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When television entered the home in the 1960s, it was seen as a massive hit to the cinema industry and many saw it as the decline in cinema popularity. This in turn resulted in films having to stay ahead of television by incorporating superior quality than that of a television. This was done by adding color, but importantly it implemented the use of widescreen. This would allow a massive increase in space usable by the director, thus allowing an even wider shot for the viewer to witness more of any given shot.
134:, was released. Even though this wouldn't be considered a film in the current motion picture industry, it was a huge step towards complete motion pictures. It is arguable that it is very basic but it still remains that it was displayed as a wide angle as both the rider and horse are fully visible in the frame.
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This shot can be commonly mistaken for an establishing shot as it displays key characters and locations. However, it is actually a shot in which all relevant characters are in frame (usually for the whole duration of the scene), with inter-cut shots of other characters to shift focus. This is a very
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The subject is only just visible in the location. This can find a balance between a "wide shot" and an "extreme wide shot" by keeping an emphasis on both the characters and the environment, almost finding a harmony between the two of them. This enables the ability to use the benefits of both types,
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In the early 1900s, motion pictures evolved from short, minute long, screenings to becoming full-length motion pictures. More and more cinematic techniques appeared, resulting in the wide shot being less commonly used. However, it still remained as it is almost irreplaceable in what it can achieve.
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or through projectors. These early films also maintained a wide angle layout as it was the best way to keep everything visible for the viewer. Once motion pictures became more available in the 1890s, there were public screenings of many different films only being around a minute long, or even less.
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The subject comfortably takes up the whole frame. In the case of a person, head to toe. This usually achieves a clear physical representation of a character and can describe the surroundings as it is usually visible within the frame. This results in the audience having a desired (by the director)
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Modern films will now frequently use the different types of wide shots as they are a staple in filmmaking and are almost impossible to avoid unless deliberately chosen to. In the current climate of films, the technical quality of any given shot will appear with much better clarity which has given
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A shot typically used to display a location and is usually the first shot in a new scene. These establish the setting of a film, whether that is the physical location or the time period. Mainly it gives a sense of place to the film and brings the viewer to wherever the story requires them to
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The shot is so far away from the subject that they are no longer visible. This is used to create a sense of a character being lost or almost engulfed by the sheer size of their surroundings. This can result in a character being made small or insignificant due to their situation and/or
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life to some incredible shots from modern cinema. Also, given the quality of modern home entertainment mediums such as Blu-ray, 3D and Ultra HD Blu Rays, this has allowed the scope and size of any given frame to encompass more of the scene and environment in greater detail.
156:. Though unconfirmed as the first usage of this method, it is one of the earliest recorded examples. Once the introduction of new framing techniques were introduced, more and more styles were developed and used for the benefits they could provide that wide shots couldn't.
236:, there is a running image of a small girl trapped within a concentration camp wearing a red coat (the only colour in the film). She is frequently pictured in a wide shot format as a way to display both her and the horrific surroundings to build a disturbing contrast.
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contains an enormous number of extreme wide shots which successfully induced the feeling of scale of the lead in his surrounding and aesthetically dwarfed him due to his surroundings making him seem more vulnerable and weak.
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featured a practical stunt in which a large truck and trailer are flipped nose first. This is shot very far back to give the shot more clarity and to see the flip through its entirety as opposed to cutting midway through.
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useful method for retaining audience focus as most shots in this style refrain from using cuts and therefore will keep the performances and the dialogue in the forefront of what is going on for the duration of the scene.
287:, the protagonist Mark Watney is stranded on Mars and the film contains many wide shots. These are used to show the Martian landscape and give the character the sense of isolation that the film would want.
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This type of filmmaking was a result of filmmakers trying to retain the sense of the viewer watching a play in front of them, as opposed to just a series of pictures.
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that typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. These are typically shot now using
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Many directors are known for their use of the variety of wide shots. A key example of them is the frequent use of establishing shots and very wide shots in
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These films again adhered to the wide shot style. One of the first competitive filming techniques came in the form of the close-up, as
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by allowing the scale of the environment but also maintaining an element of focus on the character(s) or object(s) in frame.
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contains the use of a wide shot to show the dangerous scale of a boulder that is chasing the protagonist.
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Cinematography: Theory and
Practice, Image Making for Cinematographers and Directors
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trilogy, showing the vast New
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and extremely wide shots can use almost any camera type.
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Images from various films – many of which are wide shots
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128:. In 1878, one of the first true motion pictures,
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37:"Long shot" redirects here. For other uses, see
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545:"Cinematography: The Master Shot: Indie Tips"
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604:. New York: McGraw-Hill.
602:Film Art: An Introduction
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572:Film Studies For Dummies
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1511:Choreography
1497:Film editing
1446:Split screen
1441:Smallgantics
1431:Match moving
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1189:Animatronics
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890:Camera angle
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1254:Sugar glass
1244:Rubber mask
1178:wire-flying
1084:Master shot
938:Dutch angle
848:Perspective
460:10 November
405:10 November
322:Videography
284:The Martian
143:Kinetoscope
63:photography
1932:Categories
1582:Transition
1401:Chroma key
1356:Time-lapse
1321:Filtration
1286:Dolly zoom
1214:Kitbashing
1020:Dolly zoom
918:Crane shot
913:Bird's-eye
908:High-angle
796:Field size
771:Film score
713:Lens flare
683:Background
555:2016-11-10
549:Indie Tips
530:2016-11-10
486:2016-11-16
430:27 October
382:2016-11-16
360:August 11,
328:References
95:35 mm
67:filmmaking
1816:Long take
1752:Cross cut
1747:Smash cut
1727:Flashback
1639:Axial cut
1608:Long shot
1603:Match cut
1591:Insertion
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1167:Practical
1099:Long take
1005:SnorriCam
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928:Low-angle
766:Narration
728:Rembrandt
312:Long take
252:The 1962
83:long shot
79:full shot
75:wide shot
54:Cleopatra
50:1963 film
32:long take
18:Long shot
1692:Supercut
1651:Dissolve
1634:Jump cut
1598:Dialogue
1234:Puppetry
1104:One-shot
990:Tracking
973:Whip pan
923:Jib shot
828:Two shot
818:Close-up
808:American
788:Shooting
756:Diegetic
703:High-key
675:Lighting
495:cite web
291:See also
1852:Editing
1831:Footage
1687:Montage
1552:Cutaway
1504:Concept
1410:digital
1408: (
1276:Bipacks
1223:hanging
1221: (
1176: (
1063:Zooming
1051:Shallow
1041:Racking
968:Panning
963:Tilting
866:Reverse
823:Italian
718:Low-key
105:History
85:) is a
1836:B-roll
1740:Action
1661:Prelap
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1388:Visual
1109:Insert
1089:B-roll
1015:Follow
903:Aerial
876:Single
813:Medium
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1891:(NLE)
1670:Other
1547:Clues
1036:Focus
995:Dolly
985:Shaky
871:Trunk
860:(POV)
748:Sound
733:Stage
698:Flood
688:Cameo
168:Types
1792:Term
1771:Rule
1646:Wipe
1056:Deep
898:Tilt
738:Soft
723:Mood
693:Fill
606:ISBN
577:ISBN
507:help
462:2016
432:2017
407:2016
362:2023
349:ISBN
153:Hove
87:shot
73:, a
69:and
1629:Cut
708:Key
221:'s
201:be.
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