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1. Over-the-shoulder shots Over-the-shoulder shots are just that: a shot with an actor’s shoulder in the foreground, out of focus. This will take time to shoot correctly as you need to make sure that there is neither too much nor too little shoulder in the frame. From a narrative point of view, over-the-shoulder shots create a sense of intimacy, depending on how much of the screen area the shoulder in the foreground occupies. Again, the key to making the shot work is to get exactly the right amount of shoulder in the shot. 2. Tilt shots Tilting up or down is one of the simplest camera techniques there are. But it is also overused and/or poorly executed. Well-executed tilting, combined with some interesting action and with perfect coordination between the camera operator and the action, can be incredibly elegant in their simplicity. 3. Panning shots Panning the shot is the horizontal equivalent of tilt shots. Like tilt shots, panning shots are simple and usually overused. Try to design your shots in a way that draws attention into the story as opposed to distracting you from it. 4. Zoom shots Zoom shots are very cool if you can film it successfully. The way to make zoom shots truly effective is to make them absolutely smooth and not too fast.
Watch FilmRiot's video, Dolly vs Zoom to see some great examples, and 5. Tracking shots: sideways Tracking shots are accomplished when following your subject, usually from the side. Setting up tracking shots is more complex than setting up tilt or panning shots, Mount the camera on a tripod with a wheel base, and moved the tripod along a path. But simply moving the camera does not a great tracking shot. Here are some recommended best practices:
6. Dolly-in/out shots A dolly movement is the equivalent of looking at a subject and walking towards and/or away from it. Dolly shots are accomplished using a moving tripod as you move toward or away from the subject. 7. Dutch Angles Dutch angles are used to elicit a sense of unease and disorientation in the viewer. In films, dutch angles should be used sparingly, only for the rare times in which they are narratively appropriate. |