In your A2 exam you need to use media terminology to describe your music video and/or AS production.

Camera Shots, Angle, Movement and Composition Camera Shots

Establishing shot (ES) usually a long shot or extreme long shot used to set the scene at the beginning of a film/TV drama. Usually shows the setting.

Extreme close up (ECU) - a close up in which a small detail fills the entire frame. Used to shock or allow viewers to scrutinize close detail of a body. Not often used in TV drama.

Extreme long shot (ELS) - a very wide shot, often a panoramic view used to show scale, wider contexts and characters in a location. Often used to show the journey of a character through an environment and can be used to make a character seem weak, or insignificant.

Close Up (CU) shows very little background. Usually concentrates on a face or a detail of mise en scene. CU shots magnify the object so emphasise its importance, be it words written on paper, or the expression on someone's face. CU shots lead the audience into the mind of a character. In reality, we only let people that we really trust get THAT close to our face - mothers, children and lovers, usually - so a close up of a face is a very intimate shot. CUs may be used to make the audience feel extremely comfortable or uncomfortable about a character. Often used in shot reverse shots of dialogue between characters.

Mid Close Up (MCU) standard distance used for dialogue between two characters. Can sometimes see some of the background, which may add to the significance of the scene. Can sometimes see part of the other character in the edge of the frame, helping us to orient the characters to each other. MCUs show reactions of characters often used with over the shoulder and two shots.

Camera Shots

Medium Shot (MS) shows a human figure from the knees up or waist up. Very commonly used in TV drama as it shows enough of a figure to convey a characters facial expressions and body language. Also allows space in shot for some setting to aid understanding of a character. Long Shot (CU)- shows entire human figure, includes entire head, near the top of the frame. and feet at the bottom of the frame. Long shots are often used as an establishing shot, in which a character needs to be placed in his/her context (location and time) in order to build the narrative. Body language can be easily seen and the characters reactions can be seen in relation to his/her surroundings.

Wide Shot (WS) - The subject takes up the full frame, or at least as much as possible. The same as a long shot

Master Shot is a single shot that includes the complete scene from start to the finish, from an angle that keeps all the actors in shot. Often used as an establishing shot. Usually the master shot is the first shot filmed during a shooting schedule it is the foundation of the camera coverage: other shots that reveal different aspects of the action, groupings of two or three of the actors at crucial moments, close ups of individuals, insert shots of various props etc are shot and edited in later on.

Two Shot used to create a spatial relationship between two characters, especially during dialogue. Facial expressions, reactions and body language are all conveyed in this shot, so audience is aware of relationships between characters. Two shots may be combined with mid close ups,

Aerial shot is a variation of a crane shot, usually taken from a helicopter. Often used at the beginning of a film or TV drama in order to establish setting and movement. Used to convey real drama and exhilaration.

Camera Shots
Point of View shot shows a view from a characters perspective. It is usually edited in such a way that it is obvious whose POV it is; this makes the viewer feel like theyre sharing the experiences of the character.

Over the shoulder shot gives us a character's point of view but includes part of that character's shoulder or the side of the head in the shot.

Shot Angles
High angle shot makes a character/object seem smaller and less significant. The character/object often gets swallowed up by their setting - they become part of a wider picture.

Low angle shots create a sense of confusion and powerlessness to the audience. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.

Canted angle is when the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability. This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see - a hand held camera is often used for this).

Camera Movement
Pan the camera turns from a fixed position horizontally on the axis of its mount. Steady movement across the scene from a fixed point, usually slow movement.

Tilt the camera moves from a fixed position vertically on the axis of the mount

Pan shot follow - like a panning shot but the camera is directed at a character or object as it moves through a scene: it literally follows the object or character) Dolly or tracking shot the camera moves horizontally alongside the characters or action. NB Originally, the camera moved along on rails or tracks in order to follow the action. When the camera was removed from rails and placed onto a platform with wheels (ie more versatile) the platform was referred to as a dolly. (Other names = trucking or travelling shots)

Crane shot the camera is attached to a crane and films the shot from a high angle. Used to create scale / to include lots of information in the scene eg for an establishing shot

Steadicam a specially designed camera which allows handheld shots without unwanted shaking Hand-held rarely used in TV dramas or films but can be used to create impression of home-videoing. Characterised by unstable, shaking camera shots. Effective in creating tension. eg The Blair Witch Project. Zoom In a zoom lens is used to approach a character or object. Used to emphasise emotion or to show significance of an object. Reverse Zoom the camera zooms away from a character or object used to emphasise importance of emotion.

Composition
When describing camera angles, or creating them yourself, you have to think about three important factors The FRAMING or the LENGTH of shot The ANGLE of the shot If there is any MOVEMENT involved

When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Each different shot has a different purpose and effect. A change between two different shots is called a CUT.

Framing is the composition of a shot: how a character is placed in its environment, eg to the left, right or centre of a frame Rule of Thirds: A technique in camera framing where the frame is divided into imaginary sections to create reference points.

Depth of field is the zone between the nearest and furthest points at which the camera can obtain a sharp focus.

Shallow focus has a small depth of field. One part of the image is in focus while the rest is out of focus. Shallow focus is typically used to emphasize one part of the image over another.

Deep focus is a camera technique that creates a great depth of field. The entire contents of the frame in focus are kept in focus at the same time. Focus pull is the process of adjusting the lens in order to obtain a sharp, clear picture: the degree to which an image is correctly focused.

Editing

The camera never blinks. That's what cuts (changing from one shot to another shot) are for. But to cut from one shot to another, you have to vary your shots by size and angle so that you don't end up with a jump-cut, which would appear as if the shot were missing some frames. Shot compositions, sizes, and angles enhance how you tell your story. You may want a close-up when two actors are talking if the conversation is an intimate one. A wide establishing shot may be appropriate if you want to show that the actors are surrounded by a barren wasteland. Transition of image and sound continuity and non-continuity systems Cutting Shot reverse shot is a method of filming a conversation in which scenes are first shown from one characters point of view, then the others, then back to the first characters

Eyeline match is an edit that cuts from a character to whatever the character is looking at: for example an object, a view or another character. It can help an audience emphathise with a character, as the audience feels part of the characters world. Eyeline match is a continuity editing practice that creates a logical look or gaze of a character as it follows the eyes trajectory. Eyeline matching is based on belief in mainstream cinematography that when a character looks into offspace the spectator expects to see what he or she is looking at.

the screen

The eyeline match creates order and meaning in cinematic space. Thus, for example, character A will look offscreen at character B. Cut to character B, who-if she or he is in the same room and engaged in an exchange either of glances or words with character A-will return that look and so 'certify' that character A is indeed in the space from which we first saw her or him look. This "stabilising" is true in the other primary use of the eyeline match which is the shot-reverse-shot, commonly used in close-up dialogue scenes. The camera adopts the eyeline trajectory of a character looking at the other person as she/he speaks, then switches to the other person's position and does the same.

Graphic match is making the final shot of one sequence similar to the first shot of the next can help to both smooth the transition between the two and link them.

Action match: If an object is dropped by a character the audience expect to see either a close up of the object or a reaction to it falling, so a change in shot to one of these would seem natural. Likewise, if someone goes through a door a shift in shot from one side of the door to the other would be expected, and so presenting shots in this way wouldnt unduly draw attention to the editing.

Editing

Jump cut is a cut to later action from one filmed scene to the next, creating an effect of discontinuity or acceleration. A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way

Cutting is used to:

change the scene; compress time; vary the point of view; or build up an image or idea.

There is always a reason for a cut, and you should ask yourself what the reason is. Less abrupt transitions are achieved with the fade, dissolve, and wipe

Crosscutting is an editing technique most often used in films to establish action occurring at the same time in two different locations. In a cross-cut, the camera will cut away from one action to another action, which can suggest the simultaneity of these two actions but this is not always the case. Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative action that happens in several places at approximately the same time. For instance, in D.W. Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions, and encourages the viewer to compare the two shots. Often, this contrast is used for strong emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between, cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions may add tension to a scene, much in the same manner of using short, declarative sentences in a work of literature.

Parallel editing is an editing technique that allows two or more simultaneous sets of action to unfold within a single film sequence. It creates tension, can show multiple points of view, and can create dramatic irony when the characters are unaware of events unfolding away from the main action. For example, parallel editing can be used to link two related sets of simultaneous action taking place in different locations: Jimmy is searching for Michael and Billy while they are arguing about a stowaway in their car. This creates tension through dramatic irony, as the audience knows Jimmy is closing in, Michael and Billy do not.

Cutaway is a shot in which the camera view is reframed to give the audience information that was previously outside of the camera's view. Often used to reveal something.

Editing

Insert is a shot of part of a scene filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasise a different aspect of that action due to the different framing. An insert differs from a cutaway as cutaways cover action not covered in the master shot. Insert shots are often shots of close ups. For example, CLOSE-UP of a woman crying, INSERT of her hand clutching a letter, TWO SHOT of her friends watching anxiously, INSERT of the clock ticking.

Fade: A transition to or from "nothing". In audio, fade is to or from silence. In film, fade is to or from a colour such as black. Fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. Dissolve is a gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. Distorts sense of realism. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time

Wipe is visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, more common in films from the 1930s and 1940s. Superimposition Long take is a single shot (or take, or run of the camera) which lasts for a relatively lengthy period of time. The long take has an 'authentic' feel since it is not inherently dramatic. Short take is a single shot which can be used to represent changes in action or ideas. Slow motion is action which takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used to: - make a fast action visible - make a familiar action strange - emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. Ellipsis and expansion of time means shortening or lengthening time through editing Post-production means editing techniques applied on iMACs visual effects: eg transitions

Sound

Diegetic sound is can be heard IN the action eg actors voices, music on a stereo in the action Non-diegetic sound is sound that CANNOT be heard in the action eg instrumental music to create dramatic effect Synchronous/asynchronous sound - the sound matches the action/or not. Sound effects Sound motif means repetition of symbolic sound Sound bridge is sound that bridges two different scenes Dialogue is characters speech Voiceover is a narrator commenting on the action eg in a reality TV documentary Mode of address/direct address Sound mixing Sound perspective Soundtrack terms: score, incidental music, themes and stings, ambient sound. Pitch means high / low key Pace means speed (of music)

Mise-en-Scne: everything in the scene

Production design: location, studio, set design, properties (props) High key (bright) lighting Low key (shadowy lighting) Colour design makeup / costume