mini

filmmaking
guides

production
3. MASTER THE CAMERA

To access our full set of Into Film DEVELOPMENT (3 guides)

mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides)

PRODUCTION (5 guides)
1. LIGHT A FILM SET
2. GET SET UP
3. MASTER THE CAMERA
4. RECORD SOUND
5. STAY SAFE AND OBSERVE SET ETIQUETTE
POST-PRODUCTION (2 guides)
EXHIBITION AND DISTRIBUTION (2 guides)
PRODUCTION MASTER THE CAMERA

Master the camera (camera shots, angles and movements)

Top Tip

Before you begin making your film, have a play with your
camera: try to film something! A simple, silent (no dialogue)
scene where somebody walks into the shot, does something and
then leaves is perfect. Once you’ve shot your first film, watch it.
What do you like/dislike about it? Save this first attempt. We’ll
be asking you to return to it later. (If you have already done
this and saved your films, you don’t need to do this again.)

Professional filmmakers divide scenes into shots. They set

up their camera and frame the first shot, film the action
and then stop recording. This process is repeated for each
new shot until the scene is completed. The clips are then
put together in the edit to make one continuous scene.

Whatever equipment you work with, if you use

professional techniques, you can produce quality films
that look cinematic. The table below gives a description
of the main shots, angles and movements used by
professional filmmakers. An explanation of the effects
they create and the information they can give the
audience is also included.

When you start out, you will probably instinctively shoot

using mid and long shots as these are the easiest to use.
As you become more confident, try to include a wider
variety of shots. Close-ups are particularly effective
as they enable the audience to connect with your
characters which gives your film more impact.

When deciding which shots to use, consider the length

of the scene and the information you need to get across.
Shot changes should be used only for a particular
purpose or effect that is needed to tell the story. (Details
of your shot choices should be recorded on your
storyboard and/or shot list. If you make changes as you
shoot, remember to update this so your editor has the
correct information for post-production.)

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PRODUCTION MASTER THE CAMERA

Top Tip

At this point, you might want to revisit and watch some

scenes from your favourite films. How many shots were used?
What type of shots were used and when do shot changes
occur? Why did the director make these decisions? Use this
information to inform and guide your own filmmaking choices.

CAMERA SHOTS

Name How to achieve it What it does

Extreme long or wide shot, sometimes called an establishing shot.

Film from a distance to include Introduces the

a whole setting in the frame. audience to the setting
for the film. Often used
at the beginning so the
audience knows where
the action is taking
place.

Bird’s-eye shot

Professional filmmakers will When used for

use a jib or crane to film a settings, a bird’s-
setting from above. You could eye shot replaces
use a bird’s-eye shot to look or complements an
down on a table in order to extreme long or wide
show an important prop or shot to introduce the
detail like a footprint on audience to the setting.
the ground. For props or details, this
shot is used to give the
audience a key piece of
information and move
the story on.

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PRODUCTION MASTER THE CAMERA

Long or full shot

Zoom out to include the Introduces a character

full length of a character, into the story by
from head to foot, and the placing them in the
surrounding setting. film’s setting. Gives the
audience information
about the character
(costume, height,
stance etc).
Mid shot

Zoom in to frame just the top Focuses the audience

half of a character’s body or on what a character is
just the legs from the waist doing and their body
down. language. Can also
show the movement of
the legs if this is needed
for the storytelling, eg
dancing, running away
when being chased.
Close-up/reaction shot

Tightly frame the character’s Shows the audience

face or part of an object; a character’s facial
does not include the broader expression to give clues
setting. about their feelings and
emotions. Using this
shot helps the audience
connect with the
character.
Extreme close-up

Zoom right in to focus on Highlights an important

just a small part of a person small detail, to move
or thing, perhaps the eyes or the story on or
mouth. help the audience’s
understanding.

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PRODUCTION MASTER THE CAMERA

CAMERA ANGLES

Low angle

Film your subject from below, Filming from this

camera looking upwards. angle makes your
subject look tall, scary,
dominant or powerful.

High angle

Film your subject from above, Filming from this angle

camera looking downwards. makes your subject
look small, scared or
weak.

Dutch angle

Slant the camera. Makes things look

weird and is often
used to cause a
sense of unease or
disorientation for the
viewer.
Over the shoulder

Film over the shoulder of one Helps the audience

character to show another. to place characters in
a dialogue scene or
interview.

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PRODUCTION MASTER THE CAMERA

CAMERA MOVEMENTS
Tracking shot
Move the whole camera to This shot can be used
follow a subject. You need instead of zooming to
to use a dolly for effective show what a character
tracking shots. A forward is seeing or to expose
movement is called a track more of a setting.
in, backwards is track out and
sideways is crab.
Tilt
Turn the camera vertically Slowly reveals
up or down. Practise the somebody or
movement before you go for something. The
a take. Always plan where the classic example is the
shot begins and ends: moving shot that starts with
from something to something someone’s feet and
else is a useful approach. Hold tilts up to show how
the shot for a few seconds at big and scary they are.
the end of each movement.
Pan
Turn the camera horizontally Reveals more of a
left or right to scan a scene scene or setting,
or follow movement. Practise covering more space
the movement before you go sweeping across a
for a take. Always plan where landscape.
the shot begins and ends.
When filming someone who is
moving, try to allow space in
the shot for them to walk into.
If possible, try to anticipate
the action in advance. Ensure
the camera stops panning and
the person walks out of shot
before you stop filming.

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PRODUCTION MASTER THE CAMERA

A range of camera shots, angles and movements are

demonstrated in the short Into Film animated guide
How to Use a Camera (http://bit.ly/HowToSetUpACamera)

Activity: Shot match

Can you suggest which shot, angle or movement
or combination of these you would use to film
the following?

A character realises he High angle close-up of feet.

has been tricked Tilt shot from feet to head

Film is set in a bank Mid tracking shot of running legs

A terrifying character enters Bird’s-eye, extreme close-up

A character flees Close-up

Two establishing shots: extreme

A ring has a missing diamond long or wide shot, close-up filmed
from a low angle of a sign

The correct answers are on page 13.

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PRODUCTION MASTER THE CAMERA

The process

This is the filming process you should work through

on your shoot.

1. Check the storyboard and shot list. What shots do

you need for this scene?

2. Dress the location and position the actors for

the first shot.

3. Frame the shot and check the composition.

4. Film the action. Record at least 5-10 seconds of time

at the beginning and end of each shot. This “breathing
space” gives the editor extra footage if they need it.
For example, if an actor gives a great performance and
you have extra footage, you can linger on their face
after they have delivered their final line.

5. Keep a shot log. This is often completed by the first Shot log
assistant director. It involves recording the time code
from the clock on the video screen. They should A paper record taken
during filming of each
record the in-point (ie the starting point) and out- shot you record. It
point (the ending point) into their shot log. Each shot lists the ‘in point’ (ie
the starting time), ‘out
should be given a scene number, shot number, take point’ (the ending
number and a name that describes it. time), scene number,
shot number, take
number, a short
If you are filming on a tablet, review your shots as you go description and a
note of whether or
and delete any shots that don’t work. Only keep and log not the shot was
the good takes. good or bad.

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PRODUCTION MASTER THE CAMERA

Before you begin filming, remember to:

¢¢ Try and shoot a wide variety of shots so that the editor

has plenty of varied footage to work with. You may
have to film a scene or part of a scene several times
to get the range of shots you need.
¢¢ Consider a variety of angles; a high angle to show
a location in its entirety or a low angle to make
someone look important.
¢¢ Only include camera movements if you have good
reason. Each change of movement, shot or angle
should provide new information.
¢¢ Frame each shot whilst the camera is idle. Avoid zooming
or framing shots whilst recording. The separate shots
you record will be put together in the edit.

Advanced camera techniques

Using these techniques will vastly improve the quality of

your finished film:

Establishing shots

At the beginning of a film a series of establishing shots

can be recorded to introduce the setting. As well as an
extreme long shot of the location, other shots like a close-
up of a sign could be recorded. A variety of establishing
shots helps to locate your audience in a ‘place in time’. Master shot

A master shot is
Master shot usually a long shot
which shows an
You should begin the filming of most scenes by entire scene from
start to finish. It’s a
recording the entire scene using one shot called a master good idea to shoot
shot. Having a master shot ensures you always have a a master shot, as it
gives you footage
shot you can use if other shots aren’t suitable. you can use if there’s
any problem with the
close-ups, mid shots
etc that you recorded
of the scene.

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PRODUCTION MASTER THE CAMERA

Cutaway shots

A cutaway shot gives the editor something to cutaway

to if other shots have failed. They can draw an audience
deeper in to a story and add meaning to what the film is
about. Cutaways are also useful for scenes where your
characters might be talking about a moving object. For
example, a moving dog cannot be included in the frame
but cutaways of it could be inserted between the main
shots of the characters.

Here is an example of how a master shot and cutaways

could be used.

The scene shows the main character writing a letter. To

begin with a master shot of the entire scene is recorded.
The director decides to use a long shot for this. He/she
then asks the camera operator to record a close up to
show the concentration on the character’s face. Finally,
the director instructs them to frame a cutaway shot of a
ticking clock on the wall.

What messages does the audience get from this scene?

What sort of letter might the character be writing and
to whom?

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PRODUCTION MASTER THE CAMERA

Shot-reverse shot

This is a technique where the camera shoots in one

direction, then in the other (the reverse angle). It is useful
because it makes it easier for the audience to understand
the space. It also lets filmmakers shoot two people in
conversation using close-ups.

To make this work, you need to follow the 180-degree

rule. This means that you should shoot all of your shots
with the camera on one side of an imaginary horizontal
line between the two characters. If you ‘cross the line’
viewers won’t be able to make sense of the scene. You
don’t need two cameras for this; you can just shoot
the scene several times with the camera in different
positions. When you edit the film you can cut between
the shots from the different cameras/positions.

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PRODUCTION MASTER THE CAMERA

Activity: Practice scene

Try shooting or reshooting the scene we suggested at

the beginning of this mini guide using the knowledge
you now have about camera techniques. (A character
walks into the shot, does something, then leaves.) In this
version aim to tell the audience something new about
the character or explain why they have changed.

For example, if your character walks in, does a silly

dance and then walks out again, why did they do the
dance? Did they find a lottery ticket? How can you
show this? What camera techniques could you use?
What props will you need?

If the character walks in and does nothing, why is this?

What mood are they in? How are they feeling?
How can you show this?

You could make a quick storyboard or shot list

for this scene.

When you’ve filmed it, select the best shots and delete
the rest. Use the editing app on your tablet or the
program on your computer to put the shots together and
play the scene back. What worked well? Could anything
be improved? How?

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PRODUCTION MASTER THE CAMERA

Activity: Shot Match answers

A character realises he
Close-up
has been tricked

Two establishing shots: extreme

Film is set in a bank long or wide shot, close-up
filmed from a low angle of a sign

High angle close-up of feet.

A terrifying character enters
Tilt shot from feet to head

Mid tracking shot of running

A character flees
legs

A ring has a missing diamond Bird’s-eye, extreme close-up

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