Production

7/18/2019 Production

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ProductionProduction

In digital video, television and flm,In digital video, television and flm,production phase reers to theproduction phase reers to therecording, shooting and executing therecording, shooting and executing thescript. This is the stage at which all thescript. This is the stage at which all theflming is carried out. All scenes plannedflming is carried out. All scenes plannedout in pre-production are flmed at theout in pre-production are flmed at the

relevant locations. Each scene is flmedrelevant locations. Each scene is flmedas man times as the director deems ft,as man times as the director deems ft,to ensure the !est "ualit scenes will !eto ensure the !est "ualit scenes will !eused to construct the flmused to construct the flm



EWS (Extreme Wide Shot)EWS (Extreme Wide Shot) The view is so ar rom the su!#ect that The view is so ar rom the su!#ect thatshe isn$t even visi!le. This is oten usedshe isn$t even visi!le. This is oten used

as an esta!lishing shotas an esta!lishing shot

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VWS (Very Wide Shot)VWS (Very Wide Shot)

The su!#ect is visi!le %!arel&, !ut the emphasis The su!#ect is visi!le %!arel&, !ut the emphasisis still on placing her in her environment.is still on placing her in her environment.

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WS (Wide Shot)WS (Wide Shot) The su!#ect ta'es up the ull rame, or at least The su!#ect ta'es up the ull rame, or at leastas much as possi!le, also 'nown as long shot.as much as possi!le, also 'nown as long shot.

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MS (Mid Shot)MS (Mid Shot)(hows some part o the su!#ect in more(hows some part o the su!#ect in moredetail whilst still giving an impression o thedetail whilst still giving an impression o the

whole su!#ect.whole su!#ect.



MCU (Medium Close Up)MCU (Medium Close Up))al wa !etween a *( and a +)al wa !etween a *( and a +



CU (Close Up)CU (Close Up)A certain eature or part o the su!#ectA certain eature or part o the su!#ectta'es up the whole rameta'es up the whole rame



ECU (Extreme Close Up)ECU (Extreme Close Up)

ECU (Extreme Close Up)ECU (Extreme Close Up)

The shot is so tight that onl a The shot is so tight that onl a

raction o the ocus o attention,raction o the ocus o attention,such as someone$s ees, can !e seensuch as someone$s ees, can !e seen



Two-ShotTwo-ShotA comorta!le shot o two people, ramed similarl toA comorta!le shot o two people, ramed similarl toa mid shot.a mid shot.



Aerial shotAerial shot

Aerial shotsAerial shots are usuall done with aare usuall done with acrane or with a camera attached to acrane or with a camera attached to aspecial helicopter to view largespecial helicopter to view large

landscapes. This sort o shot would !elandscapes. This sort o shot would !erestricted to exterior locations. A goodrestricted to exterior locations. A goodarea to do this shot would !e a scenearea to do this shot would !e a scene

that ta'es place on a !uilding. I thethat ta'es place on a !uilding. I theaerial shot is o a character it can ma'eaerial shot is o a character it can ma'ethem seem insignifcant or vulnera!le.them seem insignifcant or vulnera!le.



1. The Bird's-Eye view1. The Bird's-Eye view

This shows a scene rom directl overhead, This shows a scene rom directl overhead,a ver unnatural and strange angle.a ver unnatural and strange angle.amiliar o!#ects viewed rom this angleamiliar o!#ects viewed rom this angle

might seem totall unrecognisa!le at frstmight seem totall unrecognisa!le at frst%um!rellas in a crowd&%um!rellas in a crowd& This shot does, however, put the audience This shot does, however, put the audience

in a godli'e position, loo'ing down on thein a godli'e position, loo'ing down on the

action. People can !e made to loo'action. People can !e made to loo'insignifcant, ant-li'e, part o a widerinsignifcant, ant-li'e, part o a widerscheme o things.scheme o things.



2. High Angle2. High Angle

ot so extreme as a !ird$s ee view.ot so extreme as a !ird$s ee view. The camera is elevated a!ove the The camera is elevated a!ove theaction using a crane to give a generalaction using a crane to give a general

overview. )igh angles ma'e theoverview. )igh angles ma'e theo!#ect photographed seem smaller,o!#ect photographed seem smaller,and less signifcant %or scar&. Theand less signifcant %or scar&. The

o!#ect or character oten getso!#ect or character oten getsswallowed up ! their setting - theswallowed up ! their setting - the!ecome part o a wider picture.!ecome part o a wider picture.



3. Eye Level 3. Eye Level

A airl neutral shot/ the camera isA airl neutral shot/ the camera ispositioned as though it is a humanpositioned as though it is a humanactuall o!serving a scene, so thatactuall o!serving a scene, so that

eg actors$ heads are on a level witheg actors$ heads are on a level withthe ocus. The camera will !e placedthe ocus. The camera will !e placedapproximatel fve to six eet romapproximatel fve to six eet rom

the ground.the ground.



4. Low Angle 4. Low Angle

These increase height %useul or short actors These increase height %useul or short actorsli'e Tom +ruise& and give a sense o speededli'e Tom +ruise& and give a sense o speededmotion. 0ow angles help give a sense omotion. 0ow angles help give a sense oconusion to a viewer, o powerlessnessconusion to a viewer, o powerlessness

within the action o a scene. The !ac'groundwithin the action o a scene. The !ac'groundo a low angle shot will tend to !e #ust s' oro a low angle shot will tend to !e #ust s' orceiling, the lac' o detail a!out the settingceiling, the lac' o detail a!out the settingadding to the disorientation o the viewer. Theadding to the disorientation o the viewer. The

added height o the o!#ect ma ma'e itadded height o the o!#ect ma ma'e itinspire ear and insecurit in the viewer, whoinspire ear and insecurit in the viewer, whois pschologicall dominated ! the fgure onis pschologicall dominated ! the fgure onthe screen.the screen.



5. Obliqe!"#n$ed Angle5. Obliqe!"#n$ed Angle

(ometimes the camera is tilted %ie is(ometimes the camera is tilted %ie isnot placed hori1ontal to 2oor level&,not placed hori1ontal to 2oor level&,to suggest im!alance, transition andto suggest im!alance, transition and

insta!ilit. This techni"ue is used toinsta!ilit. This techni"ue is used tosuggest P3IT-3-4iew shots %iesuggest P3IT-3-4iew shots %iewhen the camera !ecomes the $ees$when the camera !ecomes the $ees$

o one particular character,seeingo one particular character,seeingwhat the see - a hand held camerawhat the see - a hand held camerais oten used or this&.is oten used or this&.



PanPan

es!riptiones!ription5 (hows what$s to the5 (hows what$s to thelet or right o the screenlet or right o the screen

PurposesPurposes5 6eveal setting, sweep5 6eveal setting, sweepacross su!#ect wider than screen,across su!#ect wider than screen,show relationship !etween twoshow relationship !etween twosu!#ects.su!#ects.



TiltTilt

es!riptiones!ription5 (hows what$s a!ove or5 (hows what$s a!ove or!elow the screen!elow the screen

PurposesPurposes5 6eveal parts o vertical5 6eveal parts o verticalsu!#ect, useul or showing tallsu!#ect, useul or showing tallo!#ects, show relationship !etweeno!#ects, show relationship !etweenparts o a su!#ect, can add suspenseparts o a su!#ect, can add suspense

or surprise.or surprise.



Tra!" Tra!"

es!riptiones!ription5 +amera phsicall5 +amera phsicallmoves to let or right around su!#ect.moves to let or right around su!#ect.

PurposesPurposes5 6eveal another side o5 6eveal another side osu!#ect, add dimension, showsu!#ect, add dimension, showphsical relationship !etween o!#ectsphsical relationship !etween o!#ects

or su!#ects.or su!#ects.



ollyolly

es!riptiones!ription5 +amera phsicall5 +amera phsicallmoves toward or awa rom su!#ect.moves toward or awa rom su!#ect.

PurposesPurposes5 +hange ocus o attention5 +hange ocus o attentionrom !road view to detail o su!#ectrom !road view to detail o su!#ector vice versa. Provides sense oor vice versa. Provides sense ophsicall moving closer or artherphsicall moving closer or arther

rom su!#ect.rom su!#ect.



Crane shotCrane shot



Crane shotCrane shot

In motion picture terminolog, aIn motion picture terminolog, a!rane shot!rane shot is a shot ta'en ! ais a shot ta'en ! acamera on a crane. The most o!viouscamera on a crane. The most o!vious

uses are to view the actors romuses are to view the actors roma!ove or to move up and awa roma!ove or to move up and awa romthem, a common wa o ending athem, a common wa o ending a

movie.movie.



Steadi!amSteadi!am



Steadi!amSteadi!am

AA steadi!amsteadi!am is a sta!ili1ing mountis a sta!ili1ing mountor a motion picture camera, whichor a motion picture camera, whichmechanicall isolates the operator$smechanicall isolates the operator$s

movement rom the camera, allowingmovement rom the camera, allowinga ver smooth shot even when thea ver smooth shot even when theoperator is moving "uic'l over anoperator is moving "uic'l over an

uneven surace.uneven surace.



#and-held !amera#and-held !amera

#and-held !amera#and-held !amera oror hand-heldhand-held

shootin$shootin$ is a flm and videois a flm and videotechni"ue in which a camera istechni"ue in which a camera is

literall held in the camera-operator$sliterall held in the camera-operator$shands--as opposed to !eing placedhands--as opposed to !eing placedon a tripod. The result is an imageon a tripod. The result is an image

that is percepti!l sha'ier than thatthat is percepti!l sha'ier than thato a tripod-mounted camera.o a tripod-mounted camera.



%oom%oom

es!riptiones!ription5 4iew o su!#ect changes rom5 4iew o su!#ect changes romtight to wide or wide to tight using thetight to wide or wide to tight using the1oom control on the lens. The camera does1oom control on the lens. The camera does

not move.not move. PurposesPurposes5 +hange ocus o attention rom5 +hange ocus o attention rom

!road view to detail o su!#ect or vice versa,!road view to detail o su!#ect or vice versa,'eep si1e o moving su!#ect the same in'eep si1e o moving su!#ect the same in

rame, reveal surroundings o su!#ect %1oomrame, reveal surroundings o su!#ect %1oomout&. Provides sense o magniing su!#ectout&. Provides sense o magniing su!#ectwithout getting phsicall closer %1oom in&.without getting phsicall closer %1oom in&.



Master shotMaster shot

AA master shotmaster shot is a flm recording o an entireis a flm recording o an entiredramati1ed scene, rom start to fnish, rom andramati1ed scene, rom start to fnish, rom anangle that 'eeps all the plaers in view. It is otenangle that 'eeps all the plaers in view. It is otena long shot and can sometimes perorm a dou!lea long shot and can sometimes perorm a dou!le

unction as an esta!lishing shot. suall, theunction as an esta!lishing shot. suall, themaster shot is the frst shot chec'ed o7 during themaster shot is the frst shot chec'ed o7 during theshooting o a scene8it is the oundation o what isshooting o a scene8it is the oundation o what iscalled camera coverage, other shot that revealcalled camera coverage, other shot that reveal

di7erent aspects o the action, groupings o two ordi7erent aspects o the action, groupings o two orthree o the actors at crucial moments, close-upsthree o the actors at crucial moments, close-upso individuals, insert shots o various props, ando individuals, insert shots o various props, andso on.so on.



+omposition+omposition +omposition can !e defned as+omposition can !e defned as the orderlythe orderly

arrangement of elements in a scene which, whenarrangement of elements in a scene which, when

taken as a whole, conveys intent and meaningtaken as a whole, conveys intent and meaning..%)ow$s that or a genuine text!oo'-tpe defnition9&%)ow$s that or a genuine text!oo'-tpe defnition9&

Television production involves !oth static composition Television production involves !oth static compositionand dnamic composition.and dnamic composition. (tatic composition covers the content o fxed(tatic composition covers the content o fxed

images, such as paintings or still photos.images, such as paintings or still photos.

:namic composition goes a step urther and ta'es:namic composition goes a step urther and ta'esinto consideration the e7ect o time 8 moment-to-into consideration the e7ect o time 8 moment-to-moment change. This change can !e within a singlemoment change. This change can !e within a singleshot %including camera or talent moves&, or it canshot %including camera or talent moves&, or it canappl to the se"uence o scenes created throughappl to the se"uence o scenes created through

editing.editing.



The rule o& thirdsThe rule o& thirds

The rule states that an image can !e The rule states that an image can !edivided into nine e"ual parts ! twodivided into nine e"ual parts ! twoe"uall-spaced hori1ontal lines ande"uall-spaced hori1ontal lines and

two e"uall-spaced vertical lines. Thetwo e"uall-spaced vertical lines. Theour points ormed ! the intersectionsour points ormed ! the intersectionso these lines can !e used to aligno these lines can !e used to aligneatures in the rame. The rule oeatures in the rame. The rule o

thirds can !e applied ! lining upthirds can !e applied ! lining upsu!#ects with the guiding lines.su!#ects with the guiding lines.



:epth 3 ield:epth 3 ield

The term ; The term ;Depth of FieldDepth of Field; descri!es; descri!esthe range in a photograph, rom nearthe range in a photograph, rom nearto ar, that appears to !e in ocus.to ar, that appears to !e in ocus.

Everone 'nows that the more a lensEverone 'nows that the more a lensis stopped down, the more depth ois stopped down, the more depth ofeld there will !e, %feld there will !e, %truetrue&. *ost&. *ost

people also !elieve that wide anglepeople also !elieve that wide anglelenses have more depth o feld thanlenses have more depth o feld thantelephoto lenses %telephoto lenses %falsefalse&.&.



eep &o!useep &o!us

eep &o!useep &o!us is a photographic andis a photographic andcinematographic techni"uecinematographic techni"ueincorporating a large depth o feld.incorporating a large depth o feld.

:epth o feld is the ront-to-!ac':epth o feld is the ront-to-!ac'range o ocus in an image 8 that is,range o ocus in an image 8 that is,how much o it appears sharp andhow much o it appears sharp and

clear. +onse"uentl, in deep ocusclear. +onse"uentl, in deep ocusthe oreground, middle-ground andthe oreground, middle-ground and!ac'ground are all in ocus.!ac'ground are all in ocus.



eep &o!useep &o!us



Shallow &o!usShallow &o!us

Shallow &o!usShallow &o!us is a photographicis a photographicand cinematographic techni"ueand cinematographic techni"ueincorporating a small depth o feld.incorporating a small depth o feld.

In shallow ocus one plane o theIn shallow ocus one plane o theimage is in ocus while the rest is outimage is in ocus while the rest is outo ocus. (hallow ocus tpicall iso ocus. (hallow ocus tpicall is

used to emphasi1e one part o theused to emphasi1e one part o theimage over another.image over another.



The 'o!us PullThe 'o!us Pull

The The focus pullfocus pull %A<A%A<A rack focusrack focus& is a creative& is a creativecamera techni"ue in which ou change ocuscamera techni"ue in which ou change ocusduring a shot. suall this means ad#usting theduring a shot. suall this means ad#usting theocus rom one su!#ect to another.ocus rom one su!#ect to another.

The ocus pull is useul or directing the viewer$s The ocus pull is useul or directing the viewer$sattention. or example, i there are two people inattention. or example, i there are two people inshot !ut onl one is in ocus, that person is theshot !ut onl one is in ocus, that person is thesu!#ect o attention. I the ocus changes to thesu!#ect o attention. I the ocus changes to the

other person, the !ecome the su!#ect. This isother person, the !ecome the su!#ect. This isoten used in drama dialogues 8 the ocus shitsoten used in drama dialogues 8 the ocus shits!ac'wards and orwards !etween the people!ac'wards and orwards !etween the peoplespea'ing.spea'ing.



)eadroom)eadroom

In photograph,In photograph, headroomheadroom oror headhead

roomroom is a concept o aestheticis a concept o aestheticcomposition that addresses thecomposition that addresses the

relative vertical position o therelative vertical position o thesu!#ect within the rame o thesu!#ect within the rame o theimage. )eadroom reers specifcallimage. )eadroom reers specifcall

to the distance !etween the top oto the distance !etween the top othe su!#ect$s head and the top o thethe su!#ect$s head and the top o theramerame



)eadroom)eadroom

The amount o headroom that is The amount o headroom that isconsidered aestheticall pleasing is aconsidered aestheticall pleasing is adnamic "uantit/ it changes relative todnamic "uantit/ it changes relative to

how much o the rame is flled ! thehow much o the rame is flled ! thesu!#ect. The rule o thum! ta'en romsu!#ect. The rule o thum! ta'en romclassic portrait painting techni"ues, calledclassic portrait painting techni"ues, calledthe ;rule o thirds= is that the su!#ect$sthe ;rule o thirds= is that the su!#ect$s

ees, or the center o interest, is ideallees, or the center o interest, is ideallpositioned one-third o the wa down rompositioned one-third o the wa down romthe top o the rame.the top o the rame.



)eadroom)eadroom

)eadroom changes as the camera 1ooms)eadroom changes as the camera 1oomsin or out, and the camera mustin or out, and the camera mustsimultaneousl tilt up or down to 'eep thesimultaneousl tilt up or down to 'eep the

center o interest approximatel one-thirdcenter o interest approximatel one-thirdo the wa down rom the top o theo the wa down rom the top o therame. The closer the su!#ect, the lessrame. The closer the su!#ect, the lessheadroom needed. In extreme close-ups,headroom needed. In extreme close-ups,

the top o the head is out o the rame,!utthe top o the head is out o the rame,!utthe concept o headroom still applies viathe concept o headroom still applies viathe rule o thirds.the rule o thirds.



0ead room0ead room

lead roomlead room, or sometimes, or sometimes nose roomnose room, is the, is thespace in ront, and in the direction, o moving orspace in ront, and in the direction, o moving orstationar su!#ects. >ell-composed shots leavestationar su!#ects. >ell-composed shots leavespace in the direction the su!#ect is moving. >henspace in the direction the su!#ect is moving. >hen

the human ee scans a photograph or the frstthe human ee scans a photograph or the frsttime it will expect to see a !it in ront o thetime it will expect to see a !it in ront o thesu!#ect.su!#ect.

or example, moving o!#ects such as cars re"uireor example, moving o!#ects such as cars re"uire

lead room. I extra space is allowed in ront o alead room. I extra space is allowed in ront o amoving car, the viewer can see that it hasmoving car, the viewer can see that it hassomeplace to go/ without this visual padding, thesomeplace to go/ without this visual padding, thecar$s orward progress will seem impeded.car$s orward progress will seem impeded.



CA (Cutaway)CA (Cutaway)

A shot o something other than the current action.A shot o something other than the current action.



Cut-nCut-n

(hows some part o the su!#ect in detail(hows some part o the su!#ect in detail



Shot reerse shotShot reerse shot

Shot reerse shotShot reerse shot %%shot*!ountershotshot*!ountershot& is a flm& is a flmtechni"ue wherein one character is shown loo'ingtechni"ue wherein one character is shown loo'ingat another character %oten o7-screen&, and thenat another character %oten o7-screen&, and thenthe other character is shown loo'ing ;!ac'; at thethe other character is shown loo'ing ;!ac'; at the

frst character. (ince the characters are shownfrst character. (ince the characters are shownacing in opposite directions, the viewer assumesacing in opposite directions, the viewer assumesthat the are loo'ing at each other.that the are loo'ing at each other.

(hot reverse shot is a eature o the ;classical;(hot reverse shot is a eature o the ;classical;

)ollwood stle o continuit editing, which)ollwood stle o continuit editing, whichdeemphasi1es transitions !etween shots such thatdeemphasi1es transitions !etween shots such thatthe audience perceives one continuous action thatthe audience perceives one continuous action thatdevelops linearl, chronologicall, and logicalldevelops linearl, chronologicall, and logicall



?@?@B (stemB (stem

(pace o scene constructed along axis(pace o scene constructed along axiso actiono actionC +enter line+enter line

C ?@?@B lineB line (ceneDs action assumed to ta'e place(ceneDs action assumed to ta'e place

along discerni!le and predicta!le linealong discerni!le and predicta!le line

Axis o action determines hal-circleAxis o action determines hal-circle%%?@?@B area& where camera can presentB area& where camera can presentactionaction



?@?@B (stemB (stem

4iolation to shit to camera shot on4iolation to shit to camera shot onopposite o axisopposite o axis

?@?@B (stem ensures relative position oB (stem ensures relative position o

o!#ects and characters remains consistento!#ects and characters remains consistent ?@?@B (stem ensures consistent eelinesB (stem ensures consistent eelines ?@?@B (stem ensures consistent screenB (stem ensures consistent screen

directiondirection

C +haracters moving in logical and+haracters moving in logical andunderstanda!le wasunderstanda!le was



?@?@B (stemB (stem

?@?@B (stem claims to organi1eB (stem claims to organi1espace clearlspace clearlC 4iewers can trust location %and relative4iewers can trust location %and relative

location& o characterslocation& o charactersC 4iewers can trust their own locations4iewers can trust their own locations

and relative locationsand relative locations

?@?@B (stem ensures and advancesB (stem ensures and advancescontinuit sstemcontinuit sstem

Production

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