• This is a long list... they are sometimes refered to by their TLAs (three letter abbreviations). Here are just some of the main ones to get you started: WA - wide angle HA - high angle LA - low angle CU - close up ECU - extreme close up LS - long shot OTS - over the shoulder (as in interviews) pan (left-to-right or right-to-left) tilt (up and down) zoom (in or out)
  • how do i make a fukin film you smelly arab?
  • A "standard" scene on a professional set is shot like this: Start with a wide master of some kind. It may be static (on a tripod) or on a dolly or an elaborate Steadicam or crane shot. Whatever it is, the more elaborate, the more you'll likely want to use it for the majority of the scene. Don't waste time setting up a "one-er" (a scene done in a single shot) if you intend on cutting it apart later and inserting coverage. Most features these days have an A and B camera going for most of the shots. Your A-Camera will take priority while the B-Camera will work to get an alternate shot that works but doesn't impede A-Camera in any way. Your master will be primarily A while B may pick off tighter shots or an alternate wide. Once the cameras drive in closer to the Actors, the A-Camera will first concentrate on getting an "over" (over the shoulder) on one of the Actors (assuming this is a two-person scene). IF the situation allows it, meaning if the lighting is acceptable and the set works for the shot, etc... the B-Camera will either pick off an alternate two-shot (likely both Actors in profile) OR the B-Camera may slide in very tight to the A-Camera. In that case, the A-Camera will likely be on the longer lens getting the "Oscar clip" close-up while the B-Camera is slightly wider getting the "over." This saves time and allows the Actors to do the scene fewer times overall. There can be a compromise doing it this way as the A-Camera is lining up to have the "perfect" close-up, so the B-Camera may be shifted a bit to the right or left of where it really wants to be. But filmmaking is wrought with compromises as you have to balance the "art" with the logistics of making the day (getting all the shots done that are scheduled). ( Often, when there are an A and B camera going simultaneously from the same angle, the A-Camera will have the wider shot while the B-Camera will have the longer lens. This is done for management reasons in the Camera Department. Particularly if there are multiple cameras on a shot (for action or other elaborate shots), the Key First Camera Assistant will need to be managing and checking up on the rest of the Camera Assistants and Operators. A wide lens doesn't require the same amount of time to prepare focus marks as a longer lens, so not having to worry too much about critical focus can free him up to oversee the camera setup. ) When one Actor is finished and the Director is happy, the crew "turns around" and relights the set and resets the cameras and lights to shoot an over and closeup on the other side. When all the desired shots are finished for that scene, the cameras and lights pull back so that the Director and Actors can block out the next bit. Repeat as necessary until wrap. The overall point is that you CAN use only one camera all day long, shooting every angle, resetting the camera and lights each time. This is done often and it provides you the most control over each angle and the lighting for every shot. HOWEVER, the trade off is that it takes more time to accomplish. If you have the days to add to the schedule so that you can do just a scene or two a day, then this can be the best method of shooting. If you can't add days to your schedule (because of budget or location restrictions or talent schedules) then you have two choices: 1) add a second camera or 2) cut the number of shots you want for each scene. Filmmaking is fun and all, but so much of it is about logistics, budgeting, and time management. If you can't afford to rent an extra camera and hire the additional crew it will take, then you will be forced into compromising on the number of shots and/or the complexity of the shots you will get each day. If you still want a certain number of shots, then you'll have to compromise on the number of takes you shoot before you move on to the next setup. If you don't want to do that, then, you'll have to cut the amount of time it takes to reset to a new setup, which means compromising on the way the movie looks. You may or may not have seen the classic triangle which has three choices: Fast, Cheap, Good - Pick two. You can't have all three EVER. If you want it fast and cheap, then it won't be good. If you want it fast and good, it won't be cheap (because you have to hire a top-notch crew to pull it off). If you want it cheap and good, it won't be fast... you get the idea. A lot of your issues can and should be solved in PRE-Production, meaning, choose locations that allow you and the crew to move quickly...if your budget and time are limited (and whose isn't?) then your script shouldn't require difficult locations and difficult camera/lighting setups. Careful planning and discussions with your Department Heads will help alleviate most of the problems that would otherwise plague you on a shooting day. When everyone arrives on set that day, there should be NO questions left hanging about what shots you want to get and how the crew needs to set up and light to get them. That way, they will move at peak efficiency which leaves YOU more time to concentrate on getting the shots you want to make a great movie. If you feel hamstrung by logistics on the day of a shoot, it means that you planned poorly. NEVER try to make a $10 million dollar movie if you only have $1 million. It'll come off looking like a cheap mess. Instead, if you have $1 million, set out to make an excellent $800,000 movie. It'll look amazing for the budget and it won't look like you had to skimp on anything. And this all begins with a script that is appropriate to the budget you have available. That said, if you write an AMAZING script, then it may be worthy of attracting more financing which translates into more days and more crew and better crew and equipment and locations. The better your script, the more resources you'll have to accomplish what you want to put up on the screen. If you don't have all the money and time you really want and you can't get them, then you'll have to start compromising somewhere. Where depends on what your priorities are. Maybe you won't have enough money to complete a feature length film at the quality you want. So downshift and make an EXCELLENT short film based on the feature story that might get attention...instead of making a terrible feature that will just show off your lack of resources. Brian Dzyak Cameraman/Author IATSE Local 600, SOC

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