1. Video Language

2. Objectives Explain concept of camera angles
Name the principal types of camera angles
Vary shot types effectively
Create continuity of action
Select and use scene transitions

3. About Video Language
No matter how seamless videos may appear, they are really long assemblies of individual pieces, placed one after another in strings. The individual pieces are called shots A shot is a single, uninterrupted visual recording, a length of tape during which the camera has operated continuously. Shots are put in order according to rules. These rules are the language of video

4. Video Language Terms
Frame- like a unit of sound, too brief to deliver meaning by itself
Image- like a word
Shot- like a sentence (shortest piece of the film that can deliver a message by itself)
Scene- like a paragraph (composed of several shots, visual sentences, that conveys meaning about a single topic)
Sequence- like a chapter

5. Studying Video Language
Camera Angle Names
Camera Angle- a way a framing subjects from a particular position at a particular image size
Angles are named based on the characteristics: distance, position, lens perspective, shot purpose, and shot population

6. Camera Angle Names Subject Distance
Distance between the camera and a standing adult. They refer to the subject size in relation to the frame

7. Subject Distance cont.
Extreme Long Shot- The subject is tiny and indistinct in a very large area

8. Subject Distance cont.
Long Shot- The subject is small in the frame (half the frame height or less) and slightly indistinct.

9. Subject Distance cont.
Medium Long Shot- The standing person is distinct and somewhat closer, but with considerable head and foot room.

10. Subject Distance cont.
Full Shot- The standing person fills the screen from top to bottom, often with just a small amount of head and foot room.

11. Subject Distance cont.
Three-quarter Shot- The shot shows the subject from about the knees to the top of the head

12. Subject Distance cont.
Medium Shot- The shot shows the subject from the belt line to the top of the head

13. Subject Distance cont.
Medium Closeup- The shot shows the subject from about above the waist to the head

14. Subject Distance cont.
Closeup- The shot shows the subject from the shoulders to the top of the head
(a head shot is always called a closeup, regardless of the subject)
6-9 and 6-12

15. Subject Distance cont.
Big Closeup- The shot shows the subject from the below the chin to the forehead or hairline

16. Subject Distance cont.
Extreme Closeup- The shot shows the subject from the base of the nose to the eyebrows

17. Horizontal Position
In the angles named according to distance, we always see the person from the front; but the camera can view its subject from other directions as well

18. Horizontal Position cont.
Front angle- The camera faces the front of the subject

19. Horizontal Position cont.
Three-quarter angle- The camera is placed between 15 and 45 degrees around toward one side of the subject

20. Horizontal Position cont.
Profile angle- The camera is at a right angle to the original front shot

21. Horizontal Position cont.
Rear angle- The camera is directly opposite its front position and fully behind the subject

22. Vertical Position These angles are based on the height of the shot.
Think of the camera at the end of a clock hand pointing toward the center of the clock

23. Vertical Position

24. Vertical Position
Bird’s eye angle- An extremely high camera position (around 1:00). Pointing down from the sky (like a plane or a tall building)

25. Vertical Position
High angle- An shot in which the camera is evidently highter than the eye level of the subject (between 1:30 and 2:30)

26. Vertical Position
Neutral angle- An shot in which the camera is more or less at the subject’s eye level (3:00)

27. Vertical Position
Low angle- An shot in which the camera is below the subjects eye level (between 3:30 and 4:30)

28. Vertical Position
Worm’s eye angle- An extremely low camera position, looking dramatically upward (5:00)

29. Lens Perspective
These angles are based on the type of lens being used.
Wide angle- exaggerates depth and dramatizes movement toward and away from the camera. Often used in chase and fight scenes.
Normal angle- most similar to the way human vision perceives the shot.
Telephoto- Used to dramatize congestion. Also called Narrow-angle (the opposite of the Wide angle)

30. Shot Purpose
These angles are based on the purpose of the shot.

31. Shot Purpose
Master shot- The purpose is to record all or most of a scene in a full shot or even wider, capturing the action from beginning to end.
After the master shot has been taped, the director will match closer shots of the same action for the editing.

32. Shot Purpose
Establishing shot- The purpose is to orient viewers to the general scene and the performers in it.
Shows all the important pars and players in a scene

33. Shot Purpose
Reverse shot- The purpose is to show the action from a point of view nearly opposite that of the main camera position

34. Shot Purpose
Over the Shoulder shot- The purpose is include part of one performer in the foreground while focusing on another performer.

35. Shot Purpose
Cutaway shot- The purpose is to show the audience something outside the principal action, or to reveal something from an on- screen person’s point of view.

36. Shot Purpose
POV shot- The purpose is to show the audience what someone on the screen is seeing.

37. Shot Purpose
Glance-object pair shot- In the first shot, the actor looks at something off screen, and in the second, we see the object the actor was looking at.

38. Shot Population
These shots are labeled according to how many performers are in the shot. (only the main characters are counted)
Single shot-One person
Two-shot- Two people
Three-shot- Three people
6-32

39. Shot Name Confusion
Shots can be called a combination of several names:
“Neutral Over the Shoulder Two Shot”
“High Angle POV Closeup”
“Over the Shoulder Two Shot” and “Reverse”

40. Creating Continuity
Rather than recording everything in one continuous shot, recording separate shots enhance the interest of the material by providing visual variety.
The goal in using various shots in one scene is to make the action appear to happen in a single, continuous flow. This is called continuity.

41. Creating Continuity cont.
The goal in using various shots in one scene is to make the action appear to happen in a single, continuous flow. This is called continuity.
Each shot must use matching action so that is can be editing smoothly.
The incoming shot must appear to begin at precisely the point where the outgoing shot ends.

42. Varying Shots
One way to conceal a change in shots is to make a new angle as much as possible.

43. Varying Shots cont.
Changing at least two of the camera angles will help make the transition from shot to shot smooth.
Change the characteristics of the camera angle:
Camera Position
Camera Height
Subject Size

44. Varying Shots cont.
Good examples of effective angle combinations:
6.38
6.39

45. Matching Action
While the angle should change from one shot to another, the action must change to be closely matched.

46. Matching Action Two ways to match action:
Have the actor repeat part of the action from the first shot in the second shot
Synchronize action by concealing the match point (two shots that record the same action is any point at which the editor can cut from one shot to the other, continuing the action without an apparent break)

47. Matching Action
Have the actor repeat part of the action from the first shot in the second shot
6. 40
For example, the subject pours milk into a mixing bowl, repeating this action in each of two shots. In the establishing shot, she raises the milk carton over the bowl. In the second, she pours the milk. In the third, she tilts the carton upright and sets it down.

48. Matching Action
Synchronize action by concealing the match point (two shots that record the same action is any point at which the editor can cut from one shot to the other, continuing the action without an apparent break)
6. 41
The actor exits the frame, leaving the shot empty. The next shot starts with an empty frame, then enters. The setting could possibly be two separate locations.

49. Making Transitions
Transitions are often used to move from one sequence to the next. There are rules for adding transitions between sequences.
Classic Hollywood Transitions
Modern Transitions

50. Classic Hollywood Transitions
A Fade-In begins with a black screen, which lightens gradually until the image reaches full brightness. A Fade-Out is the exact opposite. Fades mark the beginnings and endings of major program segments. Example: Most TV programs fade out before each commercial break and then resume by fading in.

51. Classic Hollywood Transitions
A Dissolve gradually replaces one image with another. A dissolve is used instead of a fade to indicate a shorter break in the action or a less decisive transition in the story. A Wipe progressively replaces the old image ahead of it with the new one behind it, by pushing the old one of the frame

52. Transitions should be unobtrusive and not be overused
Modern Transitions
Today, fades and dissolves are used less often. Instead, editors use straight cuts or digital video effects.
A Digital Video Effect (DVE) is a computer-generated transition from one shot to another.
Flips- screen revolves
Fly-ins- incoming picture swoops to the center of the screen, growing as it comes in
Rotations- revolves with geometric forms
Transitions should be unobtrusive and not be overused

53. Video Language in Action