One of the first things students are taught in film school is the nomenclature of the basic types of camera shots. This common language is essential for writers, directors, camera operators, and cinematographers to effectively communicate visual elements of a shot, particularly the size of a subject—often a person—within the frame.
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Camera framing is just one of the many cinematography techniques we’ve all had to learn. Choosing your subject(s) for each shot might seem intuitive, but how do you frame them? Do you isolate them in a single or “complicate” things with a “dirty single”? When should you use an over-the-shoulder shot, and does that shot composition always make sense? These are the types of questions we cover in this episode of The Shot List.
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Camera angles in filmmaking have certain characteristics that every filmmaker should understand. Visual storytelling is dependent on how you use the camera to tell a story. Whether you use a high-angle shot, low-angle shot, birds-eye-view shot, over-the-shoulder shot (OTS), or a direct overhead shot to capture a scene, that decision brings with it the concept of “perspective.” With Dutch angle shots (aka Dutch Tilt), you’re relying on cinematography techniques to bring a sense of imbalance or tension to a shot. Camera angles and techniques like these can elevate the script and the scene in ways that only visual storytelling can provide.
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