The Visual Grammar of Television Types of Shots Used in Television News

The Visual Grammar of Television TV journalism is all about the reconstruction of events rather than recreation of events. TV journalist use the visual communication to reconstruct events in such a manner that viewers develop a sense of having observed and experienced a moment. To accomplish this task the understanding of the visual grammar is necessary that enables the field journalists to break simple action into its complex parts for later reconstruction at the editing table.

The Shot The Definition of a Shot “In motion picture photography the basic unit of expression is the SHOT, or the single, continuous take of material that is recorded each time the camera is turned on until is turned off.” Thus each shot made in the field is raw material for the editing console and can only assume larger meaning in relation to the shots that come before and after it.

The Shot Duration of a Shot Depending on action and content, the “average” shot is recorded in the field for 8 to 10 seconds and occasionally longer. The guiding rule maintains that it is easier to shorten a shot at the editing table than to lengthen it. Remember the following points while recording in the field:

The Shot Hold the shot long enough for the action to conclude. Portray subject matter adequately within the shot. Give the editor enough length in each shot.

The Sequence Shots are the building blocks from which the editor builds a reconstruction, or representative composite, of the event. A number of shots, related to each other to convey a single message, are combined to form the sequence. In a sequence action flows from one shot to another to create the illusion that viewers are watching a continuous uninterrupted event.

The Sequence Sequences help a viewer feel he or she has experienced an event because they reconstruct the event much as eyewitness observers would witness it.

Types of Shots Shots can be divided into three broad categories: The long shot (LS). The medium shot (MS). The close-up (CU). All the other shots are merely the variations of these basic shots.

The Long Shot Long shot is also known as wide shot. It provides a full view of the subject. If the subject is an individual it may show him or her from head to toe. Whatever the subject, the distinguishing feature of the long shot is its ability to show an entire view of the subject.

The Medium Shot The medium shot brings subject matter closer to the viewer and begins to isolate it from the overall environment. Whereas a long shot of an individual might show the person from the feet up, a medium shot would show the person from waist up. Medium shots are used as a bridge between long shots and close ups.

The Close-Up Close-ups have a very special relationship with television. Because of its relatively small screen size, television has been called a close-up medium. The close-up isolates the subject entirely from its surrounding environment. It shows a person from about the shirt pocket up and may show nothing more of a building than the doorway or a sign that identifies it.

The Close-Up Close-ups can help the viewer achieve a greater sense of intimacy and vicarious involvement with the subject. That means if you want close, intimate shots, you must move the camera physically close to the action. In other words, if you wish to involve your audience in the action, you must involve your camera.

Camera Movement The basic shot designations of long shot, medium shot, and close-up identify shots according to their image size and composition. Other shot designations derive their names from particular camera movements or how shots are used within the story-telling process.

Types of Shots Based on Camera Movement The Pan Shot. The Tilt Shot. The Tracking Shot. The Trucking Shot. The Dolly Shot.

Camera Movement Pan and Tilt Shots The main job of a video camera is to record action, not to create it. While the photographer can animate otherwise static shots with pans, zooms and tilts, the goal is to record actual motion whenever possible rather than to infuse the scene with artificial camera movement. However, pans and tilts have their place, provided they are used with discretion.

Camera Movement The Pan Shot In the pan, the camera is swiveled on a tripod to show an overall scene, or the handheld camera is moved in a similar fashion to “show all the scene” in a single shot. Remember that just like human eyes the camera take individual shots. Although our head can swivel, our eyes never pan, just as they never zoom.

Camera Movement The Pan Shot When we move our head our eyes cut from one part of the scene to next. Similarly in a pan shot the eyes dart from one ‘shot’ to the next within the pan as it isolates various views and builds a composite image.

Camera Movement The Tilt Shot The tilt shot is a vertical equivalent of a pan shot. The tilt is commonly used to show an entire object that would be too tall to be photographed in a single shot or to reveal some new aspect of the subject.

Camera Movement The Tracking Shot In the tracking shot the camera actually moves through space to keep the moving subjects in frame. How does it different from a pan shot?

Camera Movement The Tracking Shot While in a pan shot the camera merely swivel to follow bicycle racers, in the tracking shot the camera is mounted on some means of conveyance and physically moved through space to keep the bicycle riders in frame.

Camera Movement The Trucking Shot In the trucking shot, the camera itself moves past fixed objects. That means that in a trucking shot while the objects remain static the camera moves. It is just like watching from the window of a moving bus or car.

Camera Movement The Dolly Shot In the dolly shot, the camera moves either toward the subject or away from it. This kind of camera movement is called ‘dolly in” (towards an object) or “dolly out” (away from the object). Is there any similarity or dissimilarity between the ‘dolly shot’ and a ‘zoom shot’?

Use of Different Shots in News The insert shot provides the audience with close-up, essential detail with some part of the main action. The point of view (POV) shot shows the view as seen through a subjects eyes. Whenever the camera represents the participant’s point of view, the style is referred to as SUBJECTIVE CAMERA. Action is portrayed as the subject would see it.

Use of Different Shots in News If the action is portrayed as an observer on the sidelines would see it, then the style is referred to as OBJECTIVE CAMERA. Action and reaction are critical components in visual storytelling process. An action is followed by a reaction.

Location Shooting We can divide the shooting process into two categories: Indoors Shooting: Most current affairs programmes including the presentation of news fall in this category. Outdoors Shooting: News gathering in the field comes under this category.

Indoors Shooting In indoors shooting lighting assumes great significance because light is not only needed to illuminate the subject but also to create atmosphere compatible with the nature of the programme. In indoors shooting there are mainly two types of shots: Master Shot: A single camera records a continuous take of the entire scene from one location and at one focal length setting. Cut-in Shots: Include the close-up or insert shot, reaction shot, and point of view shot, as well as new camera angles to emphasize particular elements of the action.

Matched Action Photography Matched action photography is done with multiple camera set up and single camera both: Matched Action Photography with Multiple Camera A variation of master shot with cut-ins occurs in the television studio or at outdoor sporting events whenever multiple cameras are used to record different facets of the action as it unfolds. Because the various cameras view the same action from different angles and compositions, it is relatively simple to cut from one camera view to next as the action progresses. From one shot to next, the action is perfectly matched.

Matched Action Photography Matched Action Photography with Single Camera Even when photographing with single camera, the photographer can produce shots that can be edited together in matched action. For that the camera person will have to shoot overlapping action in the field. What is overlapping shot?

Jump Cut Jump cuts in finished video occur when action jumps unnaturally forward or backward in time. Or when an object jumps unnaturally into a new position in the screen. Technically a jump cut is an action that could not occur in real life.

The Cutaway The most commonly used device to eliminate jump cuts and to condense time is the cutaway. Thus cutaway is a shot of some part of the peripheral action that diverts the viewer’s eye for a moment so that when eye returns to the main action, the ‘jump’ will be less obvious. Besides the use of cutaways, dissolves and wipes can also be used to hide the jump cuts.

The Transition or Reveal Shot Just like a film a news package, is a series of sequences or scenes linked to one another. The linkage between scenes can be accomplished with a straight cut (cutting straight from one scene to another), an optical effect (dissolve, flip, wipe etc.), or a transition or reveal shot. Transition shots give the editor a way out to pivot from one sequence to the next, a way to link the separate scenes. Thus transition shots can be used to disorient the viewer momentarily.

Axis Line An axis line is the imaginary straight line projected from the tip of the camera lens through the centre of the subject and beyond. To avoid false reverse, after the first or primary shot is taken, the photographer must commit to shoot on one side of the line or other, but not both.

Photograph People at Eye Level The rule of thumb is to photograph people at eye level, and show both eyes. While photographing children, lower the camera so that straight into their eyes. Similarly, photograph adults straight on, not looking up or down at them with the camera, unless you want to achieve a particular psychological impact.

Psychological Impact of High Angle Shots High angle shots, taken with the camera high and looking down at subject, tend to diminish the subject. Viewers may even feel a sense of superiority when they view high angle shots. The effect is similar to the relationship that occurs when one person stands and talks to a person who remains sitting. The person who stands maintains a psychological dominance.

Psychological Impact of Low Angle Shots Low angle shots taken with the camera low to the ground and looking up at the subject, make the subject more dominant and may even destroy the viewer’s sense of control or superiority. Low angle shots of an earth mover on a highway project can make the machine overwhelmingly powerful and destructive, whereas a high angle shot taken from atop nearby hill can make the same earth mover pale to insignificance against the enormity of surrounding terrain.