462:
261:
237:
309:
273:
297:
249:
285:
493:
The length of shots is an important consideration that can greatly affect a film. The purpose of editing any given scene is to create a representation of the way the scene might be perceived by the "story teller." Shots with a longer duration can make a scene seem more relaxed and slower-paced
415:
is defined by giving an establishing "broad overview" over a scene, whether performed by a wide shot with a fixed camera, a zoom, a series of different close-ups achieved by camera motion, or a sequence of independent close-angle shots edited right after each
516:
Shots with extremely long durations are difficult to do because any error in the shot would force the filmmaker to restart from scratch, and are thus only occasionally used. Films famous for their
116:, for instance, which is "how much you see"), so the same idea can also be expressed as that the lens's angle of view plus camera-subject distance is the camera's field of view.
440:
the dolly shot, also known as a tracking or trolley shot, in which the camera moves toward or away from its subject while filming. Traditionally dolly shots are filmed from a
692:
783:
78:
The term "shot" is derived from the early days of film production when cameras were hand-cranked, and operated similarly to the hand-cranked
58:
are used to further express emotion, ideas and movement. The term "shot" can refer to two different parts of the filmmaking process:
1275:
260:
571:
Ark, which was made in 2002 using digital recording technology, other films known for their extremely long takes include
776:
725:
688:
104:, and is determined by two factors: the distance of the subject from the camera ("camera-subject distance") and the
823:
82:
of the time. That is, a cameraman would "shoot" film the way someone would "shoot" bullets from a machine gun.
886:
530:
in which the entire first scene is a long take featuring
Bonasera describing the assault on his daughter, and
1268:
769:
638:
577:
200:
also referred to as a "Cowboy shot" in reference to the gun holster being just above the bottom frame line,
881:
100:
The field size explains how much of the subject and its surrounding area is visible within the camera's
1541:
1083:
1571:
605:
is a single 134-minute long take, the narrator succeeded in playing with time and including several
308:
1601:
1261:
973:
1334:
978:
560:
365:
197:
193:
595:
is also known for using very long takes consistently in his films. Joss Whedon's feature film
272:
1606:
1466:
1005:
715:
606:
178:
62:
In production, a shot is the moment that the camera starts rolling until the moment it stops.
20:
1426:
1188:
792:
597:
521:
236:
1461:
497:
The average shot length (ASL) of a film is one of its cinemetrical measures. For example,
475:
Cutting between shots taken at different times or from different perspectives is known as
8:
1535:
1446:
1234:
1001:
587:
503:
has a length of 117 minutes and consists of 1292 shots, so the ASL is 5.4 seconds, while
437:
is created in editing by replacing a picture with another while the audio stays the same
42:
that runs for an uninterrupted period of time. Film shots are an essential aspect of a
1476:
1416:
1324:
1309:
1058:
1038:
983:
853:
372:
345:
1441:
1354:
1348:
1219:
1204:
991:
828:
721:
494:
whereas shots with a shorter duration can make a scene seem urgent and faster-paced.
427:
412:
379:
204:
203:
the "Italian shot", where only a person's eyes are visible, named after the genre of
167:
125:
430:
is created in editing by displaying a single frame for an elongated duration of time
1436:
1421:
1393:
1384:
1344:
1319:
1292:
1105:
1093:
843:
808:
582:
531:
55:
31:
452:. A dolly shot is generally described in terms of "dollying in" or "dollying out".
390:(in the latter, care must be applied to avoid a continuity error by violating the
1561:
1451:
1033:
572:
544:, and does so surreptitiously so that it seems as if the whole film is one take.
498:
391:
296:
209:
185:
181:
113:
51:
513:, so an ASL of 96 minutes or about 5,760 seconds, a factor of 1,000 difference.
327:"Shots" referring to camera placement and angle rather than field size include:
148:
the medium close-up, where more of the shoulder is visible than in the close-up,
1513:
1456:
1374:
1299:
1284:
1171:
1161:
1053:
858:
813:
800:
356:
248:
189:
158:
the extreme close-up, where the frame stops at the subject's chin and forehead.
284:
1595:
1496:
1329:
1229:
1176:
1166:
1135:
1115:
1088:
1023:
933:
848:
602:
555:
550:
526:
461:
434:
174:
109:
101:
177:(also 3/4 shot), a slight variation of the medium-long shot to also include
19:
This article is about a technique used in filmmaking. For other usages, see
1566:
1556:
1364:
1314:
1120:
1110:
1048:
1015:
948:
901:
618:
545:
476:
470:
441:
331:
214:
105:
79:
66:
47:
592:
1576:
1551:
1531:
1521:
1503:
1491:
1486:
1406:
1379:
1369:
1303:
1209:
1140:
1063:
1028:
938:
536:
505:
420:
382:
is defined as a 180-degree camera turn to the preceding image, common in
338:
142:
69:, a shot is the continuous footage or sequence between two edits or cuts.
108:
of the lens. Note that the shorter a lens's focal length, the wider its
1526:
1481:
1431:
1411:
1339:
1181:
1145:
1043:
996:
896:
863:
838:
818:
761:
628:
623:
349:
39:
27:
1546:
1471:
1224:
1130:
1125:
928:
891:
833:
517:
510:
488:
445:
135:, where the entirety of the subject is just visible within the frame,
132:
121:
1359:
1098:
953:
943:
676:
The
Filmmaker's Handbook: A Comprehensive Guide for the Digital Age
398:
152:
145:, where the frame stops either just above or just below the waist,
1401:
1214:
568:
449:
16:
Series of frames that runs for an uninterrupted period of time
873:
699:
633:
541:
43:
601:
introduces the main characters with a long take. Although
138:
the medium-long shot, where the frame ends near the knees,
266:*Full shot (figure shot, complete view, medium long shot)
192:
for a type of shot in certain
American films of the
423:
is a scene done in one single take, with no editing
128:), that shows the environment around the subjects,
720:(4th ed.). New York: Routledge. p. 21.
444:but the same motion may also be performed with a
1593:
479:, and is one of the central arts of filmmaking.
554:opens with a long tracking crane shot, as does
227:Field size shots comparison (* = "basic" shots)
92:Shots can be categorized in a number of ways.
1269:
777:
707:
658:Film: An International History of the Medium
1276:
1262:
784:
770:
791:
670:
668:
666:
460:
162:Three less often used field sizes are:
1594:
322:
85:
1257:
765:
713:
689:"Movie Speak; Scissorhands Revisited"
663:
540:, which only cuts at the end of each
155:, where the shoulder line is visible,
674:Ascher, Steven, and Edward Pincus.
405:
401:where two people are in the picture.
170:(used for epic views and panoramas),
1283:
217:, that established this particular
13:
697:Podcast. "KCRW's The Business."
678:. New York: Plume, 1999. p. 214.
14:
1618:
660:. : Thames and Hudson, . p. 526.
188:, a characterization from French
695:from the original on 2018-09-13.
307:
295:
283:
271:
259:
247:
235:
95:
456:
314:Italian shot (extreme close-up)
124:or wide shot (often used as an
750:
741:
714:Bowen, Christopher J. (2018).
681:
650:
1:
644:
639:List of one-shot music videos
465:A film editor at work in 1946
73:
7:
612:
482:
10:
1623:
1542:Computer-generated imagery
1084:Unchained camera technique
486:
468:
348:(sometimes performed as a
18:
1512:
1392:
1291:
1247:
1197:
1154:
1076:
1014:
969:
962:
921:
912:
872:
799:
278:American shot (3/4 shot)
1335:Dead-character costume
509:is a single 96-minute
466:
366:over the shoulder shot
1006:multiple-camera setup
578:2001: A Space Odyssey
464:
179:outside the waistband
1427:Infrared photography
793:Cinematic techniques
522:Francis Ford Coppola
717:Grammar of the Shot
323:By camera placement
207:, particularly the
86:Categories of shots
1477:Tilted plane focus
1417:Forced perspective
1325:Costumed character
1310:Air bladder effect
929:Wide / Long / Full
704:. 10 August 2009.
467:
373:point of view shot
1589:
1588:
1585:
1584:
1462:Schüfftan process
1442:Multiple exposure
1355:Prosthetic makeup
1243:
1242:
1220:Freeze-frame shot
1205:Establishing shot
1072:
1071:
979:Over-the-shoulder
581:and the works of
428:freeze frame shot
413:establishing shot
406:By other criteria
388:over the shoulder
242:Extreme long shot
168:extreme long shot
126:establishing shot
1614:
1562:Optical printing
1437:Lighting effects
1422:Front projection
1385:Theatrical blood
1345:Miniature effect
1320:Bullet hit squib
1278:
1271:
1264:
1255:
1254:
1198:Other techniques
987:
967:
966:
963:Camera placement
919:
918:
786:
779:
772:
763:
762:
757:
754:
748:
745:
739:
738:
736:
734:
711:
705:
696:
685:
679:
672:
661:
656:Sklar, Robert.
654:
583:Andrei Tarkovsky
532:Alfred Hitchcock
311:
299:
287:
275:
263:
251:
239:
182:handgun holsters
112:(the 'angle' in
32:video production
1622:
1621:
1617:
1616:
1615:
1613:
1612:
1611:
1602:Film production
1592:
1591:
1590:
1581:
1508:
1467:Shutter effects
1452:Rear projection
1388:
1287:
1285:Special effects
1282:
1253:
1239:
1193:
1150:
1077:Camera movement
1068:
1059:Worm's-eye view
1010:
985:
958:
908:
868:
795:
790:
760:
755:
751:
747:Ascher, 214-218
746:
742:
732:
730:
728:
712:
708:
687:
686:
682:
673:
664:
655:
651:
647:
615:
573:Stanley Kubrick
567:In addition to
491:
485:
473:
459:
408:
392:180 degree rule
346:bird's-eye shot
325:
320:
319:
318:
315:
312:
303:
300:
291:
288:
279:
276:
267:
264:
255:
252:
243:
240:
229:
228:
210:Dollars Trilogy
114:wide-angle lens
98:
88:
76:
38:is a series of
24:
17:
12:
11:
5:
1620:
1610:
1609:
1604:
1587:
1586:
1583:
1582:
1580:
1579:
1574:
1569:
1564:
1559:
1554:
1549:
1544:
1539:
1529:
1524:
1518:
1516:
1510:
1509:
1507:
1506:
1501:
1500:
1499:
1494:
1489:
1479:
1474:
1469:
1464:
1459:
1457:Reverse motion
1454:
1449:
1444:
1439:
1434:
1429:
1424:
1419:
1414:
1409:
1404:
1398:
1396:
1390:
1389:
1387:
1382:
1377:
1375:Matte painting
1372:
1367:
1362:
1357:
1352:
1342:
1337:
1332:
1327:
1322:
1317:
1312:
1307:
1300:Aerial rigging
1297:
1295:
1289:
1288:
1281:
1280:
1273:
1266:
1258:
1252:
1251:
1248:
1245:
1244:
1241:
1240:
1238:
1237:
1232:
1227:
1222:
1217:
1212:
1207:
1201:
1199:
1195:
1194:
1192:
1191:
1186:
1185:
1184:
1179:
1174:
1172:Depth of field
1169:
1158:
1156:
1152:
1151:
1149:
1148:
1143:
1138:
1133:
1128:
1123:
1118:
1113:
1108:
1103:
1102:
1101:
1091:
1086:
1080:
1078:
1074:
1073:
1070:
1069:
1067:
1066:
1061:
1056:
1051:
1046:
1041:
1036:
1031:
1026:
1020:
1018:
1012:
1011:
1009:
1008:
999:
994:
989:
984:Point-of-view
981:
976:
970:
964:
960:
959:
957:
956:
951:
946:
941:
936:
931:
925:
923:
916:
910:
909:
907:
906:
905:
904:
899:
894:
884:
878:
876:
870:
869:
867:
866:
861:
856:
851:
846:
841:
836:
831:
826:
821:
816:
811:
805:
803:
797:
796:
789:
788:
781:
774:
766:
759:
758:
749:
740:
726:
706:
680:
662:
648:
646:
643:
642:
641:
636:
631:
626:
621:
614:
611:
603:Fish & Cat
585:starting with
484:
481:
469:Main article:
458:
455:
454:
453:
438:
431:
424:
417:
407:
404:
403:
402:
395:
376:
369:
362:
361:
360:
357:low-angle shot
353:
342:
324:
321:
317:
316:
313:
306:
304:
301:
294:
292:
289:
282:
280:
277:
270:
268:
265:
258:
256:
253:
246:
244:
241:
234:
231:
230:
226:
225:
224:
223:
222:
205:Italo-Westerns
201:
190:film criticism
186:Western movies
171:
160:
159:
156:
149:
146:
139:
136:
129:
97:
94:
87:
84:
75:
72:
71:
70:
63:
15:
9:
6:
4:
3:
2:
1619:
1608:
1605:
1603:
1600:
1599:
1597:
1578:
1575:
1573:
1570:
1568:
1565:
1563:
1560:
1558:
1555:
1553:
1550:
1548:
1545:
1543:
1540:
1537:
1533:
1530:
1528:
1525:
1523:
1520:
1519:
1517:
1515:
1511:
1505:
1502:
1498:
1497:Speed ramping
1495:
1493:
1490:
1488:
1485:
1484:
1483:
1480:
1478:
1475:
1473:
1470:
1468:
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1438:
1435:
1433:
1430:
1428:
1425:
1423:
1420:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1400:
1399:
1397:
1395:
1391:
1386:
1383:
1381:
1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1350:
1346:
1343:
1341:
1338:
1336:
1333:
1331:
1330:Creature suit
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1305:
1301:
1298:
1296:
1294:
1290:
1286:
1279:
1274:
1272:
1267:
1265:
1260:
1259:
1256:
1250:
1249:
1246:
1236:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1202:
1200:
1196:
1190:
1187:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1165:
1164:
1163:
1160:
1159:
1157:
1153:
1147:
1144:
1142:
1139:
1137:
1136:Walk and talk
1134:
1132:
1129:
1127:
1124:
1122:
1119:
1117:
1114:
1112:
1109:
1107:
1104:
1100:
1097:
1096:
1095:
1092:
1090:
1087:
1085:
1082:
1081:
1079:
1075:
1065:
1062:
1060:
1057:
1055:
1052:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1021:
1019:
1017:
1013:
1007:
1003:
1000:
998:
995:
993:
990:
988:
982:
980:
977:
975:
972:
971:
968:
965:
961:
955:
952:
950:
947:
945:
942:
940:
937:
935:
932:
930:
927:
926:
924:
920:
917:
915:
911:
903:
902:Sound effects
900:
898:
895:
893:
890:
889:
888:
885:
883:
880:
879:
877:
875:
871:
865:
862:
860:
857:
855:
852:
850:
847:
845:
842:
840:
837:
835:
832:
830:
827:
825:
822:
820:
817:
815:
812:
810:
807:
806:
804:
802:
798:
794:
787:
782:
780:
775:
773:
768:
767:
764:
753:
744:
729:
727:9781351803526
723:
719:
718:
710:
703:
701:
694:
690:
684:
677:
671:
669:
667:
659:
653:
649:
640:
637:
635:
632:
630:
627:
625:
622:
620:
617:
616:
610:
608:
604:
600:
599:
594:
590:
589:
584:
580:
579:
574:
570:
565:
563:
562:
557:
556:Robert Altman
553:
552:
551:Touch of Evil
547:
543:
539:
538:
533:
529:
528:
527:The Godfather
523:
519:
514:
512:
508:
507:
502:
501:
495:
490:
480:
478:
472:
463:
451:
447:
443:
439:
436:
432:
429:
425:
422:
418:
414:
410:
409:
400:
396:
393:
389:
385:
384:point of view
381:
377:
374:
370:
367:
363:
358:
354:
351:
347:
343:
340:
336:
335:
333:
332:Camera angles
330:
329:
328:
310:
305:
298:
293:
286:
281:
274:
269:
262:
257:
250:
245:
238:
233:
232:
220:
216:
212:
211:
206:
202:
199:
195:
191:
187:
183:
180:
176:
175:American shot
172:
169:
165:
164:
163:
157:
154:
150:
147:
144:
140:
137:
134:
130:
127:
123:
119:
118:
117:
115:
111:
110:angle of view
107:
103:
102:field of view
96:By field size
93:
90:
83:
81:
68:
64:
61:
60:
59:
57:
53:
49:
45:
41:
37:
33:
29:
22:
1607:Film editing
1572:Split screen
1567:Smallgantics
1557:Match moving
1365:Pyrotechnics
1315:Animatronics
1155:Lens effects
1016:Camera angle
1004: /
913:
887:Non-diegetic
752:
743:
731:. Retrieved
716:
709:
698:
683:
675:
657:
652:
619:Camera angle
596:
586:
576:
566:
559:
549:
546:Orson Welles
535:
525:
515:
504:
499:
496:
492:
477:film editing
474:
471:Film editing
457:Film editing
442:camera dolly
387:
383:
380:reverse shot
326:
290:*Medium shot
218:
215:Sergio Leone
208:
161:
106:focal length
99:
91:
89:
80:machine guns
77:
67:film editing
35:
25:
1577:Stop motion
1552:Introvision
1532:Compositing
1522:Bullet time
1504:Stop motion
1492:Slow motion
1487:Fast motion
1432:Lens flares
1407:Bullet time
1380:Sugar glass
1370:Rubber mask
1304:wire-flying
1210:Master shot
1064:Dutch angle
974:Perspective
756:Ascher, 346
506:Russian Ark
435:insert shot
421:master shot
339:aerial shot
143:medium shot
52:transitions
1596:Categories
1527:Chroma key
1482:Time-lapse
1447:Filtration
1412:Dolly zoom
1340:Kitbashing
1146:Dolly zoom
1044:Crane shot
1039:Bird's-eye
1034:High-angle
922:Field size
897:Film score
839:Lens flare
809:Background
733:August 11,
645:References
629:Filmmaking
624:Film frame
607:flashbacks
561:The Player
487:See also:
350:crane shot
254:*Long shot
219:field size
28:filmmaking
1547:Go motion
1472:Slit-scan
1394:In-camera
1293:Practical
1225:Long take
1131:SnorriCam
1126:Steadicam
1106:Hand-held
1054:Low-angle
892:Narration
854:Rembrandt
593:Béla Tarr
518:long cuts
511:long take
489:Long take
446:Steadicam
302:*Close-up
133:full shot
122:long shot
74:Etymology
1360:Puppetry
1230:One-shot
1116:Tracking
1099:Whip pan
1049:Jib shot
954:Two shot
944:Close-up
934:American
914:Shooting
882:Diegetic
829:High-key
801:Lighting
693:Archived
613:See also
598:Serenity
520:include
500:The Mist
483:Duration
399:two shot
153:close-up
1536:digital
1534: (
1402:Bipacks
1349:hanging
1347: (
1302: (
1189:Zooming
1177:Shallow
1167:Racking
1094:Panning
1089:Tilting
992:Reverse
949:Italian
844:Low-key
702:89.9 FM
588:Solaris
569:Russian
1514:Visual
1235:Insert
1215:B-roll
1141:Follow
1029:Aerial
1002:Single
939:Medium
724:
450:gimbal
416:other,
48:angles
46:where
40:frames
1162:Focus
1121:Dolly
1111:Shaky
997:Trunk
986:(POV)
874:Sound
859:Stage
824:Flood
814:Cameo
198:1940s
194:1930s
44:movie
1182:Deep
1024:Tilt
864:Soft
849:Mood
819:Fill
735:2023
722:ISBN
700:KCRW
634:Take
542:reel
537:Rope
433:the
426:the
419:the
411:the
397:the
386:and
378:the
371:the
364:the
355:the
344:the
337:the
196:and
173:the
166:the
151:the
141:the
131:the
120:the
56:cuts
54:and
36:shot
34:, a
30:and
21:Shot
834:Key
575:'s
558:'s
548:'s
534:'s
524:'s
448:or
213:by
184:in
65:In
26:In
1598::
691:.
665:^
609:.
591:.
564:.
394:),
352:),
334::
50:,
1538:)
1351:)
1306:)
1277:e
1270:t
1263:v
785:e
778:t
771:v
737:.
375:,
368:,
359:,
341:,
221:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.