Camera Shots & Framing

There are some common rules and naming conventions around the shots we use in film and television. These notes refer to studio use but many points refer to working on location as well.

SHOT SIZES

The size of a shot is often described in respect of which parts of a person - presenter, guest etc - are in or out of frame. But similar names for shot sizes are used when there is more than one person in frame, or even when inanimate objects are being filmed.

Imagine lining up a shot of a single presenter looking to camera or being interviewed. Here are the main framings and their names. (Some people will define them slightly differently, and eventually it comes down to taste and depends on the individual circumstances.)

Abbreviations are used on scripts, running orders and shot-logs.

LONG SHOT (LS)

Includes the whole height of the person - head to toe. Unusual unless there is something else in shot, you want to see where the person is or how they relate to the rest of their environment.

MEDIUM LONG SHOT (MLS)

Shows the person down to about their knees. Often used as a compromise - a bit of background can be seen, but we are more interested in seeing the person. Or, on location, it can be used once a larger angle GV (general view) of the environment has already been seen.

MID-SHOT (MS)

Shows a person down to nearly their waist. Certainly includes their elbows. This is a loose version of the newsreader or ‘talking head’ shot. News programmes use it for less serious - sport, human interest - stories.

MEDIUM CLOSE UP (MCU)

Most common studio ‘talking head’ shot. The MCU stops just above the elbows. Used for more serious stories in news, or more intimate responses in interviews.

CLOSE UP (CU)

Mainly the head of the person but probably includes some of the neck. Now we are getting right into someone’s face, you might say. So it is used for very intimate conversations or intimidating questioning.

BIG CLOSE UP (BCU)

Nothing but face. Probably with hair and tip of chin out of shot. Suggests putting the person under pressure, or used when reactions are very emotional.

EXTREME CLOSE UP (ECU)

Contains just the eyes of the subject. We are so close now that it is probably more of an impressionist shot. The CU or BCU may tell us more about how the subject is feeling or reacting.

WIDE SHOT (WS)

Term more common in studios and on outside broadcasts (OBs) - meaning it contains all or most of the scene/action/people.

TWO SHOT (2S)

Shot including two people. Could be two people being interviewed or an interviewer and interviewee. (Obviously you can also get a THREE-SHOT, FOUR-SHOT etc. Even a less-well defined GROUP SHOT.)

On a script or running order there should be a description of who is in the shot. So we get…

MCU Emma A Medium Close Up of Emma

MS Fred A Mid-Shot of Fred

2S George / Alex A Two-Shot with George on the left and Alex on the right.

Watch some TV and films. You will see that the mid-range of these shot sizes are the most common…. the Mid-shot, MCU and Close Up.

[Language: Most of these shots are known by their full names - Long Shot, Mid-shot etc - except when written on a script or running order, where the abbreviations are used. The MCU, BCU and ECU might be asked for in abbreviated form, especially if the Director doesn’t want to frighten/warn the subject by asking for an “Extreme Close Up” out loud.]

EYE-LINE

When we look at, and listen to, someone we try and look them straight in the face. This gives us much more information than just the words they are saying. They might avert their eyes or look us straight in the eye; smile or frown; appear nervous or disinterested. This all adds to the communication.

When a camera takes a shot of someone, it is important to see their full face. So the camera must be positioned so that it can see as much of the face as possible. At the very least it must be able to see both eyes.

Studio cameras can move around the studio floor by CRABBING left or right, TRACKING in or out (nearer to or further from the subject) so that they can get the best angle and see all of a person’s face. This is called getting the correct EYE-LINE.

Sets are designed, seating arranged and lighting positioned so that each person on set, seated or standing can be shot with the correct eye-line.

Shooting someone from a poor position almost tells the audience that the person is not that interesting or not worth listening to. So why did you invite them on the show, then?

HEAD ROOM

In all the shot sizes above you will have to decide how much space there is between the top of the person’s head and the top edge of the frame. This is known as HEAD ROOM.

As a rule of thumb, no matter which shot size you are trying to achieve, the person’s eyes should always be about one-third down from the top of the picture. Every Director has their own idea of the the perfect amount of HEAD ROOM, but this is a good starting point.

LOOKING ROOM

When a presenter is reading Autocue or otherwise speaking straight to camera, they should be CENTRED in frame - in the middle left-to-right.

But when they are interviewing someone and start to look to the side of frame we usually give them some LOOKING ROOM - more space to the edge of frame they are looking towards than behind their head.

Again, there are many opinions on how much LOOKING ROOM is appropriate. Often it is quite a subtle change from the centred shot.

SHOT MATCHING

When you are shooting an interview in the studio and one camera has a shot of the presenter and another has one of the guest, they would normally have similar shot sizes, with similar amounts of head room and looking room. This balances things out and makes for more comfortable picture changes when the shots are cut on the vision mixer.

The camera operators need to keep an eye on programme output so they know what shot the opposite camera has got so they can match it. (There is a button under the zoom handle on the larger cameras which momentarily changes the camera viewfinder to show programme output. This can be used to see other camera shots when they are on the output and help with shot matching.)

GOING FORWARD..............DOING MORE THAN THE BASICS

A good camera operator can also follow director talkback - and the action itself - and get a good idea of what shots other cameras are on and offer something different or work out the shot that will likely be needed next and offer something appropriate if it doesn’t appear currently available.

Don’t wait to be asked, think ahead and always offer the best shot you can.

Written by PS

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