1288:
87:: Also called the "triple-take method", the camera shoots initial action in the scene (usually a wide shot), and then the action is paused or repeated to allow a different camera angle and lighting set-up. This is similar to coverage, but without a master shot. Infrequently used, this type of cinematography is useful where an action cannot be repeated (such as when an item is destroyed at the end of the scene).
282:. The scene involved a battle between two large armies on a frozen lake. During the battle, the ice breaks up and one of the armies falls into the frigid water. A lack of time and other issues left the director just two days to film what should have taken seven to ten production days. The first day was spent filming panorama shots of the approaching armies. The second day was spent filming the battle.
206:
coverage, the dialogue or action needs to stop and the cinematographer needs to hold the shot for a second or two. This gives the editor the ability to choose where to end the scene. If the insert comes before the beginning of dialogue or action, the cinematographer should begin filming a second or two early (creating what is known as a "clean frame") for the editor to work with.
130:. More coverage is needed when filming explosions or stunts, as these are extremely difficult to replicate exactly. A single actor's performance which is particularly difficult, or a scene which has a large number of characters, will usually require more coverage than a two-person scene with simple dialogue.
252:
The cut-in/cut-out shot is another useful coverage shot. After the master shot is taken, a medium shot from the same angle is photographed. The editor can cut back and forth between the two shots. The cut-in or cut-out helps to cover the edit when dialogue is edited out ("compressed"), can be used by
285:
Buff discovered that although principal shots of the main actors had been filmed, little other coverage was included. Close-ups of the main actors, shots of ranks of archers firing arrows, volleys of arrows in flight, medium and close-up shots of men in battle, soldiers dying in battle, and even the
205:
The director and editor generally understand that the master shot will be chopped into pieces and other shots inserted in order to create the final cut. Coverage also involves shooting enough extra film to allow the editor to find cutting points. At those points where the director intends to insert
165:
Editors use coverage to overcome problems with visualization and storytelling. A good editor has a strong aesthetic sense, a complete understanding of the technical aspects of filmmaking, and a solid ability to tell a story. An editor uses these skills to diagnose problems with a scene, and correct
225:
When applied to the freeform method, coverage takes the form of a dialogue pass, reaction pass, and freeform pass. In the dialogue pass, the camera remains focused on whoever is talking or where the action is. In the reaction pass, the camera focuses only on the person listening or reacting to the
248:
Cutaway shots are considered part of coverage. These are images other than the principal action or dialogue. "A cutaway can be a reaction shot, what a character is seeing, a piece of the environment, or an object." Cutaway shots can be used when coverage is lacking, but they can also be integral
157:
theory of filmmaking. Veteran feature film editor John
Rosenberg has argued, however, that moving away from the "Hollywood style" and studio system has led to lower-quality cinematography. In his opinion, coverage is too limited, takes end without clearing a frame,
226:
speaker, or on those watching the action. In the freeform pass, the cinematographer chooses what to focus on: the speaker, the reactor, a wide shot, a close-up, or whatever seems appropriate. These three passes give the editor flexibility in building up the scene.
181:
In the master scene method, the script and the master shot are the "road map" which the editor uses to craft the scene. The master shot is filmed first, since coverage must match what occurs in the master. Coverage consists of all the other
339:, the director's job is to break the script down into a list of shots. Directors tend to focus on shooting these shots, eliciting performances from their actors, and creating interesting visuals. Few directors are trained to shoot coverage.
221:
In the freeform method, the cinematographer almost always keeps the camera focused on the individual who is speaking, or the primary action. Even if the scene is shot multiple times, this leaves almost no variation in each take.
202:. "Call" (the shot of the first actor, item, space) and "answer" (shots of the next actor, item, or space) shots use the same lens size and focus distance, so that things in the shot retain a consistent distance from the camera.
58:
The coverage technique involves shooting from more positions than will be used in the final film, allowing the director to choose shots during the editing process. This avoids the need to bring back cast and crew for later
67:, and rehearsed films may find a need for coverage. Coverage also allows the editor to take control of a performance, adjusting the timing so that the audience's needs (rather than those of the director or actor) are met.
126:
of the scene, to refocus the scene on different images, or even to use different takes. Coverage also allows the editor to get around mistakes in cinematography, the lack of clean frames, or
149:
from several different angles. This gave the director and editor, as well as producers and studio executives, the maximum amount of freedom in cutting the film. Since the demise of the
145:, collectively known as the "Hollywood style", dictated coverage. Directors and cinematographers were explicitly taught to capture a master shot, medium shots, close-ups, and
623:
111:: Also called "documentary style", even when the story is fiction, the camera is hand-held and the image shows the shakiness of an unstabilized hand-held camera.
173:" (also known as "rushes"). These are all the shots from the prior day which the director saw fit to print. Not all coverage has to be used in the final cut.
81:, to create the "master shot". In complex scenes, "mini-master shots" may be created instead. Coverage is then used to create other shots of the scene.
63:
and reshoots if the director is unsatisfied with the results from the camera positions that were originally planned. Even meticulously preplanned,
1324:
1816:
294:, reaction shots, and more. Luckily, the main unit was able to schedule time to film the close-ups and reaction shots against a
245:
is one kind of coverage shot. It helps to place the viewer in a physical context, and avoid a claustrophobic feel to the film.
286:
ice breaking apart were missing. None of the shots in the dailies were in narrative order. Buff was able to piece together a
118:
The amount and kind of coverage is generally determined by the director in consultation with the cinematographer during the
1178:
792:
2147:
613:
2142:
1317:
761:
740:
719:
698:
677:
260:
While coverage is generally thought of in terms of shots and angles, coverage may also include the use of different
290:
using what limited coverage he had. Buff then indicated to the director shots that were missing: Needed close-ups,
1364:
1427:
105:, this is similar to the master scene method, but is planned and shot without the intention of using coverage.
1809:
1310:
955:
1422:
1207:
711:
The Art of Motion
Picture Editing: An Essential Guide to Methods, Principles, Processes, and Terminology
2082:
1624:
1195:
134:
2112:
1108:
933:
159:
1802:
916:
785:
253:
the director or editor to choose the best performance by an actor, and can even serve as a form of
47:
1514:
1268:
1053:
278:
153:, coverage has taken on less importance in terms of crafting a scene due to the emphasis on the
1875:
1519:
1200:
2007:
1546:
1058:
1043:
1000:
1967:
1729:
1333:
1238:
1212:
1155:
995:
146:
60:
2002:
198:, and others—required by the director to tell the story. All of these shots must obey the
169:
In feature film production, coverage is delivered every day to the editor in the form of "
8:
2076:
1987:
1775:
1542:
960:
864:
778:
314:
team then spent extra time and money transforming these shots into acceptable coverage.
162:
is poorly thought through, lighting is poor, and shots setting up the scene are sparse.
2017:
1957:
1865:
1850:
1599:
1579:
1524:
1394:
1273:
970:
881:
666:
618:
291:
191:
138:
127:
1982:
1895:
1889:
1760:
1745:
1532:
1454:
1369:
1165:
1048:
965:
859:
757:
736:
715:
694:
673:
242:
195:
142:
115:
Coverage is part of the master scene method, and may be used in the freeform method.
730:
1977:
1962:
1934:
1925:
1885:
1860:
1833:
1646:
1634:
1384:
1349:
1243:
1173:
1076:
1071:
1022:
950:
911:
809:
690:
Cinematography: Theory and
Practice: Imagemaking for Cinematographers and Directors
123:
35:
2102:
1992:
1574:
1217:
1095:
923:
854:
751:
709:
688:
614:"HOLLYWOOD USAGE Experts Analyze the Pros and Cons Of Time-Tested 'Master' Scene"
307:
276:
has discussed the use of coverage in a critical scene in the 2004 motion picture
210:
199:
94:
43:
122:
stage. Coverage provides the director and editor with the ability to change the
2054:
1997:
1915:
1840:
1825:
1712:
1702:
1594:
1399:
1354:
1341:
1143:
1133:
1081:
1005:
903:
871:
817:
311:
303:
273:
119:
2136:
2037:
1870:
1770:
1717:
1707:
1676:
1656:
1629:
1564:
1474:
1389:
1258:
1150:
893:
844:
822:
150:
2107:
2097:
1905:
1855:
1661:
1651:
1589:
1556:
1489:
1442:
1190:
1138:
1103:
1063:
1015:
876:
834:
261:
249:
elements of coverage designed to implement the visualization of the scene.
77:: The scene is shot from beginning to end, usually but not always using a
2117:
2092:
2072:
2062:
2044:
2032:
2027:
1947:
1920:
1910:
1844:
1750:
1681:
1604:
1569:
1479:
1292:
1263:
1253:
1185:
1010:
938:
849:
336:
299:
187:
39:
2067:
2022:
1972:
1952:
1880:
1722:
1686:
1584:
1537:
1437:
1404:
1379:
1359:
1302:
1233:
1128:
1118:
1113:
982:
928:
888:
839:
827:
801:
753:
The
Healthy Edit: Creative Editing Techniques for Perfecting Your Movie
295:
64:
31:
2087:
2012:
1765:
1671:
1666:
1469:
1432:
1374:
990:
943:
287:
254:
235:
78:
1900:
1639:
1494:
1484:
1123:
668:
The
Filmmaker's Handbook: A Comprehensive Guide for the Digital Age
183:
137:, a coherent style of acting, direction, editing, cinematography,
1027:
170:
27:
1942:
1755:
643:
641:
154:
1414:
770:
302:
filmed medium shots on a soundstage with a water tank, using
638:
1248:
566:
564:
562:
560:
485:
461:
238:
master shot looks static and stagey to modern audiences.
521:
509:
473:
451:
449:
368:
366:
364:
362:
360:
358:
356:
557:
533:
310:
to capture battle scene and ice break-up elements. The
595:
593:
591:
545:
390:
176:
93:: Also called the "developing master", "oner", or (in
446:
436:
434:
432:
419:
417:
402:
378:
353:
588:
576:
665:
497:
429:
414:
216:
70:There are generally four types of cinematography:
2134:
611:
1810:
1318:
786:
53:
1036:
663:
467:
1817:
1803:
1325:
1311:
793:
779:
749:
647:
570:
539:
527:
515:
491:
396:
209:Coverage may also include the filming of
1332:
707:
551:
479:
455:
384:
372:
257:that serves to place action in context.
664:Ascher, Steven; Pincus, Edward (2007).
2135:
626:from the original on November 10, 2023
234:Coverage shots are needed because the
1798:
1306:
774:
728:
686:
599:
582:
503:
440:
423:
408:
612:Schumach, Murray (August 28, 1960).
16:Concept in film and video production
1824:
213:to introduce or help exit a scene.
177:Coverage in the master scene method
13:
657:
14:
2159:
229:
1286:
30:shot used to capture a scene in
605:
329:
217:Coverage in the freeform method
800:
1:
317:
714:. New York: Allworth Press.
26:, is the amount and kind of
7:
10:
2164:
2148:Film and video terminology
2083:Computer-generated imagery
1625:Unchained camera technique
708:LoBrutto, Vincent (2012).
267:
54:Coverage in cinematography
2143:Film and video technology
2053:
1933:
1832:
1788:
1738:
1695:
1617:
1555:
1510:
1503:
1462:
1453:
1413:
1340:
1282:
1226:
1164:
1094:
981:
902:
808:
750:Rosenberg, John (2018).
468:Ascher & Pincus 2007
693:. New York: Routledge.
135:Golden Age of Hollywood
75:The master scene method
1876:Dead-character costume
756:. New York: Rutledge.
1547:multiple-camera setup
1001:Principal photography
729:Mamet, David (1991).
687:Brown, Blair (2016).
166:them using coverage.
1968:Infrared photography
1334:Cinematic techniques
1239:Guerrilla filmmaking
1213:Digital distribution
1156:Digital intermediate
996:Cinematic techniques
735:. New York: Viking.
961:Production schedule
672:. New York: Plume.
650:, pp. 105–106.
292:point-of-view shots
192:point-of-view shots
2018:Tilted plane focus
1958:Forced perspective
1866:Costumed character
1851:Air bladder effect
1470:Wide / Long / Full
1274:First-dollar gross
619:The New York Times
196:shot reverse shots
139:theatrical realism
85:Overlapping method
2130:
2129:
2126:
2125:
2003:SchĂĽfftan process
1983:Multiple exposure
1896:Prosthetic makeup
1784:
1783:
1761:Freeze-frame shot
1746:Establishing shot
1613:
1612:
1520:Over-the-shoulder
1300:
1299:
1090:
1089:
966:Shooting schedule
732:On Directing Film
494:, pp. 91–92.
482:, pp. 17–18.
411:, pp. 66–71.
243:establishing shot
143:production design
128:continuity errors
42:uses coverage in
2155:
2103:Optical printing
1978:Lighting effects
1963:Front projection
1926:Theatrical blood
1886:Miniature effect
1861:Bullet hit squib
1819:
1812:
1805:
1796:
1795:
1739:Other techniques
1528:
1508:
1507:
1504:Camera placement
1460:
1459:
1327:
1320:
1313:
1304:
1303:
1291:
1290:
1289:
1244:Development hell
1174:Film distributor
1077:Costume designer
1054:Daily production
1034:
1033:
1028:Dailies (rushes)
1023:Daily call sheet
951:Production board
912:Script breakdown
795:
788:
781:
772:
771:
767:
746:
725:
704:
683:
671:
651:
645:
636:
635:
633:
631:
609:
603:
597:
586:
580:
574:
568:
555:
549:
543:
537:
531:
525:
519:
513:
507:
501:
495:
489:
483:
477:
471:
465:
459:
453:
444:
438:
427:
421:
412:
406:
400:
394:
388:
382:
376:
370:
340:
333:
308:stunt performers
211:transition shots
46:to assemble the
36:video production
2163:
2162:
2158:
2157:
2156:
2154:
2153:
2152:
2133:
2132:
2131:
2122:
2049:
2008:Shutter effects
1993:Rear projection
1929:
1828:
1826:Special effects
1823:
1794:
1780:
1734:
1691:
1618:Camera movement
1609:
1600:Worm's-eye view
1551:
1526:
1499:
1449:
1409:
1336:
1331:
1301:
1296:
1293:Film portal
1287:
1285:
1278:
1222:
1218:Streaming media
1160:
1134:Special effects
1096:Post-production
1086:
1032:
977:
956:Day out of days
924:Shooting script
898:
855:film adaptation
804:
799:
764:
743:
722:
701:
680:
660:
658:Further reading
655:
654:
646:
639:
629:
627:
610:
606:
598:
589:
581:
577:
569:
558:
550:
546:
538:
534:
526:
522:
514:
510:
502:
498:
490:
486:
478:
474:
466:
462:
454:
447:
439:
430:
422:
415:
407:
403:
395:
391:
383:
379:
371:
354:
344:
343:
334:
330:
320:
270:
232:
219:
200:180-degree rule
179:
56:
44:post-production
20:Camera coverage
17:
12:
11:
5:
2161:
2151:
2150:
2145:
2128:
2127:
2124:
2123:
2121:
2120:
2115:
2110:
2105:
2100:
2095:
2090:
2085:
2080:
2070:
2065:
2059:
2057:
2051:
2050:
2048:
2047:
2042:
2041:
2040:
2035:
2030:
2020:
2015:
2010:
2005:
2000:
1998:Reverse motion
1995:
1990:
1985:
1980:
1975:
1970:
1965:
1960:
1955:
1950:
1945:
1939:
1937:
1931:
1930:
1928:
1923:
1918:
1916:Matte painting
1913:
1908:
1903:
1898:
1893:
1883:
1878:
1873:
1868:
1863:
1858:
1853:
1848:
1841:Aerial rigging
1838:
1836:
1830:
1829:
1822:
1821:
1814:
1807:
1799:
1793:
1792:
1789:
1786:
1785:
1782:
1781:
1779:
1778:
1773:
1768:
1763:
1758:
1753:
1748:
1742:
1740:
1736:
1735:
1733:
1732:
1727:
1726:
1725:
1720:
1715:
1713:Depth of field
1710:
1699:
1697:
1693:
1692:
1690:
1689:
1684:
1679:
1674:
1669:
1664:
1659:
1654:
1649:
1644:
1643:
1642:
1632:
1627:
1621:
1619:
1615:
1614:
1611:
1610:
1608:
1607:
1602:
1597:
1592:
1587:
1582:
1577:
1572:
1567:
1561:
1559:
1553:
1552:
1550:
1549:
1540:
1535:
1530:
1525:Point-of-view
1522:
1517:
1511:
1505:
1501:
1500:
1498:
1497:
1492:
1487:
1482:
1477:
1472:
1466:
1464:
1457:
1451:
1450:
1448:
1447:
1446:
1445:
1440:
1435:
1425:
1419:
1417:
1411:
1410:
1408:
1407:
1402:
1397:
1392:
1387:
1382:
1377:
1372:
1367:
1362:
1357:
1352:
1346:
1344:
1338:
1337:
1330:
1329:
1322:
1315:
1307:
1298:
1297:
1283:
1280:
1279:
1277:
1276:
1271:
1266:
1261:
1256:
1251:
1246:
1241:
1236:
1230:
1228:
1224:
1223:
1221:
1220:
1215:
1210:
1205:
1204:
1203:
1198:
1193:
1183:
1182:
1181:
1170:
1168:
1162:
1161:
1159:
1158:
1153:
1148:
1147:
1146:
1141:
1131:
1126:
1121:
1116:
1111:
1106:
1100:
1098:
1092:
1091:
1088:
1087:
1085:
1084:
1082:Make-up artist
1079:
1074:
1069:
1066:
1061:
1056:
1051:
1046:
1044:Film inventory
1040:
1038:
1031:
1030:
1025:
1020:
1019:
1018:
1013:
1008:
1006:Cinematography
998:
993:
987:
985:
979:
978:
976:
975:
974:
973:
963:
958:
953:
948:
947:
946:
941:
931:
926:
921:
920:
919:
908:
906:
904:Pre-production
900:
899:
897:
896:
891:
886:
885:
884:
874:
872:Film budgeting
869:
868:
867:
862:
857:
852:
847:
837:
832:
831:
830:
820:
818:Film treatment
814:
812:
806:
805:
798:
797:
790:
783:
775:
769:
768:
762:
747:
741:
726:
720:
705:
699:
684:
678:
659:
656:
653:
652:
648:Rosenberg 2018
637:
604:
587:
575:
571:Rosenberg 2018
556:
544:
540:Rosenberg 2018
532:
530:, p. 104.
528:Rosenberg 2018
520:
518:, p. 106.
516:Rosenberg 2018
508:
496:
492:Rosenberg 2018
484:
472:
470:, p. 325.
460:
445:
428:
413:
401:
397:Rosenberg 2018
389:
377:
351:
350:
349:
348:
342:
341:
327:
326:
325:
324:
319:
316:
312:visual effects
269:
266:
231:
230:Coverage shots
228:
218:
215:
178:
175:
120:pre-production
113:
112:
106:
88:
82:
55:
52:
15:
9:
6:
4:
3:
2:
2160:
2149:
2146:
2144:
2141:
2140:
2138:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2078:
2074:
2071:
2069:
2066:
2064:
2061:
2060:
2058:
2056:
2052:
2046:
2043:
2039:
2038:Speed ramping
2036:
2034:
2031:
2029:
2026:
2025:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1979:
1976:
1974:
1971:
1969:
1966:
1964:
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1940:
1938:
1936:
1932:
1927:
1924:
1922:
1919:
1917:
1914:
1912:
1909:
1907:
1904:
1902:
1899:
1897:
1894:
1891:
1887:
1884:
1882:
1879:
1877:
1874:
1872:
1871:Creature suit
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
1846:
1842:
1839:
1837:
1835:
1831:
1827:
1820:
1815:
1813:
1808:
1806:
1801:
1800:
1797:
1791:
1790:
1787:
1777:
1774:
1772:
1769:
1767:
1764:
1762:
1759:
1757:
1754:
1752:
1749:
1747:
1744:
1743:
1741:
1737:
1731:
1728:
1724:
1721:
1719:
1716:
1714:
1711:
1709:
1706:
1705:
1704:
1701:
1700:
1698:
1694:
1688:
1685:
1683:
1680:
1678:
1677:Walk and talk
1675:
1673:
1670:
1668:
1665:
1663:
1660:
1658:
1655:
1653:
1650:
1648:
1645:
1641:
1638:
1637:
1636:
1633:
1631:
1628:
1626:
1623:
1622:
1620:
1616:
1606:
1603:
1601:
1598:
1596:
1593:
1591:
1588:
1586:
1583:
1581:
1578:
1576:
1573:
1571:
1568:
1566:
1563:
1562:
1560:
1558:
1554:
1548:
1544:
1541:
1539:
1536:
1534:
1531:
1529:
1523:
1521:
1518:
1516:
1513:
1512:
1509:
1506:
1502:
1496:
1493:
1491:
1488:
1486:
1483:
1481:
1478:
1476:
1473:
1471:
1468:
1467:
1465:
1461:
1458:
1456:
1452:
1444:
1443:Sound effects
1441:
1439:
1436:
1434:
1431:
1430:
1429:
1426:
1424:
1421:
1420:
1418:
1416:
1412:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1347:
1345:
1343:
1339:
1335:
1328:
1323:
1321:
1316:
1314:
1309:
1308:
1305:
1295:
1294:
1281:
1275:
1272:
1270:
1267:
1265:
1262:
1260:
1259:Film industry
1257:
1255:
1252:
1250:
1247:
1245:
1242:
1240:
1237:
1235:
1232:
1231:
1229:
1225:
1219:
1216:
1214:
1211:
1209:
1206:
1202:
1199:
1197:
1194:
1192:
1189:
1188:
1187:
1184:
1180:
1177:
1176:
1175:
1172:
1171:
1169:
1167:
1163:
1157:
1154:
1152:
1151:Negative cost
1149:
1145:
1142:
1140:
1137:
1136:
1135:
1132:
1130:
1127:
1125:
1122:
1120:
1117:
1115:
1112:
1110:
1107:
1105:
1102:
1101:
1099:
1097:
1093:
1083:
1080:
1078:
1075:
1073:
1070:
1067:
1065:
1062:
1060:
1057:
1055:
1052:
1050:
1047:
1045:
1042:
1041:
1039:
1037:Daily reports
1035:
1029:
1026:
1024:
1021:
1017:
1014:
1012:
1009:
1007:
1004:
1003:
1002:
999:
997:
994:
992:
989:
988:
986:
984:
980:
972:
969:
968:
967:
964:
962:
959:
957:
954:
952:
949:
945:
942:
940:
937:
936:
935:
932:
930:
927:
925:
922:
918:
915:
914:
913:
910:
909:
907:
905:
901:
895:
894:Working title
892:
890:
887:
883:
880:
879:
878:
875:
873:
870:
866:
863:
861:
858:
856:
853:
851:
848:
846:
843:
842:
841:
838:
836:
833:
829:
826:
825:
824:
821:
819:
816:
815:
813:
811:
807:
803:
796:
791:
789:
784:
782:
777:
776:
773:
765:
763:9781138233799
759:
755:
754:
748:
744:
742:9780670830336
738:
734:
733:
727:
723:
721:9781581158816
717:
713:
712:
706:
702:
700:9781138940925
696:
692:
691:
685:
681:
679:9780452286788
675:
670:
669:
662:
661:
649:
644:
642:
625:
621:
620:
615:
608:
602:, p. 68.
601:
596:
594:
592:
585:, p. 67.
584:
579:
573:, p. 92.
572:
567:
565:
563:
561:
554:, p. 69.
553:
552:LoBrutto 2012
548:
542:, p. 91.
541:
536:
529:
524:
517:
512:
505:
500:
493:
488:
481:
480:LoBrutto 2012
476:
469:
464:
458:, p. 17.
457:
456:LoBrutto 2012
452:
450:
443:, p. 71.
442:
437:
435:
433:
426:, p. 66.
425:
420:
418:
410:
405:
399:, p. 69.
398:
393:
387:, p. 34.
386:
385:LoBrutto 2012
381:
375:, p. 18.
374:
373:LoBrutto 2012
369:
367:
365:
363:
361:
359:
357:
352:
346:
345:
338:
335:According to
332:
328:
322:
321:
315:
313:
309:
305:
301:
297:
293:
289:
283:
281:
280:
275:
265:
263:
262:focal lengths
258:
256:
250:
246:
244:
239:
237:
227:
223:
214:
212:
207:
203:
201:
197:
193:
189:
185:
174:
172:
167:
163:
161:
156:
152:
151:studio system
148:
144:
141:, sound, and
140:
136:
131:
129:
125:
121:
116:
110:
107:
104:
103:plan-sequence
100:
96:
92:
91:In-One Method
89:
86:
83:
80:
76:
73:
72:
71:
68:
66:
62:
51:
49:
45:
41:
37:
33:
29:
25:
21:
2113:Split screen
2108:Smallgantics
2098:Match moving
1906:Pyrotechnics
1856:Animatronics
1696:Lens effects
1557:Camera angle
1545: /
1428:Non-diegetic
1284:
1186:Film release
1166:Distribution
1109:Re-recording
1104:Film editing
1016:Videographer
877:Film finance
835:Step outline
752:
731:
710:
689:
667:
628:. Retrieved
617:
607:
578:
547:
535:
523:
511:
506:, p. 5.
499:
487:
475:
463:
404:
392:
380:
331:
284:
277:
271:
259:
251:
247:
240:
233:
224:
220:
208:
204:
188:medium shots
180:
168:
164:
132:
117:
114:
108:
102:
98:
90:
84:
74:
69:
65:storyboarded
57:
23:
19:
18:
2118:Stop motion
2093:Introvision
2073:Compositing
2063:Bullet time
2045:Stop motion
2033:Slow motion
2028:Fast motion
1973:Lens flares
1948:Bullet time
1921:Sugar glass
1911:Rubber mask
1845:wire-flying
1751:Master shot
1605:Dutch angle
1515:Perspective
1264:Film rights
1254:Filmography
1011:Videography
939:Scenography
850:spec script
810:Development
337:David Mamet
300:second unit
296:greenscreen
279:King Arthur
274:Conrad Buff
160:composition
40:film editor
2137:Categories
2068:Chroma key
2023:Time-lapse
1988:Filtration
1953:Dolly zoom
1881:Kitbashing
1687:Dolly zoom
1585:Crane shot
1580:Bird's-eye
1575:High-angle
1463:Field size
1438:Film score
1380:Lens flare
1350:Background
1269:Turnaround
1234:Box office
1119:Soundtrack
1114:Sync sound
1072:Editor log
1049:Production
983:Production
929:Storyboard
889:Greenlight
840:Screenplay
828:scriptment
802:Filmmaking
600:Brown 2016
583:Brown 2016
504:Mamet 1991
441:Brown 2016
424:Brown 2016
409:Brown 2016
318:References
99:plan-scene
32:filmmaking
2088:Go motion
2013:Slit-scan
1935:In-camera
1834:Practical
1766:Long take
1672:SnorriCam
1667:Steadicam
1647:Hand-held
1595:Low-angle
1433:Narration
1395:Rembrandt
991:Film crew
971:one-liner
944:Rehearsal
347:Citations
288:rough cut
255:match cut
236:long take
184:close-ups
79:wide shot
48:final cut
1901:Puppetry
1771:One-shot
1657:Tracking
1640:Whip pan
1590:Jib shot
1495:Two shot
1485:Close-up
1475:American
1455:Shooting
1423:Diegetic
1370:High-key
1342:Lighting
1208:Roadshow
1124:Timecode
1059:Progress
823:Producer
630:April 6,
624:Archived
147:cutaways
109:Freeform
24:coverage
2077:digital
2075: (
1943:Bipacks
1890:hanging
1888: (
1843: (
1730:Zooming
1718:Shallow
1708:Racking
1635:Panning
1630:Tilting
1533:Reverse
1490:Italian
1385:Low-key
1227:Related
1201:delayed
1196:limited
934:Casting
917:process
845:process
272:Editor
268:Example
171:dailies
133:In the
61:pickups
28:footage
2055:Visual
1776:Insert
1756:B-roll
1682:Follow
1570:Aerial
1543:Single
1480:Medium
1144:visual
865:Option
760:
739:
718:
697:
676:
304:extras
298:. The
182:shots—
155:auteur
124:pacing
95:French
38:. The
1703:Focus
1662:Dolly
1652:Shaky
1538:Trunk
1527:(POV)
1415:Sound
1400:Stage
1365:Flood
1355:Cameo
1139:sound
1129:Music
1064:Sound
882:pitch
323:Notes
22:, or
1723:Deep
1565:Tilt
1405:Soft
1390:Mood
1360:Fill
1249:Film
1191:wide
1179:list
1068:Cost
860:Hook
758:ISBN
737:ISBN
716:ISBN
695:ISBN
674:ISBN
632:2021
306:and
241:The
34:and
1375:Key
101:or
2139::
640:^
622:.
616:.
590:^
559:^
448:^
431:^
416:^
355:^
264:.
194:,
190:,
186:,
97:)
50:.
2079:)
1892:)
1847:)
1818:e
1811:t
1804:v
1326:e
1319:t
1312:v
794:e
787:t
780:v
766:.
745:.
724:.
703:.
682:.
634:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.