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Shot Size
It might seem redundant to re-state it, but the three basic shot compositions are: close up; medium shot; and long shot. These shots only make sense in relationship to one another, and are used to describe space within the scene. They can be used to show anything, of any size, because the shots are scaled to the subject and related to one another proportionately.
So, for example, a long shot of a mug of coffee would show the full mug, taking in some of the desk it is sat on, and the surrounding space. A medium shot would probably chop the bottom of the mug off, leaving a lead space at the top of the frame to see the steam from the coffee. And a close up may well just look over the rim of the mug, letting the coffee fill the frame.
The basic framing of these shots on a human figure would be: full shot - head to toe; medium shot shot - hip to forehead; while close up is shoulders to forehead.
Generally, shots move from full to close, or vice versa. This is not a hard and fast rule. Frame sizes may remain the same throughout the scene, with visual dynamic being added by other means, perhaps camera movement, or background action. But the relationship between shots is often implied or inferred. A man approaching a door might cut to an extreme close up of his hand grabbing the door handle.
This expectation of continuity is sometimes used as a scene transition. How often have we heard a phone ring out of shot, then cut to a close up of the phone, only to cut wide again to find ourselves in a new location, with a new character answering the call?
So narrative logic and visual connections combine to create a sense of continuous space (or clash to change the space). These ideas of cause and effect and spacial recognition are the basic building blocks of the continuity style.
Shot Size: The Close Up
Before the advent of television, the close up shot was much less prevalent than it is today. It's ease of use, and the fact it was quicker and cheaper to set up, meant that TV producers began to favour it over the midshot. Close ups can also be spliced alongside almost any other shot without too much jarring. And since TV provides the learning ground for most movie directors, the close up is now common-site.
The close up also provides a window into the eyes. Jean-Luc Goddard said that the most natural cut is the cut on the look. This gesture is very suggestive, and motivates a lot of edits. The eyes are much more expressive than the rest of the face, able to communicate silently almost any emotion. A look can direct our attention to something out of frame, telling us where it is located, and eye-lines clearly establish the spatial relationships within the scene.
The close up also increases an audience's intimacy with the subject. It brings us much closer to someone than would be polite in everyday life. A filmmaker can use the camera to record events as if they are happening within our own personal space. A close up can make us feel like we are intruding on moments of privacy or sharing moments of vulnerability. Thus, we can be made to feel detached or emotionally involved with the events and people on the screen simply by the manipulation of space as seen through the camera.
On a technical level, close ups are often framed slightly off-centre, so as to avoid jarring symmetry. On a face, more space is usually left at the side where the eyes are looking, and the eyes tend to be positioned above the centre line on the horizontal. That said, there is no right or wrong way to frame something, and breaking conventions can often heighten the effect of a shot.
The Medium Shot
Before television increased the use of the close up, it was the medium shot that was often used to handle dialogue scenes. It allows for the intimacy of the close up, showing enough of the eyes and face to matter, while giving room for gestures and body language to play their part too. That's why it is still in common use today.
It is most often seen in conjunction with the close up, and as part of larger group scenes.
The Full Shot
For a while, the full shot fell into disuse, but has started to reappear. It is often employed by Quentin Tarantino, as he shoots dialogue through doorways, fully framing his subject - almost positioning the camera as a voyeur. However, it is more likely to be used as an establishing shot. Once the camera moves in closer to the subjects, for a medium shot, then a close up, the editing rhythm generally means we will not see another full shot. Tarantino's lengthy single shot dialogue scenes broke this pattern somewhat.
Composing a long shot like this often follows the conventions of Renaissance painting. The vertical lines of the human figure usually get positioned off-centre, often splitting frames into three.
There are no hard and fast rules on which shots to choose for which scenes. They should be chosen to best emphasise the tone of the action. Juxtaposition can work just as well as convention. An intimate scene seen from a long shot may be more effective at suggesting tone than a huge close up.
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It might seem redundant to re-state it, but the three basic shot compositions are: close up; medium shot; and long shot. These shots only make sense in relationship to one another, and are used to describe space within the scene. They can be used to show anything, of any size, because the shots are scaled to the subject and related to one another proportionately.
So, for example, a long shot of a mug of coffee would show the full mug, taking in some of the desk it is sat on, and the surrounding space. A medium shot would probably chop the bottom of the mug off, leaving a lead space at the top of the frame to see the steam from the coffee. And a close up may well just look over the rim of the mug, letting the coffee fill the frame.
The basic framing of these shots on a human figure would be: full shot - head to toe; medium shot shot - hip to forehead; while close up is shoulders to forehead.
Generally, shots move from full to close, or vice versa. This is not a hard and fast rule. Frame sizes may remain the same throughout the scene, with visual dynamic being added by other means, perhaps camera movement, or background action. But the relationship between shots is often implied or inferred. A man approaching a door might cut to an extreme close up of his hand grabbing the door handle.
This expectation of continuity is sometimes used as a scene transition. How often have we heard a phone ring out of shot, then cut to a close up of the phone, only to cut wide again to find ourselves in a new location, with a new character answering the call?
So narrative logic and visual connections combine to create a sense of continuous space (or clash to change the space). These ideas of cause and effect and spacial recognition are the basic building blocks of the continuity style.
Shot Size: The Close Up
Before the advent of television, the close up shot was much less prevalent than it is today. It's ease of use, and the fact it was quicker and cheaper to set up, meant that TV producers began to favour it over the midshot. Close ups can also be spliced alongside almost any other shot without too much jarring. And since TV provides the learning ground for most movie directors, the close up is now common-site.
The close up also provides a window into the eyes. Jean-Luc Goddard said that the most natural cut is the cut on the look. This gesture is very suggestive, and motivates a lot of edits. The eyes are much more expressive than the rest of the face, able to communicate silently almost any emotion. A look can direct our attention to something out of frame, telling us where it is located, and eye-lines clearly establish the spatial relationships within the scene.
The close up also increases an audience's intimacy with the subject. It brings us much closer to someone than would be polite in everyday life. A filmmaker can use the camera to record events as if they are happening within our own personal space. A close up can make us feel like we are intruding on moments of privacy or sharing moments of vulnerability. Thus, we can be made to feel detached or emotionally involved with the events and people on the screen simply by the manipulation of space as seen through the camera.
On a technical level, close ups are often framed slightly off-centre, so as to avoid jarring symmetry. On a face, more space is usually left at the side where the eyes are looking, and the eyes tend to be positioned above the centre line on the horizontal. That said, there is no right or wrong way to frame something, and breaking conventions can often heighten the effect of a shot.
The Medium Shot
Before television increased the use of the close up, it was the medium shot that was often used to handle dialogue scenes. It allows for the intimacy of the close up, showing enough of the eyes and face to matter, while giving room for gestures and body language to play their part too. That's why it is still in common use today.
It is most often seen in conjunction with the close up, and as part of larger group scenes.
The Full Shot
For a while, the full shot fell into disuse, but has started to reappear. It is often employed by Quentin Tarantino, as he shoots dialogue through doorways, fully framing his subject - almost positioning the camera as a voyeur. However, it is more likely to be used as an establishing shot. Once the camera moves in closer to the subjects, for a medium shot, then a close up, the editing rhythm generally means we will not see another full shot. Tarantino's lengthy single shot dialogue scenes broke this pattern somewhat.
Composing a long shot like this often follows the conventions of Renaissance painting. The vertical lines of the human figure usually get positioned off-centre, often splitting frames into three.
There are no hard and fast rules on which shots to choose for which scenes. They should be chosen to best emphasise the tone of the action. Juxtaposition can work just as well as convention. An intimate scene seen from a long shot may be more effective at suggesting tone than a huge close up.
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Back to the How To Guides