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An extreme wide shot in the trailer to the 1963 film Cleopatra gives an expansive view of the set.. In photography, filmmaking and video production, a wide shot (sometimes referred to as a full shot or long shot) is a shot that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. [1]
Extreme close-up A shot framed so closely as to show only a portion of the face or of some object. Extreme long shot A shot in which the human figure would be extremely insignificant compared to its surroundings. A panoramic view photographed from a considerable distance and made up essentially of landscape or distant background. Fade in/out
Extreme longs shots are used mainly to open the scene or narrative and show the viewer the setting. The rest of the shots are most typically done in an eye level or point of view shot although it is possible to do any shot with any angle. There is the long shot which shows the subject even though the setting still dominates the picture frame.
the long shot or wide shot (often used as an establishing shot), that shows the environment around the subjects, the full shot, where the entirety of the subject is just visible within the frame, the medium-long shot, where the frame ends near the knees, the medium shot, where the frame stops either just above or just below the waist,
A close-up shot can also be used at the beginning of a scene to establish the setting (such as, for the lecture hall scene, a shot of a pencil writing notes). Concept An establishing shot may also establish a concept, rather than a location. For example, opening with a martial arts drill visually establishes the theme of martial arts.
Compression, long-lens, or telephoto distortion can be seen in images shot from a distance using a long focus lens or the more common telephoto sub-type (with an angle of view narrower than a normal lens). Distant objects look approximately the same size – closer objects are abnormally small, and more distant objects are abnormally large, and ...
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A number of scholars have pointed out Kurosawa's tendency to "cut on motion": that is, to edit a sequence of a character or characters in motion so that an action is depicted in two or more separate shots, rather than one uninterrupted shot. One scholar, as an example, describes a tense scene in Seven Samurai in which the samurai ShichirÅji ...