Video Language Media Concepts The Spill Resource Page

Video LanguageVideo Language

Media ConceptsMedia Concepts

The Spill Resource Page

About Video LanguageAbout Video Language

Shot – is a single, uninterrupted visual Shot – is a single, uninterrupted visual recording, a length of tape during which the recording, a length of tape during which the camera has operated continuously.camera has operated continuously.

Video LanguageVideo Language- Frame – letterFrame – letter- Image - wordImage - word- Shot - sentenceShot - sentence- Scene - paragraphScene - paragraph- Sequence - chapterSequence - chapter


Camera AnglesCamera Angles

Camera Angles – a distinctive, identifiable Camera Angles – a distinctive, identifiable way of framing subjects from a particular way of framing subjects from a particular position at a particular image size. Usually, position at a particular image size. Usually, angles are named for one of several sets of angles are named for one of several sets of characteristics:characteristics:- Subject distanceSubject distance- Horizontal camera positionHorizontal camera position- Vertical camera positionVertical camera position- Lens perspectiveLens perspective- Shot purposeShot purpose- Shot populationShot population


Subject DistanceSubject Distance

Extreme Long Shot – Figure 6-2Extreme Long Shot – Figure 6-2 Long Shot – Figure 6-3Long Shot – Figure 6-3 Medium Long Shot – Figure 6-4Medium Long Shot – Figure 6-4 Full Shot – Figure 6-5Full Shot – Figure 6-5 Three-quarter Shot – Figure 6-6Three-quarter Shot – Figure 6-6 Medium Shot – Figure 6-7Medium Shot – Figure 6-7 Medium Close-up – Figure 6-8Medium Close-up – Figure 6-8 Closeup – Figure 6-9Closeup – Figure 6-9 Big Closeup – Figure 6-10Big Closeup – Figure 6-10 Extreme Closeup – Figure 6-11Extreme Closeup – Figure 6-11


Horizontal PositionHorizontal Position

Front Angle – Figure 6-13Front Angle – Figure 6-13 Three-quarter Angle – Figure 6-14Three-quarter Angle – Figure 6-14 Profile Angle – Figure 6-15Profile Angle – Figure 6-15 Three-quarter Rear Angle – Figure 6-16Three-quarter Rear Angle – Figure 6-16

What’s in a Name? Page 88-89What’s in a Name? Page 88-89


Vertical AngleVertical Angle

Shots may be labeled by the vertical Shots may be labeled by the vertical angle form which the camera views the angle form which the camera views the action. Clock Hand Figure 6-18.action. Clock Hand Figure 6-18.

Bird’s Eye Angle – Figure 6-19.Bird’s Eye Angle – Figure 6-19. High Angle – Figure 6-20.High Angle – Figure 6-20. Neutral Angle – Figure 6-21.Neutral Angle – Figure 6-21. Low Angle – Figure 6-22.Low Angle – Figure 6-22. Worm’s-eye Angle Figure 6-23.Worm’s-eye Angle Figure 6-23.


Lens PerspectiveLens Perspective

Wide-Angle – exaggerates apparent depth Wide-Angle – exaggerates apparent depth and dramatizes movement toward and away and dramatizes movement toward and away from the camera.from the camera.

Normal – lens renders perspective Normal – lens renders perspective approximately the way human vision approximately the way human vision perceives it.perceives it.

Telephoto – compresses apparent depth and Telephoto – compresses apparent depth and de-emphasizes movement toward and away de-emphasizes movement toward and away from the camera.from the camera.

Figure 6-24 and 6-25.Figure 6-24 and 6-25.


Shot PurposeShot Purpose Master Shot – to record all or most of a scene in a full shot or Master Shot – to record all or most of a scene in a full shot or

even wider, capturing the action from beginning to end. Figure even wider, capturing the action from beginning to end. Figure 6-266-26

Establishing Shot – to orient viewers to the general scene and Establishing Shot – to orient viewers to the general scene and the performers in it.the performers in it.

Reverse Shot – show action from a point of view nearly opposite Reverse Shot – show action from a point of view nearly opposite that of the main camera angle. Figure 6-27.that of the main camera angle. Figure 6-27.

Over-the-shoulder Shot – to include part of one performer in the Over-the-shoulder Shot – to include part of one performer in the foreground while focusing on another performer. Figure 6-28.foreground while focusing on another performer. Figure 6-28.

Cutaway Shot – to show the audience something outside the Cutaway Shot – to show the audience something outside the principal action, or to reveal something from an on-screen principal action, or to reveal something from an on-screen person’s point of view. Figure 6-29. person’s point of view. Figure 6-29.


Shot PurposeShot Purpose

Insert Shot – to show a small detail of the action, Insert Shot – to show a small detail of the action, often from the point of view of a person on the often from the point of view of a person on the screen. Figure 6-30.screen. Figure 6-30.

POV Shot – to show the audience what someone on POV Shot – to show the audience what someone on the screen is seeing. Figure 6-30.the screen is seeing. Figure 6-30.

Glance-object pair – glancing off screen then show Glance-object pair – glancing off screen then show what performer was looking at. Figure 6-31.what performer was looking at. Figure 6-31.


Shot PopulationShot Population

Single Shot – showing one performerSingle Shot – showing one performer

Two-Shot – showing two performersTwo-Shot – showing two performers

Three Shot – showing three performersThree Shot – showing three performers

Figure 6-32Figure 6-32The Spill Resource Page

Creating ContinuityCreating Continuity

Every time viewers notice a new angle they Every time viewers notice a new angle they are briefly distracted from the program are briefly distracted from the program content; so the goal is to make the action content; so the goal is to make the action appear to happen in a single continuous flow. appear to happen in a single continuous flow.

The key is The key is matching actionmatching action – making the – making the incoming shot appear to begin at precisely incoming shot appear to begin at precisely the point where the outgoing shot ends.the point where the outgoing shot ends.

Apparently uninterrupted action is an illusion Apparently uninterrupted action is an illusion created by a collaboration between the created by a collaboration between the director and the editor.director and the editor.


Varying ShotsVarying Shots Editors use the term “cut together” to describe how Editors use the term “cut together” to describe how

successfully one shot follows another.successfully one shot follows another. Jump cuts – an edit in which the incoming shot is too Jump cuts – an edit in which the incoming shot is too

similar visually to the outgoing shot. Figure 6-34, 36, similar visually to the outgoing shot. Figure 6-34, 36, and 37.and 37.

To make a smooth edit, the technique is to match the To make a smooth edit, the technique is to match the action closely, while decisively altering the camera action closely, while decisively altering the camera angle. Figure 6-35angle. Figure 6-35

Generally to achieve this, you must change at least Generally to achieve this, you must change at least two of the angle’s three major characteristics: two of the angle’s three major characteristics: camera position, camera height, and subject size. To camera position, camera height, and subject size. To achieve a smooth edit, a new camera setup should achieve a smooth edit, a new camera setup should change two angle traits, most often the image size change two angle traits, most often the image size plus either the camera position or height. Figure 6-38 plus either the camera position or height. Figure 6-38 and 39and 39


Matching ActionMatching Action

While the angle should change decisively While the angle should change decisively from one shot to the next, the action should from one shot to the next, the action should be closely matched, to make the second shot be closely matched, to make the second shot seem to begin exactly where the first shot seem to begin exactly where the first shot ends. There are two basic ways to match ends. There are two basic ways to match actionaction- First is to have the performer repeat part of the First is to have the performer repeat part of the

action from the first shot in the second shot. action from the first shot in the second shot. Figure 6-40.Figure 6-40.

- Second is to conceal the matching point. Figure 6-Second is to conceal the matching point. Figure 6-41.41.


Making TransitionsMaking Transitions

Transitions between “Chapters” or sequences of Transitions between “Chapters” or sequences of video.video.- Classic Hollywood TransitionsClassic Hollywood Transitions

• Fade In – Figure 6-42.Fade In – Figure 6-42.• Fade Out – Figure 6-42.Fade Out – Figure 6-42.• Dissolve – Figure 6-43.Dissolve – Figure 6-43.• Wipe – Figure 6-44.Wipe – Figure 6-44.

- Modern Transitions – Digital Video Effect (DVE)Modern Transitions – Digital Video Effect (DVE)• FlipsFlips• Fly-InsFly-Ins• RotationsRotations• Commercials and Music Videos - Figure 6-45.Commercials and Music Videos - Figure 6-45.

Video Language in Action – Page 101.Video Language in Action – Page 101.


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