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Medium close-up; Close-up; Extreme close-up; Where the camera is placed in relation to the subject can affect the way the viewer perceives the subject. Some of these many camera angles are the high-angle shot, low-angle shot, bird's-eye view, and worm's-eye view. A viewpoint is the apparent distance and angle from which the camera views and ...
Medium Close Up ("MCU" on camera scripts): Halfway between a mid shot and a close-up. Usually covers the subject's head and shoulders. Close Up ("CU"): A certain feature, such as someone's head, takes up the whole frame. Extreme Close Up ("ECU" or "XCU"): The shot is so tight that only a detail of the subject, such as someone's eyes, can be ...
1.) The image produced by a motion picture camera from the time it begins shooting until the time it stops shooting. 2.) (in an edited film) the uninterrupted record of time and space depicted between editorial transitions. Static Frame The camera focus and angle stay completely still, usually with a locked off tripod, and the scene continues ...
By keeping the camera on one side of an imaginary axis between two characters, the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round. [1] 30-degree rule
the medium close-up, where more of the shoulder is visible than in the close-up, the close-up, where the shoulder line is visible, the extreme close-up, where the frame stops at the subject's chin and forehead. Three less often used field sizes are: the extreme long shot (used for epic views and panoramas),
Some cameras can focus on subjects so close that they touch the front of the lens. It is difficult to place a light between the camera and a subject that close, making extreme close-up photography impractical. A normal-focal-length macro lens (50 mm on a 35 mm camera) can focus so close that lighting remains difficult.
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The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always frame right of the second character. Moving the camera over the axis is called jumping the line or crossing the line; breaking the 180-degree rule by shooting on all sides is known as shooting in the round.