Camera techniques

These are different types of shots and angles and their meanings.

Long shot (LS) - A shot that shows all of a fairly large subject (e.g. a person) and usually much of the surroundings. This is useful to give a perspective and context for a scene, for example a long shot of a robot framed in a laboratory would give a different interpretation of events to a shot of the same robot framed in an old people's home.

Extreme long shot (ELS) - Sometimes used as an establishing shot. In this type of shot the furthest distance from the subject, emphasising the background and reducing the importance of the subject. For example, the use of an ELS at the beginning of a round in the weakest link acts as a marker to differentiate the new round and to start the build-up of tension to he end of that round, while also indicating how many contestants are left, how dependant they are on Anne Robinson, who is centre frame and raised above contestants (back to audience), reduces size and thus importance of individuals against the set, and so forth.

Establishing shot (ES) - Used at the beginning of a sequence to define the location and to give the audience a perspective on the action to come. At the beginning of the weakest link we see a shot of the studio, fully lit, with the contestants waiting; this sets the context for the show to follow.

Master shot (MS) - Used at the beginning of a sequence as a reference point for the rest of the sequence to follow. It shows the composition and the key relationships between the subjects and enables the audience to contextualise the action before it happens.

Medium long shot (MLS) - In case of a standing actor, the lower frame line cuts off his feet and ankles.

Mid-shot (MS) - In such a shot the subject and its setting occupy roughly equal areas in the frame. In the case of standing actor, the lower frame passes through the waist. More body language can be seen as the face, chest and hands are in frame.

Close-up (CU) - A picture that shows a fairly small part of the scene, such as a character's face and neck, in great detail so that it fills the screen. It abstracts the subject from the context. There are also: MCU (medium close-up) - head and shoulders; BCU (big close-up, sometimes referred to as extreme close-up), ECU - forehead to chin.
Close-ups focus on emotions or reactions, and are sometimes used in chat shows to show people in a state of emotional excitement, grief or joy. BCUs are rarely used in quiz or chat shows; MCUs are less intense, the camera maintaining a sense of distance and thus maintaining a sense of dignity for the guest.

Angle of shot - conventionally, in 'factual' programmes, the subjects should be framed at eye-level only. In a high angle the camera looks down, making the viewer feel more powerful than those on screen, or suggesting an air of detachment. A low-angled shot places the camera below the subject, exaggerating his or her importance.

Point-of-view (POV) - A shot made from a camera position close to the line of sight of a subject, to imply that the camera is 'looking with their eyes'. This is a very rare device for quiz/game/chat shows, but it can be effective, such as the POV used to imply the viewer is a member of the audience at the beginning of the Jerry Springer show, or the POV that shows us Jen's 'defenceless position' as she watches the slaughter of her bodyguards by Dark Cloud in Crouching Tiger, Hidden Dragon.

These are different types of camera movement and their meanings.

Zoom - When zooming in the camera does not move; the lens is focused down from a long shot to a close-up whilst recording. The subject grows in the frame, and attention is concentrated on details previously invisible as the shot tightens. It may be used to surprise the viewer. Reverse zoom reveals more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widen. Zooming is unusual because of the possible disorientating effects.

Tracking (dollying) - When tracking, the camera itself moves (smoothly) towards or away from the subject while the focus remains constant. Tracking in (like zooming) draws the audience into a closer relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert attention to the edges of the screen. The speed of tracking may affect the viewer's mood. Fast tracking (especially when tracking in) is exciting; something such as the expression of a contestant. During chase sequences the camera will often 'track' with the action to emphasise the sense of speed.

Pan - The camera moves from right to left or left to right (often to follow a moving subject). A space is left in front of the subject to ensure that the seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject.

Hand-held camera - A hand-held camera can produce a jerky, bouncy, unsteady image, which may create a sense of immediacy or chaos. The hand-held cameras on stage during confrontations on the Jerry Springer show add to the tension being built with their unsteady images.

Steadicam - The steadicam is a hand-held camera worn as a kind of harness by the (highly skilled) cameraman. It uses a gyroscope system to ensure the camera remains perfectly level and smooth as the cameraman moves. For example, a steadicam was used at the beginning of Gladiator to film the battle scene, so the camera could be within the action to engage the audience more directly.