Let’s take a look at the power of close up shots in filming.
If we have to dots to represent the actors, than a straight line connecting them would be the line of action. When we have a line of action, we need to choose side on that line where to place the cameras. The side of filming should be strict and shouldn’t be changed in order to prevent some rude mistakes. For example, imagine that you fill close up of two people talking to each other. If you break your side of filming, people won’t get the right impression that the actors speak to each other as they will be shown both from the looking in the right or left direction. Or if you film a car going from left to right, and in next shot right to left – you will confuse the viewer with what’s happening. Yet, as every rule, this one also has exceptions, even 5:
- Camera moves around the line/actors
- The actors are moving around
- Shooting on the line exactly
- Establishing a new line (new actor, or noise from a near by object, that makes the actors turn in that direction)
- Cut away (show an object for a moment, and after that show the actors from the side of the object, for example, view trough the window, after that again the actors)
Elements in relation to shot size
Close up – tenstion, subjective, emotions, feelings
POV – point of view. For example, this guys point of view is the soup. If you see both shots you can get the impression that he is hungry.
Super mod POV – when you see just half of the face of the actor, the background is blurred. Highly emotional and personal effect.
Random bulletpoints for when writing a storyboard.
- don’t aim to show what’s going on
- focus on what the characters feel
- who is seeing this (who’s view point is the camera?)
- establish an interesting opening shot