Task 14- Camera shots I will use in my project

Camera movements that I'll use

       Arc Shot
     A shot in which the subject is circled by the camera. Beloved by Brian De Palma, Michael Bay.

1. Example: The shot in De Palma's Carrie (1976) where Carrie White (Sissy Spacek) and Tommy Ross (William Katt) are dancing at the prom. The swirling camera move represents her giddy euphoria, see?

   Close Up

   A shot that keeps only the face full in the frame. Perhaps the most important building block in cinematic storytelling.
   Example: Falconetti's face in The Passion Of Joan Of Arc (1928).

   Long Shot

   A shot that depicts an entire character or object from head to foot. Not as long as an establishing shot. Aka a wide shot.
   Example: Omar Sharif approaching the camera on camel in David Lean's Lawrence Of Arabia (1962).

   Deep Focus

   A shot that keeps the foreground, middle ground and background ALL in sharp focus. Beloved by Orson Welles (and cinematographer Gregg Toland). Production designers hate them. Means they have to put detail in the whole set.
   Example: Thatcher (George Couloris) and Kane's mother (Agnes Moorehead) discussing Charles (Buddy Swan)'s fate while the young boy plays in the background in Citizen Kane (1941).

   Dolly Zoom

   A shot that sees the camera track forward toward a subject while simultaneously zooming out creating a woozy, vertiginous effect. Initiated in Hitchcock's Vertigo (1959), it also appears in such scarefests as Michael Jackson's Thriller video (1983), Shaun Of The Dead (2004), The Evil Dead (1981) and The Goofy Movie (1995). It is the cinematic equivalent of the phrase "Uh-oh".
   Example: Police Chief Brody (Roy Scheider) sees the Kintner kid (Jeffrey Voorhees) get it in Jaws (1975). Not the first but the best.

   Dutch Tilt

   A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. Beloved by German Expressionism, Tim Burton, Sam Raimi and the designers of the villains hideouts in '60s TV Batman.
   Example: The beginning of the laboratory scene in Bride Of Frankenstein (1935).

   Handheld Shot

   A shot in which the camera operator holds the camera during motion to create a jerky, immediate feel. Beloved by Steven Soderbergh and Paul Greengrass. It basically says, "This is real life, baby".
   Example: The pool hall fist fight in Scorsese's Mean Streets (1973).

   Low Angle Shot

   A shot looking up at a character or subject often making them look bigger in the frame. It can make everyone look heroic and/or dominant. Also good for making cities look empty.
   Example: Darth Vader stomping around the Death Star corridors in Star Wars Episode IV A New Hope (1977).

   High Angle Shot

   A shot looking down on a character or subject often isolating them in the frame. Nothing says Billy No Mates like a good old high angle shot.

   Locked-Down Shot

   A shot where the camera is fixed in one position while the action continues off-screen. It says life is messy and can not be contained by a camera. Beloved by Woody Allen and the dolly grips who can take the afternoon off.
   Example: Ike (Woody Allen) and Mary (Diane Keaton) walk in and out of shot whilst flirting.

   Matte Shot

   A shot that incorporates foreground action with a background, traditionally painted onto glass, now created in a computer. Think the Raiders warehouse or the Ewok village or Chris Hewitt's house.
   Example: The final shot of 1968's Planet Of The Apes.

   Pan

   A shot where the camera moves continuously right to left or left to right. An abbreviation of "panning". Turns up a lot in car chases and on You've Been Framed (worth £250 if they use a clip).
   Example: Brian de Palma's Blow Out (1981) — a 360 degree pan in Jack Terry (John Travolta)'s sound studio.

   Tilt

   A shot where the camera moves continuously Up to Down or Down To Up. A vertical panning shot. A tilt to the sky is traditionally a last shot in a movie.
   Example: The last shot of Robert Altman's Nashville (1975).

   Tracking Shot

   A shot that follows a subject be it from behind or alongside or in front of the subject. Not as clumsy or random as a panning shot, an elegant shot for a more civilized age. Beloved by Stanley Kubrick, Andrei Tarkovsky, Terence Davies, Paul Thomas Anderson.
   Example: The dolly shots in the trenches during Stanley Kubrick's Paths Of Glory (1957).

   Zoom

   A shot deploying a lens with a variable focal length that allows the cinematographer to change the distance between camera and object without physically moving the camera. Also see Crash Zooms that do the same but only quicker.
   Example: The slow descending zoom that picks out Mark (Frederic Forrest) and Ann (Cindy Williams) out of a crowd in The Conversation (1974).