GUIDE

Storyboard
Storyboard notation
1. D.T.U./D.T.B: Digital Track Up/Digital Track Back. (or Layer track up/down)

STORYBOARD - THINGS TO CONSIDER

1. Mise en Scene
a. The essential placement (or arrangement) of things that inhabit the scene.
b. Adding descriptions of the scene
2. Camerawork
a. Zoom in/out
b. Pan
c. Scroll
3. Transition
a. Cut
b. Fade away
4. Sound

THE SHOT LIST

Every Shot Size

1) Establishing Shot
a) An Establishing shot is a crucial introductory component of any scene.
b) It can mark a transition to a new location.
i) Or introduce crucial details about the location or world.
2) Master Shot
a) Like the establishing shot
i) A master shot confirms the location and geography of the scene.
ii) It also clarifies which characters are in the scene and where they are in
relationship to each other.
b) The Master captures the scene playing out in its entirety providing the editor with
something to cut out if necessary.
3) Wide Shot
a) The Wide shot positions subjects far from the camera to visually represent their
relationship to their environment.
b) This is distinct from the establishing shot, which is about location.
 i) The Wide shot is principally concerned with the scale of the subject.
c) It can be used when you need to make subjects appear:
i) Lost, lonely, overwhelmed, or comment on a subject’s relationship to their
environment
d) Use it when you need to establish the spatial relationship of the subjects.
i) Make statements using distance, depth, or size.
4) Full Shot
a) When a subject's entire body reaches from top to the bottom edges of the frame
the shot is defined as Full.
b) With a Full shot, it’s not necessary to put the subject in the center of the frame,
but notice how often this is the case.
c) Use it when you need to make statements about:
i) subject’s physicality and present a character in all their glory.
5) Medium Full Shot / Cowboy
a) The medium full shot is arranged from top of the subject’s head to just below their
waist.
b) Use it when you need to present a subject as confident, dangerous or
confrontational.
i) Especially when weapons might be drawn.
6) Medium Shot
a) It’s more of a neutral shot.
i) Neither dramatic like a close-up or distancing like a wide shot.
b) It captures the subject to how we interact with people.
c) The typical composition of a medium shot.
i) starts above the waist, but below the chest and ends just the head.
d) Use it when you need to dig into a subject size without losing their physicality or
environment.
i) Or utilize a true middle-ground approach that is neither jarring nor
especially dramatic.
7) Medium Close up Shot
a) When a shot frames a subject from mid chest to just above their head.
b) Medium close ups are about:
i) reducing distraction and prioritizing story and character details.
c) Use it when you need to get intimate with a subject without losing their
physicality.
8) Close Up
a) The most powerful visual weapon for highlighting a change in emotion or
dramatic beat on screen.
b) Close ups are most often arranged at eye level better to dig into the windows of
the soul.
c) In this shot size we have a front row seat for a character’s thoughts and feelings.
d) The close up is about empathy and illustrates how dramatically effective it can be
in a time of decision or anxiety.
9) Extreme Close up Shot
 a) An Extreme Close up frames a subject to isolate a specific area.
i) This could be lips, ears, or nose but the eyes are typically the focus.
b) But when the function of a specific prop or an intimate detail is necessary.
i) Filmmakers will often rely on the insert shot.
ii) Inserts are most commonly used to highlight and isolate something crucial
to the narrative.
c) An extreme close up or an insert shot is one of the greatest tools for emphasis.
d) It is the most intimate, dramatic and potentially startling of all shot sizes.

Camera Framing: Shot Composition & Cinematography

techniques
1) Single shot
a) A single shot features 1 character alone in the frame.
b) The individual character is the primary focus.
c) There are two ways to frame a single.
i) A Clean Single
(1) Is when no part of any other character is visible in the frame.
(2) It is best used when you want to convey a character’s isolation.
ii) Dirty Single
(1) Includes a limited presence from another character in the frames.
d) NOTE: Don’t forget that singles, like all of the framing options can be combined
with any of the shot sizes whether it’s a: Close up, Medium shot or a Wide shot.
2) Two shot
a) When 2 characters are visible together in frame.
b) The orientation of the characters to one another can vary.
i) But to be considered Two-shot both faces must be clearly visible.
c) The Two-shot is all about creating visual relationships between 2 characters.
i) This relationship might be affectionate, contentious, or even imaginary.
d) NOTE: When more characters are added to the frame the terminology adjusts to
Three-shot, Four-shot, and so on.
i) Crowd shot ***A lot of characters in a single frame.
e) NOTE: Remember, that no matter how many characters you include in a single
frame.
i) You are creating a relationship between them.
3) Over the Shoulder (OTS)
a) The most common and useful way of covering a conversation.
b) An OTS-shot acts like a hybrid between a Single and a Two-shot.
i) Similar to a single, we’re often only focusing on a character at a time.
c) From these OTS-angles, we get perspective from both sides and a sense that we
are included in the moment.
4) Point of View (POV)
a) When you want the audience to experience the perspective of a character, it can
be effective to frame up a Point of View or POV-shot.
 b) The idea of the POV can cover a wide range of perspectives:
i) A person, an alien, a camera, a disembodied spirit or even a shark.
c) In many cases, a POV-shot is also paired with POV audio.
i) So we can see what they see and hear what they hear.
5) Insert shot
a) The Insert-shot is not just about going extremely tight on a detail.
b) The way the information is framed is often even more important than how
prominent it is on screen.
c) Insert can also be combined with POV-shot.
i) A first-person perspective.
ii) Third-person perspective
d) NOTE: The way you frame a shot helps guide the scene in desired direction.
i) Once you understand what you want to achieve in the scene, you can
decide how best to frame your subjects.

Ultimate Guide to Camera Angles: Every Camera Shot Explained

1) NOTE: If shot size and framing are used to isolate what we are looking at, camera
angles are all about how we are meant to perceive them.
a) That adds yet another layer of meaning to every shot.

Different types of Camera angles

1) Low angle
a) Any shot that finds itself below a subject’s eye line, looking up at them is a
Low-angle shot.
b) Low-angle shots are typically used to make a subject look more powerful.
i) Perfect for heroes and villains alike.
ii) The degree can be subtle or extreme.
2) High angle
a) While Low-angle shots can pump a character up, High-angle shots can beat
them down.
b) High and Low-angle shots are often paired in the same scene to heighten the
imbalance of power between subjects.
c) High angles are typically used to diminish a character.
i) Making them appear weak or vulnerable.
d) An extreme variation of the High-angle is the Aerial-shot.
i) Typically used to establish:
(1) environments, cities, landscapes
(2) Or to present characters moving through a larger world.
3) Overhead shot
a) When High-angles approach 90 degrees above the subject they become the
Overhead-shot
b) An Overhead-shot also known as a Bird’s-eye view or a God’s eye view finds the
camera directly above the subject shooting straight down.
c) Overhead-shots are great for showcasing complex movements.
 i) They could suggest a connection to the divine.
ii) Or to capture the horrific details of a crime scene.
4) Dutch angle
a) The Dutch-angle shot skews the horizontal axis of the frame for an off-kilter
image that produces a variety of effects.
b) A Dutch-angle can create a sense of:
i) Unease, mania, terror or bewilderment.
c) A dutch angle can also be used to magnify tension.
5) Eye-level shot
a) Shooting an Eye-level is perhaps the most commonly used camera height.
i) For the audience, it is the most natural height to regard a character.
b) An eye-level shot doesn’t impose judgement on a character in the way a High or
Low-angle shot does.
6) Shoulder-level shot
a) The lower position gives the illusion of a slightly Low-angle shot without its
heavier connotations.
b) Shoulder-level-shots are often used during conversations and frequently become
an Over-the-Shoulder shot or OTS.
c) They can also emphasize a height difference which translates visually to a power
difference.
i) In a romantic situation, the barely upturned eye-line can enhance an
affectionate glance.
7) Hip-level shot
a) Often in conjunction with the Cowboy-shot.
i) The principal reason for this is because gun holsters rest at hip height.
8) Knee-level shot
a) Sees the camera placed at a subject's knee height
b) Knee high-shots often find themselves doubling as Low-angles.
c) A Knee-level shot can be a great way to track through an environment following a
character.
d) Can be a good way to showcase character details that might be missed in a
wider shot.
9) Ground-level shot
a) A Ground-level shot finds the camera placed all the way down on the ground.
i) Or sometimes even slightly below ground.
b) Ground-level shots often double as Low-angles if there is any degree of upward
tilt.
c) Shooting from Ground-level can be a stylish way to track a character’s movement
through a scene.
i) Or to capture details within the setting.
Ultimate Guide to Camera Movement － Every Camera
Movement Technique Explained
1) Static shot
 a) Static shots are commonly captured by locking the camera to a tripod in a fixed
position.
i) The result is a shot with zero camera movement.
b) This is great for dialogue.
i) Precise painterly compositions.
ii) Or shots that allow an actor’s performance to shine.
c) Sometimes filmmakers use static shots to trap a character.
i) And suggest their helplessness.
2) Pan
a) A Pan rotates the camera horizontally, left or right, while remaining in a fixed
location.
b) Pan can be used to follow a character’s actions.
i) Or be used to reveal information.
c) A Slow Pan builds anticipation.
3) Whip Pan
a) A rapid pan heightens the energy of a shot.
i) Known as Whip Pan.
b) Panning is ideal for horizontal movement.
4) Tilt
a) A tilt directs the camera upward or downward.
b) Filmmakers use Tilts to capture the verticality of a film’s world.
c) This can be used to give a character:
i) Dominance or vulnerability.
d) Similar to a Pan, a Tilt can reveal information.
i) Like a character, setting or scale.
5) Push-in
a) The Push-in shot moves the camera towards a subject.
b) Pushing the camera is all about emphasizing a moment.
c) You can Push-in on an external detail, such as:
i) An object or text.
(1) In doing so, filmmakers can direct our attention to a specific detail.
(2) Or it can capture a character thought process.
d) A Push-in is an effective way to communicate internal conflict.
6) Pull-out
a) Unlike Pushing-in, Pulling the camera deemphasizes the subject.
i) A sort of signal to disconnect from the characters.
(1) It can unveil the context of a:
(a) Scene, its setting or its characters.
ii) As subjects grew smaller, a Pull-out can detach us from a scene or the
entire film.
iii) The same movement also emphasize negative emotions like:
(1) Isolation or abandonment.
7) Zoom
 a) A Zoom may not be a “camera movement” per se, but there is movement created
in camera.
b) Zoom shots change the focal length of the camera’s lens.
i) To zoom in or zoom out.
c) Similar to pulling back a camera.
i) Zooming out can reveal the context around a subject.
d) Zooms are unique because there is no equivalent in the human experience.
i) Like a push-in, we can physically move closer to a subject, but our eyes
can’t zoom, making this camera movement unnatural.
e) It can also draw our attention to a specific detail.
f) Many horror, thriller films use a slow zoom to create uneasiness.
8) Crash Zoom
a) A fast zoom is known as a Crash Zoom.
b) Crash zooms can often be used for either:
i) Dramatic or comedic effect.
9) Dolly Zoom
a) A Dolly zoom utilizes both a dolly movement and lens zoom.
i) To create something called the Vertigo effect.
b) A Dolly zoom can be done two different ways.
i) The first is by dollying-in while zooming out.
(1) This causes the background to grow in size while maintaining the
scale of the foreground.
(2) This is commonly used to portray conflict in a shot either:
(a) Internal or external conflict.
ii) The second way is by dollying out while zooming in.
(1) This causes the foreground subject to become dominant over the
background.
c) The Dolly zoom can be used to highlight a growing relationship between two
subjects.
i) Like in this scene from “Raging Bull” where Scorsese slows everything
down.
(1) The Dolly zoom pushes the crowd further into the background, as
we occupy Jake's POV and battered tunnel vision.
ii) In “Bohemian Rhapsody”,
(1) The Dolly zoom draws the audience closer to Freddy as a way to
create intimacy between one musician and his adoring fans.
(2) DP Newton Thomas Sigel explains why they chose to use the
Dolly zoom for this shot.
(a) Sigel: “The camera continues to come around him and
we’re still in this wide lens. So as we come around, you
can see that the audience is very far from him. But now,
he’s beginning to come into his own. The audience is
coming into it. And by using the dolly zoom, we’re bringing
the audience closer and closer and closer. Freddie is not
 getting any bigger in the frame, but the audience is getting
closer simply by changing the focal length of the lens and
the proximity of the camera to the subject.”
iii) A Dolly zoom can be a versatile choice in any shot list to convey either
positive or negative psychological effects.
10) Camera Roll
a) A roll turns the camera on its long axis while maintaining the direction of the lens.
b) A camera roll is disorienting, unsettling our equilibrium.
c) Rolls can be used to match character movement in moments of:
i) Panic or conflict
d) Camera rolls can be disconcerting.
i) Like when a villain assumes the throne.
e) They can also be used to visually reinforce theme.
i) Like in this moment from “The Dark Knight”.
(1) The Joker is captured, strung upside down and defenceless.
(2) But as the camera slowly rolls over, he reveals that he still has the
upper hand.
(3) This reversal of power is matched with a simple, yet meaningful
camera roll.
(a) With great effect, a camera roll can accent movement or
dramatic shifts in the narrative.
11) Tracking
a) A tracking shot physically moves the camera through a scene.
b) Typically following a subject.
c) Tracking shots differ from a push-ins or pull-outs.
i) Because they don't simply move toward or away from a subject.
ii) They move with a subject.
(1) The subjects are on the move and the camera tracks with them
wherever they go.
(2) When done purposefully they generate two questions.
(a) Where is this character going?
(b) And what will happen when they get there?.
d) This is perfect for long takes that are meant to immerse the audience directly into
a scene.
i) Like in this long take from “Three Billboards Outside Ebbing, Missouri”.
(1) Director Martin Mcdonagh ops to use a handheld tracking shot to
create a visceral documentary-style effect.
(2) It also draws our attention to specific actions, like when we see
officer Dixon flip his gun at the last moment deciding to not shoot.
e) Tracking shots can also be used to build tension.
i) Gus van Sant’s “Elephant” is filled with extensive tracking shots.
(1) They follow the murderers and the victims of a tragic school
shooting.
 (2) The smooth, steady cam shots accent the seemingly endless
corridors that allow dreadful anticipation of the impending
massacre.
ii) So a tracking shot either follows or leads a subject.
12) Trucking
a) When the camera moves laterally, left or right.
i) In this scene from “Moonrise Kingdom”, Wes Anderson continuously
trucks the camera right.
(1) To follow scoutmaster Ward through his morning inspection of
Camp Ivanhoe.
(2) By doing so, Anderson establishes both a world of film and its
characters in storybook fashion.
b) Tracking shots can be engaging by following the actions of a character.
13) Arc
a) How do you create energy in a shot where characters are standing still?.
i) Consider the Arc shot.
b) The arc shot is a camera movement that orbits around a subject.
i) This orbit is typically a horizontal arc.
ii) But it can also be vertical.
c) Arc shots add dynamic movement when characters may be standing completely
still.
i) Like in this hero shot from “The Avengers”.
(1) Which unifies them as a single unit against surrounding threats.
d) Arc shots keep our focus centralized on the subject for moments of:
i) Intimacy, panic of heroism.
(1) What about this shot from “The Dark knight”?
(a) What kind of effect does the arc shot create?.
(i) The arc shot underscore the tension and reeling
panic between Gordon and Dent.
(ii) And the tension only comes to a stop, once our
hero poses a solution.
e) When the speed of an arc shot amplified, it can create a dizzying effect, reflect of
character’s mental state.
i) Like in “city of God”,
(1) When Rocket is caught in the middle of a standoff.
14) Boom
a) A Boom shot moves a camera up or down.
i) Utilizing a crane, jib, or pedestal.
b) Small boom movements are booming to use to reveal information.
i) While large boom movements can be used:
(1) To follow characters in the action.
(2) Or to capture the world surrounding them.
(a) In this scene from “Full Metal Jacket”
 (i) Stanley Kubrick uses a boom shot to follow Private
Pile up an obstacle while Sergeant Hartman
berates him.
(ii) The reveal of Hartman at the top has a comedic
effect, but the real purpose of the shot is to
reinforce Pile’s mental state.
(iii) In a single take Kubrick booms up to follow Pile’s
hopeful attempt.
(iv) And booms down phasing his inevitable defeat
15) Random movement
a) Random camera movement is defined by a camera shake, incidental zooms, or
any movement that happens on the fly.
i) Camera shake is often added subtly to create a subjective experience for
more intimate effect.
ii) Arbitrary zooms and random camera movement can be used stylistically
to create a documentary look.
(1) Which is a technique that Adam McKay uses in “The Big Short”
and “Succession”.
b) Random movement gives the impression that events are happening in real-time
when nothing is planned and anything can happen.
i) This climactic scene from Davin Fincher’s “Se7en” has two types of shots:
(1) Controlled and chaotic.
(2) Notice how each shot reflects the state of mind of each character.
(a) Mills’ panic and John Doe’s calm.
(3) By mixing these styles in the same scene, the effect of both is
intensified.

Camera Angles

Different camera shots(angles)

1) Wide shot
a) Showing a wide view of a scene.
b) For establishing a location.
i) So that the viewer can understand where the scene is taking place.
c) To portray emotion like:
i) loneliness, insignificance, or feelings of being removed from the action.

2) Long shot
a) Also used to establish a location.
 i) But with a bigger emphasis on your subject filling the entire frame, usually
showing their full body.
ii) This look is best created using a tighter focal length and shooting from a
distance.

3) Medium shot
a) Usually from the waist up
i) Is used to help the viewer focus in on what your subject is doing or
saying.
b) This shot also great for helping the viewer feel as if they are close to the subject
i) Because a medium shot most closely represents the distance you view
people from as you’re having a conversation with them.

4) Cowboy shot
a) Between long and medium shot
i) Frame from the mid thigh up
b) This would be used instead of a medium shot if you need to show detail around
the waist like a gun.
c) ***Also used on showing off the outfit of a subject in a fashionable way.

5) Tight shot (close up)

a) Is often just the head and shoulder of your subject
b) Used mainly for dialogue.
i) or to show the detailed expression of your subject.
c) Tighter shot are usually used for:
i) important or intense or intimate pieces of dialogue or action.
(1) To help the viewer know that they should really pay attention to
what’s being said.
(2) Tight shots are typically best shot on tighter focal lenses like
around 50 to 100 millimeter.
d) ***Also used for exchanging words between the subjects.

6) Detail (extreme close up)

a) Is used to put emphasis or importance on a specific detail in your image.
b) Detail shots are a great way to create mystery in depth in a story to help draw the
viewer's attention to the common theme
c) Typically best shot on a tighter focal lens like 50 - 100 millimeter. Or macro
lenses

7) Low shot
a) A low camera angle is used to make your subject appear larger than life.
i) And to portray power and dominance.
b) Can also be made to portray:
 i) Wonder and majesty as long as your subject is smaller than what
surrounds them in your image.

8) High shot
a) A high camera angle does the exact opposite by portraying your subject:
i) As weak and inferior or smaller and vulnerable

9) Dutch Angle
a) A Dutch angle is basically any time you slightly tilt the horizon of your frame
i) And usually used to convey an uneasy motion like something isn’t quite
right
ii) Basically giving the feeling like the world is on its side
b) Dutch angle can be artfully utilised to tell us that something is wrong.

10) Over the Shoulder (OTS)

a) Over the Shoulder shots are exactly how they sound
b) When you have two subjects talking to one another you put the camera behind
the shoulder of one of the two placing one on the the foreground
i) giving the perspective as if you are the person that is being talked to.

11) Point of View (POV)

a) Point of View shots depicts an angle that shows what a character is looking
b) At this type of shot allows the viewer to take on the perspective of the character
and begin to understand their state of mind on a more personal level
c) This is commonly used in action or sports scenes to help give the audience
the thrill of being in the driver’s seat
i) And is usually shot on a wide-angle lens so that you can see more of your
surroundings.

12) Cutaway shot

a) A Cutaway shot is an interruption of a continuously filmed scene by inserting a
view of something completely different.
b) Cutaway are great to help transition to new scenes
i) Or to show side stories happening at the same time as you’re a main
story

Why Camera angles important?

1. To show a different Perspective.
2. To add Emotions.
3. To help the editor more easily piece together a compelling story.
CAMERA ANGLES - THINGS TO CONSIDER

1. Camera angles should Enhance your Story

a. Adding more camera angles isn’t always better before you start shooting extra
camera angles for your scene, first ask yourself does this angle add or take away
from the story and emotion I’m trying to convey.
b. Don’t add angles unnecessarily unless it’s adding to your story and the emotion
you’re trying to convey

2. 180° Rule
a. 180° rule is basically an invisible line that you draw in the middle of your scene
and you have to make sure not to cross over the other side of that line as you are
going from camera angle to camera angle

3. 30° Rule
a. Basically states that when cutting between two angles of the same subjects like
an interview of someone talking you want to make sure that camera angle A na
camera angle B are at least 30 degrees apart.
i. And ideally they’d also be different type of angle like cutting from a
Medium shots straight in front of the subject to a Tight shot

4. 5 Shot Rule
a. Cover 5 angles of important action

Question
1. What is dolling tracking?.
2. What is handheld POV?.

Mini guide

Cuts & Transitions 101

Cuts
1. Cutting on action
a. Cutting one shot to another while the character is in motion.
i. It can be as simple as character turning
ii. “Ideas for Thesis”
1. James is drawing, the pen nib is sliding on paper, cut while it is in
mid-action, inserting new camera shots for its continuous action.
2. Cut away
 a. Cutting into “insert shot” of something then back
i. “Ideas for Thesis”
1. Showing James face staring, insert a black paper then back to
James face
3. Cross Cut
4. Jump Cut
a. “Ideas for Thesis”
i. James is procrastinating, showing the passage on time
ii. James dont know what to do
iii. James drawing scene
5. Match Cut

Transitions
1. Fade in/ Fade out
2. Dissolve
3. Smash Cut
4. Iris
5. Wipe
a. More Wipe
6. Invisible Cut

Audio Transitions
1. L-Cut
2. J-Cut

Creative Combinations