings. If overused, close-ups may leave viewers uncertain as to what they are seeing. Close-ups are rarely done with wide angle lenses, because perspective causes objects in the center of the picture to be unnaturally enlarged. Certain times, different directors will use wide angle lenses, because they can convey the message of confusion, and bring life to certain characters.
TYPES OF CLOSE UP SHOTS There are various degrees of close-up depending on how tight (zoomed in) the shot is. The terminology varies between countries and even different companies, but in general these are: Medium Close Up ("MCU" on camera scripts): Half-way between a mid shot and a close-up. Usually covers the subject's head and shoulders. Close Up ("CU"): A certain feature, such as someone's head, takes up the whole frame. Extreme Close Up ("ECU" or "XCU"): The shot is so tight that only a fraction of the focus of attention, such as someone's eyes, can be seen. Lean-In: when the juxtaposition of shots in a sequence, usually in a scene of dialogue, starts with medium or long shots, for example, and ends with close-ups. Lean-Out: the opposite as a lean-in, moving from close-ups out to longer shots. Lean: when a lean-in is followed by a lean-out. When the close-up is used in shooting, the focused on should not be put in the exactly middle of the frame. Instead, it should be located in the frame according to the law of golden section.
TWO SHOT A Two shot is a type of shot employed in the film industry in which the frame encompasses a view of two people (the subjects). The subjects do not have to be next to each other, and there are many common two-shots which have one subject in the foreground and the other subject in the background. The shots are also used to show the emotional reactions between the subjects. For instance, in the movie Stand By Me, this shot is used multiple times to show these emotions. An 'American two shot' shows the two heads facing each other in profile to the camera. Similarly, a three shot has three people in the composition of the frame. In these shots the characters are given more importance; this type of image can also be seen in print advertising. Four shot scenes are relatively uncommon, but when seen regularly comprise four persons within frame. Five shot scenes, whilst more common, rarely have 5 people in them and typically have either 6 or 3.5 (the extra 0.5 allowing for a balance of dramatic irony and mise-en-scene)
HIGH ANGLE SHOT In film, a high angle shot is usually when the camera is located above the eyeline. With this type of angle, the camera looks down on the subject and the point of focus often get "swallowed up" by the setting. High angle shots also make the figure or object seem vulnerable or powerless. High angle shots are usually used in film to make the moment more dramatic or if there is someone at a high level that the character below is talking to
BIRD EYE SHOT In film, a Bird's eye shot refers to a shot looking directly down on the subject. The perspective is very foreshortened, making the subject appear short and squat. This shot can be used to give an overall establishing shot of a scene, or to emphasise the smallness or insignificance of the subjects. These shots are normally used for battle scenes or establishing where the character is. It is shot by lifting the camera up by hands or by hanging it off something strong enough to support it. For a scene that needs a large area shot, then it will most often likely to be lifted up by a crane or some other sort of machine.
LOW ANGLE SHOT in cinematography, a low-angle shot, is a shot from a camera positioned low on the vertical axis, anywhere below the eyeline, looking up.
DUTCH ANGLE Dutch tilt, Dutch angle, oblique angle, German angle, canted angle, or Batman Angle are terms used for a cinematic tactic often used to portray the psychological uneasiness or tension in the subject being filmed. A Dutch angle is achieved by tilting the camera off to the side so that the shot is composed with the horizon at an angle to the bottom of the frame. Many Dutch angles are static shots at an obscure angle, but in a moving Dutch angle shot the camera can pivot, pan or track along the director/cinematographer's established diagonal axis for the shot.