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Basic Staging Principles (part 2)
Staging is such a subjective area that it's really hard to talk about - there's really no "right" or wrong way to stage anything, as long as the action and emotions are clear to the audience.
So when I'm trying to figure out the best way to stage a scene, I try to find the staging that best expresses the feeling you want to put across. How are the characters feeling and what staging puts that emotion over the best way?
I remember when I was working on "Home on the Range" I ran into a tough problem in that regard. The jackrabbit character in the movie was acting as a guide for the three cows in the movie. He claimed to the cows that he knew where he was going...but at one point he became lost and didn't know which way to go. The difficulty was that he couldn't tell the cows he was lost because he didn't want them to know. So there was no dialogue solution to make the idea clear. Also he had no prop that would help - if he had a map he could look at in a confused way, or a compass that he could look at in a puzzled manner, that would help clarify the idea. But I had none of those things to rely on. So I found the best solution I could think of - I staged it like this:
You start on a closeup of the rabbit glancing left and right, looking puzzled and confused. Then you cut back to see his surroundings all look the same, and as you pull back, he ends up looking very small in the midst of the large and overwhelming environment. These two shots together were the best way I could think of to say, visually, that he was lost.
That was a 2D movie, of course, and I suppose in a 3D movie maybe I would have tried a different approach, maybe like the camera circling around him as he looked around, puzzled and confused.
That scene isn't in the final movie, by the way.
When a character is supposed to feel lost, abandoned, or alone, a wide shot with a lot of empty space around them is always effective. Here are a couple more examples: a Norman Rockwell painting of a lonely salesman on the road, playing solitaire in a hotel room by himself, and one by Vance Gerry from "The Rescuers" of the orphan Penny, alone by herself in the orphanage bedroom.
Things that are staged in a very flat way (where the action is perpendicular or parallel to the camera) feel very comedic, by their flat nature. Use this to your advantage when staging scenes that are meant to be funny.
Here are some examples from Steven MacLeod's Framefilter blog that illustrate this theory. Just look how funny these pictures look, even without knowing their context within the story.
Some of them are very symmetrical as well. We usually try to avoid symmetry because it flattens out a picture, but in these examples, where flatness is helpful to the funny moment, it was used purposefully.
The same action, when staged in depth, becomes dramatic and exciting.
Here are some examples from different live action movies that show how dramatic a picture can be when it has depth.
These are from "The Illusion of Life" and they are a great example of how to improve the staging of a scene. Here are two examples of how to stage Bernard slipping down into a hole.
The first one (on the the left) has many weaknesses that are improved in the second example (on the right). The one on the left is very flat - the wall that Bernard is clinging to is flat onto the camera. Also the lines that describe the wall are parallel to the edges of the frame so the whole shot feels very flat, which would be more appropriate for a comedic scene. Laying out the scene this way makes the animator's job tough, because you can see how awkwardly Bernard is looking over his shoulder to look at the danger beneath him and we can't really see his expression all that way. Also the composition has him too close to the bottom of the frame, for my tastes, because there's no negative space beneath him to make it feel like he could fall down into the abyss.
The second one is better in many ways. The best part about it is that you can easily see his scared expression clearly and also see the peril beneath him at the same time without having to twist his head around awkwardly (like it was in the first example). Being able to see the danger in the scene as well as how he feels about it make for a great choice for staging. Also the sense of depth in the second shot makes for a much more dramatic scene, instead of the flat first example. Also this staging allows diagonal lines through the composition which add more drama too.
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December 19, 2013
The Cinematography of "The Incredibles" Part 2
See Part 1 here.
Continuing with my case study of the shot compositions from Pixar's film "The Incredibles". All images used here are ©Disney/Pixar (unless otherwise stated).
Composition in film includes many different aspects; color, shape, line, contrast, positioning, cropping, viewpoint, rhythm, perspective, proportion, geometry, and many more.
The dinner table sequence is a nice one that showcases how well you can move the camera around depending on which character(s) you want to make as the focus of the shot. With 5 characters all facing inwards, turning their heads left an right according to which other person they are talking to, you create scenario that can have a million different ways you can shoot this scene from. With endless possibilities of angles,
A 2 shot. Looking over mom's shoulder makes it seem like your almost seeing the baby through mom's eyes.
Warm colors, warm lighting, all conveying a comfortable family environment. Vehicles, furniture and other props all evoke a design sense of post-modern 1960s. Basically the 60s vision of the future is The Incredibles' entire design theme.
Well shot and beautifully executed, the audience always knows where all the characters are, her with Helen and Dash looking at Bob, it motivates the camera to cut (to see what they are seeing).
Center Bob, he's the focus, the secondary focal points are the kids acting awkward around the fact Bob's had enough and leaves the dinner table because Helen just mentioned something that was obviously a touchy subject with Bob. Triangular composition and the rule of thirds keeps appearing in the cinematography.
Characters are never blending into the background too much, color tones and shape (silhouettes) are always clear to make the image fast and easy to read.
A low angle to catch mom's reaction/disapproval as Dash starts to pin around the table.
Moments like this make it more apparent how each character's personalities are reflected in the super powers that they have. The mom is pulled in many directions at once, any mother of 3 kids must be flexible. Bob is the typical protective Dad, a symbol of strength and sturdiness, but deep down he's just a big teddy bear. Violet (as in shrinking violet) is timid, introverted, shy. Her powers are turning invisible and force fields, all elements to protect herself and to stay hidden.
Notice below how everyone's facial expressions are clearly readable.
This moment personifies their family in a nutshell. As many family arguments can easily grow into a bigger conflict especially when individuals may have had a bad day, tensions rise and conflict emerges from what started off as a normal dinner conversation. Turmoil isn't the idea here, but that when push comes to shove they stick together, at the sound of the door knock, they get right back in their seats, nearly all their powers were being used at that moment, and they've rehearsed many times how they must keep them secret, so they all quickly get back into position and become 'normal'.
Seeing the whole family in one room reminds me of how very carefully and deliberately the character designs were made, complimenting their personality and their powers.
The design of all characters in this film not only tells us a lot about who they are, their personalities, and their purpose, but they themselves are also main compositional elements. Not only does their body language and performance obviously convey what they are feeling and most importantly everything they do (and how they do it), but it also helps to push the story forward.
The actual shapes of their bodies, the silhouettes they create, even by just standing there, taking up screen space, usually being the focal point of the shot, and contributing to the scene's composition.
Courtesy of:
Here's some concept art and sculptures for the characters designs from the Art of The Incredibles book.
© Preston Blair
See how their designs obviously played a big role in how the compositions would be created for the shots they were in. The character's scale, proportions, silhouette, all factors that affect the staging of the shot.
Since in most cases, the characters are the main focus of the shots, they need to be posed and positioned according to what is going on in the sequence, show what their intentions are, what their thoughts are, and they express this through their body language. But the shapes and form their bodies create in the frame are themselves strong compositional elements.
Composition is all about the way a viewer's eye moves through the image. Cinematography is the art of controlling eye movement. Deciding on the composition of a shot, is deciding which direction to lead the eye, what to stop on, and where to go to next.
Nice over the shoulder shot, shows his point of view, camera is tilted down then tilts up to follow dash back to his seat. A sense of depth is always trying to be achieved in every shot.
Nicely laid out, screen geography for this whole dinning room sequence is flawless, even when we crossed the axis to introduce a new character (Frozone) the viewers are never lost as to where the characters are in proximity to each other, we always know where the characters are, who they are communicating with and their body language remains clear and concise.
I keep referring to the "axis line" -- this is when you have two characters talking, imagine an invisible border line between them. Now the rule states that you need to keep the camera on one side of that line and never cross over to the other side. But of course in filmmaking rules are often made to be broken, in this case there are many ways to cross the axis line and still not disorient the viewers. It is a solid principle to follow when scene planning.
Here's some notes from Storyboard Artist Mark Kennedy's blog (Temple of the Seven Golden Camels):
You can put the camera anywhere you want as long as you don't cross the line to the other side of the two characters. This way, no matter what shots you have, you can cut them together in any order and the green character will always stay on the right side of the frame and the blue character will always stay on the left.
If you break this rule and shoot one shot from the other side of the line, the characters will be flopped: the blue guy is now on the right and the green guy is on the left.
This can confuse the audience because, for example, if the characters look similar, they may start to get the two people mixed up. Or they may think that the characters switched places between cuts, or they may think it's a time jump to a different location at a later time or something. It can cause unnecessary confusion in the audience's mind, and we always want to avoid that.
The problem becomes even more apparent when you're doing a scene where people are in action. For example, when a character is running, you want to consider the path they're traveling along as the line that you don't want to cross. Obviously, if you shoot from the other side the line, the character will look like he's going the opposite direction.
If you start to cut these two different shots together you will create a lot of confusion: did the character turn around and start running back the other way? Or is it two characters running towards each other and they're going to collide?
That's why you'll notice that - especially in animated movies - a destination is always kept to one side of the screen or the other and the character is always traveling that way.
Art by Eric Goldberg
Camera pulls out from the close-up of the radio, not all establishing shots start with an extreme wide shot, sometimes they start up close and truck out (or cut wide) to reveal the characters in their setting.
Rule of Thirds is everywhere.
In this sequence the camera orbits around Bob, slowly changing his screen location from being screen right to screen left. The camera gradually swings around them while they sit in the car, Bob wipes the screen by going left and settling into the position you se in the frame below.
This whole bit is up close and intimate, we want the audience to relate to their old war stories, reflecting on their past lives. The acting is all in their facial actions and reactions, the cinematography needs to compliment this part of the storytelling with simple angles.
The composition here needs to make it seem like we are spying on them along with this onlooker. So the camera is placed in the car with the character as we watch the car driving off.
The camera dives right into the fire, placing us directly into the chaos of this burning building with our heroes.
Our heroes bust through the wall, the angles don't want to give us any hints as to where they are until the audience clues in at the same time as our characters.
We establish Bob on screen right and Frozone on screen left. Revealing that they are in a jewlery store.
A quick shot to show the audience where the characters are in their environment, the exit and the hole the busted through are visible.
Establish the exterior, with a police car in view.
The axis is flipped here in order to reveal a new character.
Camera pans over to show the audience what the character sees.
Camera follows Frozone's hand, building tension as the officer follows the action as well with his eyes and handgun.
Awesome shot. The office is framed by Frozone's arm, almost foreshadowing the fact he's about to be a target now that Samuel Jackson is getting recharged!
To show how tense the officer is, he has his head tilted, forced perspective, and a slight up shot to tell us he's in control (or at least he thinks he is).
The action here is fast, so the composition needs to read very clearly, nice depth, you know where all the characters are in relation to each other.
Backup police officers burst in fast. The look around, asses the situation...
For the sake of the following gag to work there is a nice "cheat" happening here. The gag being this new police officer doesn't notice his frozen friend until he turns around to have the camera dramatically reveal him, where the first police officer had come through the front door and the backup team come in through the same door but magically don't notice their frozen comrade.
The effect would have been lost if the cops had walked right into the statue-version of their friend. But with clever camera work you don't even
This simple but effective techniques for visual storytelling reminds me of the book "Directing The Story" by veteran Disney storyboard artist Francis Glebas. In the book he teaches artists a structural approach to clearly and dramatically presenting visual stories. By reading through you learn fundamental concepts like how to convey meaning with images and directing the viewer's eye. Glebas also teaches how to spot potential problems before they cost time and money, and he offers creative solutions on how to solve them at the storyboarding stage.
Character screen spacing, character position and screen direction are all fundamentals to the designing of shots and sequences in filmmaking. Many of these principles are based around the 180 rule mentioned earlier. Here are storyboarding notes from Hat Lieberman regarding the importance in not losing your audience in terms of where your characters are within their environment.
There are no "right" or "wrongs" with storyboarding, only methods that work better than others. Figure out what you want to convey in a scene, and find the best way to present those ideas to your audience.
Maintaining Screen Side:
Maintaining Screen Direction:
This is a similar theory to the above scenes, however involves more characters and objects moving in and out of frame.
As long as you continue to establish any new screen spacing or direction, the sequence should maintain a certain level of continuity that will allow the audience to follow along quite easily.
The following sequence is nicely laid out. We follow Bob sneaking back in to his own house. He's what up late "bowling" with his friend, he's done this many times, so he knows he'll get in trouble if his wife suspects him of doing any 'covert hero work'.
A layout like this with a light source in the room creates nice and simple visual balance to the overall composition. Similar to these samples from the film Se7ev. Off-centered subjects near the Rule of Thirds, plus a light source in the background to help add balance to the image.
The moulding on the back wall running behind his head through his eyes is no accident, it leads your eyes to the focal point.
Below is a classic use of shot progression, cutting back and forth between the characters, each time the framing gets closer and closer on the characters to help intensify the argument escalating between them. This has to do with framing and cutting more so than fancy cinematography, but as the story, dialogue and action grows in intensity, the shots get closer and closer on the subject until there's a breaking point, in this case, when dash zips by to listen in.
The argument is broken once they realize the kids are listening in. The the shots calm down again with wider framing, less angular perspectives.
We end on the extreme wide of the street they live on. Reinforcing the idea they are a regular family living in a regular house, having typical marital/family struggles and inner-conflicts.
Brad Bird chose these shots, storyboard artists may have sketched out a dozen different ways this escalating argument might be shot, but ultimately the scene evolved from initial drawings and concepts to the final pictures you see here.
It reminds me of this great clip where David Fincher discusses cinematography:
The following sequence is one of my favorites in the film. Once he arrives in his boss's office the camera stays on axis line the whole time as the camera flips back and forth 180 degrees, until we introduce the 3rd character (the mugger in the street) then a new axis line is established and a new camera setup is made.
Establishing shots, an extreme close-up and then a close-up of the pencil where they go after being sharpened, then a shot of his boss, almost building up a bit of anticipation while the shots also get us to know what Bob is in for as far as his boss's personality. Obsessive/compulsive, cold, dry, pale, muted color scheme, sterile, clean, immaculate, and precise environment. The post-modern, upper-class, corporate look and style is evident by the layout an demeanour of the of the boss character.
The central compositions are different than what we've been seeing thus fr in the film, to have so many shots demanding our attention, to first show Bob's total disinterest in his job, zero respect for his greedy boss, and the fact he's so bored with his life he really doesn't care why he's been called to his employer's office to be chewed out.
SO here's the setup so far. The camera flops back and forth staying on the first redline stageline, the camera nay tilt up or down, looking down at the boss or up at Bob slightly, but it's a 180 degree turn everytime the camera cu
He paces back and forth while lecturing him, you clearly see Bob's face, drained of life and doesn't care about what he's saying.
The ceiling light going through his eyes (behind his head in the background) is no coincidence, purposefully done to lead your eyes to the focal point (his eyes) and how bored, uniterested and annoyed he is with his boss.
Basic shapes + flat composition + simple forms with contrasting scales and values all help the image to read more clearly.
With Bob dead center, uninterested in this exchange, it leaves the boss free to walk around as the audiences' eyes follow him around, the boss is trying his best to appear and be as dominant as possible.
The expression on the boss's face is sort of subtle as he struggles to contain his "nooooo" answer. Staying reserved so he can blow up a bit 5 shots later, his frustration is building as Bob has an answer for all his questions.
Bob is finally interested in the lecture as he debates with his boss a bit since he doesn't agree with his ethics.
The angles shift according to how important the boss's body language is to what and how he's talking and reacting to Bob's comments.
Some nice shot progression happening afterwards, the scene builds up a bit in tension, eventhough Bob still isn't very interested in what the boss has to say, the framing gets tighter, the director wants to show specific things up close, clearly, in detail, to do this you make the frame tighter on the sunject.
The action cues the cut, we want to see what Bob looks down at. So we cut to his point of view of the letter on his desk.
For the first time we break away from the 180 degree flopping camera pattern. Why? because we're about to introduce a new character, allowing us to break away from this camera setup and go over to a new stageline.
The boss steps to one side to get into frame, well silhouetted on the white background, extreme close-up on Bob, great foreground/background depth.
This small character suddenly and undoubtedly tales control of the situation and the scene entirely with his sudden threat.
We show this shift in dominance with a powerful up shot.
You can't get a much bigger contrast in scale than this, you see the boss's body language despite how small he is on screen, seeing Bob's anger on his face was important.
He closes the door, wipes the screen.
The camera is low to show the nice profile and silhouette shape of the tapping foot. A condescending action to help build up the tension in the scene.
Close-up to show the anger boiling up.
Camera tilts up as he walks towards him.
We zoom in on the mugger, to see what Bob sees, it's a fast truck in to give a bit of a sense of urgency and anxiety since Bob was so eager to go and help the pedestrian, but was pulled away.
A clear silhouette is needed, since the robbery had to happen in shadow anyways, and to make it obvious that the act is done and the guy is getting a way with it.
Close-up to show the frustration in his face. Just before he snaps!
This whole sequence builds up to this, and you can't help but laugh as the boss is about to get what he deserves. It's the climax to this whole scene and we have the boss hurtling through the wall landing into a wall of filing cabinets.
Notice how the character poses are all different, leaning twisted, to add variety and rhythm to the image, with slight variations to the angles of the postures to each person.
As the camera tilts to reveal the damage done, we see the layers of punched-through walls, the tunnel effect, along with incidental characters peeking their heads through, all points to Bob.
A nicer finisher to this sequence, close shot on him to show the regret in his action. Realizing he's screwed up.
How every shot was designed in this film is impeccable, as I write this I notice more and more, and I will undoubtedly notice more in the future upon further viewings.
Mark Kennedy explores here some samples from classic Disney films, illustration, comics, and storyboards to describe some tips on staging and layout.
In The Incredibles, the use of shapes, lines, contrasting forms and values are always apparent.
The Incredibles used all these examples in its cinematography.
A view-through, placing the audience into the scene as if you're peaking into the room that the boss is recovering in.
The lines of action are nice here, Bob's depression and guilt, the agent showing his age with his posture and feeling compassion for Bob's situation.
There's so many ways to shoot this sequence, but the way they ended up shooting these angles conveys the character's emotions well, it had to be played as simple, the consequences to Bob's actions had to be shown and the characters' dialogue explains a lot as to what Bob has been doing the last 15 years.
Some great angles and lightning displayed in his home office. With only the light source of the lamp on his desk and later on the blue light from the tablet device, it forces the viewer to only look at certain areas of the picture, usually his face. We want to clearly see what the character is thinking and feeling through out the sequence, and the lighting helps to accomplish that.
Great camera work, showing Bob cautiously approaching the device on the floor, the camera acts as the character's point of view, slowly getting closer, the camera spirals in towards the device.
Great angles going back and forth from over Bob's shoulder, to showing the expression on his face, to showing the tablet, and back again. All for the purpose of showing how he's anxiously trying to write down the information, take in
This is my favorite expression in the whole film. Totally dumbfounded over what just happened.
The camera swings around and for the first time you see the reverse angle of his room, the memories of Bob back in his hay day, fighting crime and saving innocent people, the joy in his face over the possibility of him regaining his former glory is juxtaposed (fancy art school term meaning 'side by side') by the imagery of the framed clippings on the wall.
Warm colors makes it inviting, comforting, homely, you feel his emotions as you can tell how much he desperately misses being a hero in the spotlight.
When I first saw this film I was wondering if we would ever see his wall of memorabilia or if it was only going to be shown in the amazing teaser trailer they had released a year before the film.
When angles and perspective shots are used, they are not random, they are all setup with a purpose, to develop the characters to enhance and progress the story and to engage the audience, make them feel something.
He swings his chair around as the camera pans and trucks in, making an over-the-shoulder shot to see what Bob is looking at.
The use of camera angles in The Incredibles is dynamic and energetic when it needs to be, and most importantly, it's always appropriate.
I found these storyboarding tips by Giancarlo Volpe, it relates to many of the principles mentioned here so far, but it makes it clear the importance of planning the action in three-dimensional space. These are nice and simple fundamentals for displaying camera work and other technical aspects of scene planning.
I keep referring to the storyboarding process, because in animation, these storyboard artists are essentially the cameramen and cinematographers for the film.
This is an insert shot, used to break up the flow of shots around it and usually a close up to show some information to the audience.
Slick, modern, clean, simply design elements, hi-tech gadgets while still feeling like retro 50s/60s all present. Now the cool blue lighting helps to keep the focus on their faces. Thanks to the simple patterns of 1 shot, 2 shot, Over the Shoulder angles and profile shots for both of them, you're never bored even though they are just talking about technical stuff, you feel engaged, curious about the mission and the subtle flirting happening between them.
Shots like this and many others take full advantage of the wide aspect ratio, characters can be pushed quite fat to the sides, but given the other elements on screen, the compositions are still well balanced and carefully planned.
The translucent holographic grid/map between them acts as a nice added compositional element, the details of it were carefully placed to make it seem all high tech but still doesn't get a way of the characters' faces.
More inserts, quick shots of him getting ready, suiting up, staying close like this keeps information from the audience until the gag is revealed that's he's too big for the pod.
In the bonus features of the DVD, they made a montage of all the button-pushing shots in the film, you'd be very surprised how many there was, it's crazy!
Great foreground/background technique happening, the angle is flat yet we still have some great depth happening as well.
Great viewpoints, these are difficult camera angles to pull off, and to make them work well I'm sure took some experimenting. The camera moves and the camera angles never want to draw attention to them selves, they have to feel natural and they never make the audience wonder where they are, and the viewer never feels confused as to the geography of the scene and where all the character are situated.
Continue on to the epic conclusion in Part 3.
Max said...
That's just amazing. Can't wait for the third part.
Thank you SO much for all these.
Jonah Sidhom said...
Thank you so much for taking the time to put these together, so much great info.
BTW, I believe those last few pages of storyboarding tips are by Giancarlo Volpe.
Ron said...
Thanks Jonah!
Anonymous said...
By the way, it took me a long time to realize that the talk about triangles people make is as opposed to straight lines. I kept thinking that it'd be pretty logical for three people talking to form a triangle.
Arun Chandrasekaran said...
Thanks for a great writeup.
iqbal maulana said...
This Is SO AMAZING, Bookmarked !
Gayathri Jeaks said...
Thank you so much for your hard work. Eternally grateful.
tsoka said...
Great Work! Thx from Siberya, cant wait for third part
power3d said...
thank you again for all these information
Alexander Kuprijanow said...
Dear Ron,
this is one of the best cinematic-related posts on the entire internet. There is so much to learn from your comments and your thorough analysis of the...hell, EVERYTHING - more than an entire university course could convey.
Thank you for your dedication and your will to share your insights with others.
p.s.: Now the posting should work ;)
Megan said...
FANTASTIC collection of sources to supplement your excellent analysis! Really a wonderful, instructive read--looking forward to part 3!
bianres said...
THANK YOU! Amazing analysis. Now I will watch movies with more atention trying visualize everything I've learned from this post. I watched to The Incredibles a million times when I was younger, but reading this is like watching all over again for the first time. So much impressing things we don't realise. Thanks again!
Misha Petrik said...
Hello Ron, i translate, and remake all images your second post on Russian language, for russian auditory, i hope you like it too —
Ron said...
Wow, thanks Misha! it looks very nice!
Paulo Mosca said...
I can't believe this awesome analysis. Just thanks.
Nate Kan said...
Lost count of how many times I've come back here for reference and guidance.
Thanks for much for all the thought and effort you put into this!
Corporate Films said...
Corporate Films said...
Amal Clooney said...
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Welcome to the first installment of our ongoing series, Highsnobiety Film School. In this series, we’ll use popular YouTube channels to teach you fundamental lessons about filmmaking, and then put their lessons in context to show you how to direct a movie and help you get started making films of your own.
For those who are just becoming passionate about the filmmaking process, the best thing you can do is pick up a camera and start working. But, as you start out with little more than some friends and a DIY attitude, there are some ideas you can consider that can help take your filmmaking to the next level.
Whether you prefer drama, comedy, horror or experimental fare, these five concepts should help you sharpen your directorial eye and improve your work.
Building Tension in a Film
The job of a director is to bring the words in the script to life with action. One of the most important ways this is done is through building tension – the emotional strain that the audience feels as the film builds to a particular moment.
Alfred Hitchcock is the master of suspense and tension. He has a particularly easy and digestible concept, “Bomb Theory,” as it relates to that state of anxiousness and excitement you feel when watching a film.
The idea is this: if you simply set off a bomb, there is no suspense. But if you set a five-minute timer for a bomb and let the audience be aware it’s there, but perhaps have one or more characters be out of the the loop, then that is suspense. Tension, then, could be understood as how the director spends that five minutes, ramping up the sense of danger as the time ticks down to zero.
Spielberg is a master of building tension through suspense. For Spielberg, tension isn’t about cheap shocks or scares. It is about point of view. What action are we seeing? Who is seeing it? These are the key questions when creating tension. This video shows how he deploys point of view to create tension.
In Jaws, Spielberg alternates between objective and subjective points of view. This means that first we see what the character sees (subjective), and then we see what the character cannot see (objective). The two don’t match up, of course, until it is too late.
In The Color Purple, Spielberg creates tension by refusing to shift point of view. The video shows a scene of a young girl shaving a man on a porch. We linger on the girl’s point of view, following each stroke she takes with the razor, often without cutting. When we do cut away, it is to a close-up of a razor, rather than a reverse angle on the man she’s shaving. This draws our attention to the knife, her hand, and the delicate act she is performing. We see every potential stroke as a moment of violence because we follow the hand through each motion, refusing to look away.
This analysis of a scene from Denis Villeneuve’s Sicario shows how Hitchcock’s “Bomb Theory” can be deployed in concert with point of view. In this clip, the Cinefix team breaks down the various uses of tension in one of the film’s key scenes.
Before the sequence, we are told that the most dangerous location for our heroes is the U.S.-Mexico border. The one thing they don’t want to do is stop at the border, but that’s exactly what they have to do. Instead of Hitchcock’s bomb, we have Villeneuve’s “sea of cars.”
As in the Spielberg sequences, we switch back and forth from objective point of view (the sea of cars) to a subjective point of view (the Agents stuck in the sea of cars). For much of the sequence, we are confined to the subjective point of view of Kate (Emily Blunt), an agent new to the drug war.
When we leave her point of view, it is because of the threat of violence. We leave her to look at cartel workers and crooked cops who are at the border crossing or the agents who draw guns on them. The cutting shifts so rapidly, from a rolling down window to a cartel member preparing to exit his car to Alejandro’s (Benicio Del Toro) gun and back to Kate, you don’t even realize that there are only nine seconds of actual violence in the sequence. The shots vary in length and shift point of view to build maximum tension as we wait for the exciting finale of the scene.
Your Turn
How could you put these ideas to work in your own film? Let’s say you’re filming a scene in one location. First identify your “bomb.” Is it a hostage crisis or is it a big secret that is going to be revealed during Thanksgiving dinner? Then, think about each character’s point of view. At each moment of the scene, whose POV is most interesting, most dramatic? Keep that in mind as you think about your shot list, building the tension of the scene as the “bomb” is about to go off.
How to Shoot a Comedy Scene
If we’re going to talk about building tension, we should also talk about relieving tension. The best way to release tension on film is by making the audience laugh.
While many would assume that deriving laughter stems from the screenplay itself, the directing is of equal importance and actually involves using the same tools that go into drama. The only difference is the feel of the payoff.
Edgar Wright is among of the best in the world at directing visual comedy, as Every Frame A Painting demonstrates.
The video argues that one of Edgar Wright’s great strengths is shooting things in an unexpected way. For example, the standard “moving from one city to another” sequence, is usually shot with a mix of road signs, car b-roll and helicopter shots.
In Hot Fuzz, Wright makes the mundane travel from point a to point b seem dangerous, mocking the ho-hum nature of everyday life. For this narrator, filming comedy is about “finding simple mundane scenes, and finding new ways to do them.”
As the above clip discusses, a simple example of this principle is demonstrated in one of the most beloved scenes in Monty Python and the Holy Grail. Lancelot (John Cleese) is charging a castle. He is a dedicated and able warrior, so we think he’ll storm the castle in no time. However, it is much farther away than we or the the character expect, so it takes him forever to get there. This sequence is even funnier because of the lazy guards who watch him as he “storms” the castle, stupidly awaiting their certain demise.
Every Frame a Painting also explored how action is directed for comedy in Jackie Chan’s films. When you think of great comic minds, you may not first think of Jackie Chan, but maybe you should.
In this video, you can see how the basic idea of finding new approaches to familiar ideas plays out on a micro level in Chan’s work. You expect to see Jackie fighting the bad guys. You don’t expect him to use picture frames, dresses, and refrigerators to beat them. While most action stars’ egos won’t allow them to show pain onscreen, Chan uses pain to humanize his characters and draw humor from scenes. Chan’s career has been far longer and more successful than many action stars and directors because he knows how to deliver the unexpected.
Thor: Ragnarok director, Taika Waititi, is also a brilliant comedic mind. While much of Edgar Wright and Jackie Chan’s comedy comes from juxtaposing action and comedy in unexpected ways, Waititi is a master of combining happiness and sadness for unexpected laughs.
In the beginning of this clip, we see Ricky’s (Julian Dennison) birthday party in Hunt for the Wilderpeople. A boy’s birthday is supposed to be joyful, but the grimness of this celebration in a dark room with a busted toy piano is unexpected and hilarious. This isn’t a wasted scene by any means. It illuminates the given circumstances of our main character. Though his new mother and father care about him very much, he is isolated and bored. This clip goes onto explain these same principles at work in the films Waititi made earlier in his career including Wilderpeople, Boy, and Eagle vs. Shark. In each of his films, Waititi finds humor in the unexpected contours or life’s dark moments.
Your Turn
You may not have the gift for activating the mundane that Edgar Wright has. You may not have Jackie Chan’s martial arts expertise. You may not quite grasp Taika Waititi’s ability to wrestle humor from sadness. But, you can start to think about the principle that unites all of their work. Once again, it is about “finding simple mundane scenes, and finding new ways to do them.” One of the best jokes in Blazing Saddles didn’t cost any money. It didn’t require a huge stunt budget. Mel Brooks simply had the foresight to write and cast a black sheriff in an Old West town.
This allowed Brooks to examine the contradictions of the Western genre, and America at the time he was making the film.
Write the funniest script you can. Cast the funniest actors you can. Find the funniest collaborators you can. Once you’ve done that, look at your project and ask yourself what new and inventive ways in which you can tell this story. Don’t shoot your first draft. Do go with your first visual gag. Laughs are earned, and they are about delivering unexpected surprises.
Character Motivation in Film: Dominance
According to Russian actor Konstantin Stanislavski (of which the Stanislavski acting method is named for), acting is about motivation and exploring what a character wants. For a director, his/her job is to show who is getting what they want at a given moment of a scene, or, more simply put, who holds the power.
There are a number of ways that a director can demonstrate dominance in a scene. In this scene from Citizen Kane, Mr. Thatcher (George Coulouris) comes to take young Charlie (Buddy Swan) away from his simple rural childhood and into the life of immeasurable wealth that will be his undoing. The short scene is legendary because of how director Orson Welles uses camera movement and blocking to establish dominance.
As Thatcher explains what’s happening to the boy, Charlie’s parents (Agnes Moorehead and Harry Shannon) behave very differently. His father, shocked and unsure about the boy’s fate, stays still in the back of the shot. His mother, Mary, coldly confident that the boy should leave their home for a new life, walks with the camera, landing front and center in a medium shot. With each step, Dad is left smaller in the background while Mom increases her dominance. The only person with less power in the scene is young Charlie, who we can see through the window in the distance playing in the snow. We can barely see him as his future is being signed away.
You can see how similar principles are applied in a longer scene in this clip from the Alfred Hitchcock film, Vertigo. Without spoiling too much, in this scene Gavin (Tom Helmore) is luring Scottie (Jimmy Stewart) into the film’s central deception.
A scene in an office allows for an easy measure dominance: who is sitting and who is standing? Who is behind the desk and who is on the other side of it? As the narrator of this clip points out, at first Scottie, who is standing, stalking around the office, is dominant. As the power shifts, Scottie sits and Gavin stands. This is a simple, but effective way to show how the tables have turned. The scene ends with both characters standing on the same level, looking eye to eye. Gavin wants to convince his patsy that he is on Scottie’s level, and gives up his dominance in order to demonstrate that.
There is another element of the scene’s blocking that further emphasizes dominance. Hitchcock had the set built so that the conference area was physically a few steps higher than the office. At the height of Gavin’s power in the scene, Hitchcock has him in the conference area, literally higher up than Scottie. He looms over his prey before coming back down to Scottie’s level.
You might ask, “How do I establish dominance if I don’t have a ton of room for blocking?” Think about the same principles we just discussed. How do you convey a sense of power? One possibility is with the camera. You can create the same feeling of one character looming over another through the shots you choose. You could shoot one character from high angles (looking down at them), making them look small and weak, while you shoot another from a low angle, making them look powerful and mysterious. Quentin Tarantino loves using a low angle shot to show power. Often characters shot this way are looking at a corpse or a character they’ve beat up. If that’s not holding power over someone, I don’t know what is.
Stanley Kubrick liked to use lighting to establish dominance. He often did this through the use of practical lights (a light that “exists” in the film, like a candle, car headlights, or a chandelier). The benefit of practical light is it is easy for a character to walk in and out of the light from a practical source. In this video, there are a number of scenes where two characters are speaking, and a character can exhibit power by leaning into the light. As the narrator points out when describing a clip from The Killing, with practical lighting, a character could step out of the light and “disappear.”
Dominance can even be shown through costume design. If one character is wearing darker colors, more expensive clothing, or more formal clothing than a counterpart, that too can establish dominance.
Your Turn
As a director, you have a number of tools at your disposal when it comes to establishing dominance. First, think about blocking in your scene. Is one character sitting and another standing? Is one character closer to the camera than the other? Is one physically standing on a higher plane? Once you’ve thought through the blocking, think about what other ways you can convey dominance in the scene. Do you want to shoot the boss at a low angle? Do you want to give the spy more light than the man she’s deceiving? Do you want to show a powerful general in full regalia, while the private is caught in his undershirt?
There are myriad ways to establish a power dynamic on screen. As a director it is your job to demonstrate these dynamics.
How Costume Design Works
Costumes can tell us a great deal about character and can convey important information efficiently. If you’re able, you should use a costume designer, but to best leverage their skills, you’ll have to be able to describe to them what you want. Costumes can convey so much about character, the world, tone, and emotion, but you have to know what you want to say.
This video interviewing costume designers from BAFTA is a nice primer on what a director should consider when first thinking about how costume design works. One designer describes themselves as a “psychologist.” Another talks about working with actors to draw out character in their designs.
Let’s talk a bit about the various choices the director and costume designer partner to make. In this round-up of some of the best costumes in film history, you can see some of the ways that wardrobe can be used in storytelling.
Color alone can convey so much. This video discusses Hero by Zhang Yimou, and how the costume colors of various segments of the story convey the film’s emotional tones. The bold colors in the film situate story that is rooted in Chinese culture in terms that are readily understandable to a global audience. They amount to a simple visual language. In Hero, the various vignettes are divided into different colors. The passionate first vignette shows us characters dressed in red. The triumphant final vignette features actors clad in white. Pretty much any scene from the film offers a study in the use of color in storytelling.
Costumes can also help us differentiate characters from one another. In the video above, the Cinefix team picks Royal Tenenbaums as an example of just how much deeply costumes can convey character. We get a keen sense of who the three siblings are just from what they are wearing. Margot’s (Gwyneth Paltrow) coat is at once a hipster fashion statement and a nod to her old money roots. Chas (Ben Stiller) wears a vintage track suit that reminds us of his arrested development. Richie (Luke Wilson) hides behind long hair and aviators, rejecting his identity and his family’s odd legacy; but the fact the he continues to wear a tennis headband shows that he is still wrestling with his past.
Because costumes can both convey character and tone, they are essential if you are trying to familiarize the audience with a story. Star Wars illustrates how this can be done. The clip points out that Princess Leia (Carrie Fisher), while from another world, has traditionally royal aspects to her outfit. The done-up hair, the flowing outfit, and the white costume: all of this serves to frame her as a princess, even if she is extraterrestrial royalty.
Your Turn
What can you do in terms of costumes if you have a limited budget? First, think about your characters. Who are they? What is their job? Are they rich? Are they flashy? Do they follow the rules? Next, think of how that character exists in relation to other characters. Reservoir Dogs is so memorable largely because all the characters are dressed the same. Elle Woods (Reese Witherspoon) in Legally Blonde immediately sticks in our minds because she is dressed differently from the other characters.
Now, think about the world of your film. What do people look like in this world? Is this world like our own? Is there crucial information you can provide that will make the world more clear to your audience? Finally, think about emotions and tone. What feelings to do you want to convey with the costumes in the film?
Your characters (usually) have to wear something. Make it count.
Close-Up Shots in Film
The close-up is the most basic shot in cinema; you shoot the character’s face. As a result of this seeming simplicity, many directors take the close-up shot for granted. Many young directors obscure the face, shoot it at an odd angle, or complicate the shot in some other way. Before you complicate the close-up, you have to master its fundamentals.
A close-up, first and foremost, is a moment of emphasis on a particular character’s emotion.
This video discusses the essential use of the close-up, and how to use discretion in creating a close-up, by looking at the work of classic director Howard Hawkes. In Rio Bravo, Howard Hawkes only uses five close-ups in the entire film. This is not how films are made today, but in exploring his choices, you can see the kind of meaning close-ups can carry. Each one of them emphasizes a dramatic moment: a gunshot, a bloody glass, a tough decision. The argument that the narrator makes is that you shouldn’t use the close-up if you aren’t emphasizing something.
What sort of emphasis can a close-up provide? This video dives into the many virtues of the close-up.
Of course, we get a great sense of emotional expression in a close-up. We see eyes darting, eye brows raised, lips pursed, nostrils flaring. Here we see a variety of examples of what can be expressed in a close-up simply by looking at an actor’s face.
This brief clip of students reacting the assistant principal (Paul Gleason) chewing them out in The Breakfast Club demonstrates the variety of emotional responses that can be shown in close-up.
Close-ups can also help build tension and rhythm in film. For example, by cutting to tighter and tighter close-ups, you can heighten tension. A close-up on a character at an unexpected moment can have a similar effect.
This immortal stand-off sequence from Sergio Leone’s The Good, The Bad, and the Ugly is a perfect example of how close-ups can be used to build tension.
When using close-ups, the audience is impacted both by what you show and when you show it. Towards the end of that first clip, you’ll hear a quote from David Fincher, who puts it succinctly, “Every time you go to a close-up, the audience knows, ‘Look at this. This is important.’ You have to be cautious and careful about when you choose to do it.”
How do you make sure that your close-ups are worth using? In this video, Edgar Wright makes a great argument for close-ups as punctuation in a scene’s visual language.
Wright is known for close-up and inserts (close-ups of objects) that are incredibly memorable: from the mundane cop montages in Shaun of the Dead to the otherworldly end of the bar crawl in The World’s End. This is because Wright often plans them outside of his standard shooting of a scene. Many close-ups are part of the broader coverage in a scene. Coverage means the different shots you shoot when filming a scene: often an establishing shot of the space, medium shot of the characters, then close-ups. Wright shoots some close-ups separate from his scenes, making them that much more unique and memorable. Though Wright puts many close-ups in his films, this approach of shooting close-ups out of sequence allows him to think through and emphasize the particular motivations behind each of his close-ups.
Your Turn
There are several things you can do in your next film to give more thought and weight to your close-ups. You should always have a shot list. Know what you want to shoot before you shoot it. While you won’t have time to shoot every close-up as a separate set-up, you can pick some punctuating close-ups that you could shoot out of sequence.
Once you get to the editing room, consider how the way deploy close-ups effects rhythm, tension, and tone. What would happen if there were fewer close-ups? How would the scene change if you were close-up on a different character? Consider these possibilities as you cut the film.
Regardless of what choices you make, the important thing is to think about the close-up as just one tool in your toolbox, and understand that when you go to close-up, and who you show a close-up of, will change the way the audience interprets a particular moment.
That’s all for our Highsnobiety Film School on the basics of how to direct a movie. Look for our next installments in the series, when we’ll talk about cinematography, screenwriting, and more.
• Featured & Main Image: Keystone / Getty Images
• Words:: Brenden Gallagher
Words by Contributor
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Mise en scène can seem foreign, even to filmmakers, film critics, and movie buffs. Why is it important? How do you pronounce it? And what is mise en scène anyway. Grasping mise en scène is critical for anyone who makes or seriously watches any kind of visual content. For directors and producers, mise en scène in film and the script breakdown go hand in hand.
In this article, we’ll let you know what mise en scène is and how you can use it — both as a filmmaker and as a savvy viewer. We will define 20 key mise en scène elements and provide practical mise en scène examples. By the end of this piece you’ll be a mise en scène master, and you’ll know how to break down a script with greater insight.
Watch: What is Mise en scene?
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mise en scène in film
Mise en scène definition
Mise en scène means everything that has to happen to make the finished image look the way it looks, which in turns helps your content feel the way you need.
Mise en scène refers to the visuals of a film.
It’s what we see onscreen — all the elements that appear on camera, how they are arranged, and the overall look and feel they combine to convey.
For the record, it’s pronounced meez-on-senn. Let move on to an essential question: How do you define mise en scène in film?
What is mise en scène?
Mise en scène is the arrangement of scenery and stage properties in a play. Translated from French, it means "setting the stage" but, in film analysis, the term mise en scene refers to everything in front of the camera, including the set design, lighting, and actors. Mise en scene in film is the overall effect of how it all comes together for the audience.
Mise en scene elements include:
• Sets
• Props
• Lighting
• Costumes
• Actor blocking
• Shot composition
Importantly, producers, directors, writers, along with sometimes hundreds of craftspeople, artists, and technicians all work in unison to present one picture. Mise en scène includes, quite simply, everything that goes into the production.
Everything in the frame. All that a viewer sees, hears, and feels. The total design of a film.
Consider Tim Burton's insanely creative and evocative production design. Each frame is bursting with style and personality, including his set, costume, and make-up designs.
Tim Burton Production Design • Subscribe on YouTube
Keeping track of it all can be daunting, but if you’re a filmmaker you can make it easy to divvy up and break down every element of your story, from props and wardrobe to talent and locations.
How is this done? By breaking down your script. Determining your budget. Tagging your elements.
Designing your production is a tall task. That’s why using an intuitive script breakdown and production management software makes it easier to manage. You’ll want to focus on details and logistics, but not lose sight of the art.
The big picture. That’s where a good breakdown comes in.
The mise en scène elements in this guide, combined with script breakdown tools, will empower you to better manage your filmmaking workflow. You’ll be able to track and control your project’s mise en scène throughout the process.
1. How location affects your scene
Here’s a veteran filmmaker tip: If you have a two-person dialogue scene and think any location will do the trick, think again. The difference between a conversation in McDonald's as opposed to a church can be extreme. Location says a lot about characters, intentions, obstacles, and themes.
What’s the difference if a conversation takes place in a synagogue or mosque? At Disneyland? What about in a schoolroom, a confessional … or how about in the trunk of a car?
Mise en scène in film • Out of Sight
When choosing a location, the budget often plays a role. Take a deeper dive into film budgeting during your script breakdown phase.
This will give you real-world parameters you can apply to every subsequent element of your mise en scène.
Start hammering out locations with your script breakdown.
MISE EN SCÈNE elements
2. Pick the right color
Filmmakers who think of color as something secondary, the exclusive domain of the production designer or post supervisor, do so at their own peril.
Color in film is a massive element of mise en scene that permeates every other visual element. The use of color is malleable and subjective.
Its role in creating mood or effect — indeed, its function in art of any kind — cannot be overestimated. Here's a look at Kubrick's use of color in mise en scene — notice how immediate and powerful his color choices are.
Kubrick's Color Palette • Subscribe on YouTube
For instance, in the film O Brother, Where Art Thou?, the Coen brothers set the story during a “dust bowl-era” south.
Elements of film - cinematographer Roger Deakins and Cinesite work on color
Anyone who’s ever been to the south in the middle of summer knows that it is lush and green. Not especially dusty.
Color is a primary tool for filmmakers. You must appreciate its power. Especially in the post-technicolor film world, color not be considered an afterthought. It is a vital means of artistic expression.
What are the major elements of cinematic design? Color always comes at the top of the list. Need convincing? Consider Akira Kurosawa's color palette. For a complete guide to using color in film, download our E-book that covers color palettes and color schemes in cinema that have been used to great effect.
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How to Use Color in Film
Hue, saturation, brightness — the three elements of color that make all the difference. In this book, we'll explain the aesthetic qualities and psychology effects of using color in your images. Topics include color schemes like analogous and triadic colors and how color palettes can tell stories of their own.
How to Use Color in Film - Ebook Preview - StudioBinder - Hero
The more you know about color, the stronger your script breakdown will be and your mise en scene will follow suit.
MISE EN SCÈNE examples
3. Your set establishes your world
Mise en scène translation? It effectively means “staging.”
Since the earliest days of motion pictures, setting the stage has been crucial for creating worlds.
Something that can be as simple as a bench, like in Forrest Gump, or as grandiose as the fantasy settings of the Harry Potter film series, can do so much to establish the world and anchor the characters.
There is a reason most art departments are such a large part of any film budget.
Why? Half the battle of creating the world of the film can be won by giving attention to the set.
Check out the storyboard view of Harry Potter and the Sorcerer's Stone, in StudioBinder's Shot List feature.
If Harry Potter’s school of wizarding had been set in an American public school, it would be a very different film.
Mise En Scene Mean Girls Mise En Scene Examples StudioBinder
Mean girls wondering what’s up with the new wizard kid
Key mise en scène examples relating to set include the Harry Potter films and Titanic. In both cases, the set actively informs time, place, and story.
Tracking and managing set requirements early in your production process is integral to controlling your film’s mise en scène.
MISE EN SCÈNE analysis
4. Props importance
The use of props as a component of mise en scène is often lumped in with set or wardrobe. This makes sense on a certain level, but props deserve separate consideration.
Whether a tiny item of large importance — think the Heart of the Ocean diamond in Titanic — or action-driving glittery articles like Dorothy’s ruby slippers in The Wizard of Oz, a prop (derived from the term “theatrical property”) may even be the focus of the entire film.
Mise En Scene Titanic Mise En Scene Examples StudioBinder
Mise en scene stealer? The blue diamond in Titanic
Imagine if Dorothy is being chased through Oz … for a pair of Jordans or penny loafers instead of her magical kicks. Different movie altogether, all because of props.
The objects in your frame are interacting with every other element of your mise en scene all the time. Whether the filmmaker recognizes this or not, the audience sure does.
Even if a character is not directly lifting, donning, tripping over, or smashing a prop — if it’s in frame, it’s part of your story.
Let’s look at an example: Creed.
We’ll spend some time in Adrian’s restaurant with Rocky and Adonis. We’ll identify and tag all the elements for each department for your script breakdown.
Mise en scene elements in Creed • Subscribe on YouTube
Props have power. They’re vital elements of film. Any mise en scene definition must include them. Any script breakdown must tag them.
wear MISE EN SCÈNE on your sleeve
5. Costumes make the difference
The costume, or wardrobe, is another key part of the filmmaking arsenal when composing mise en scène.
What characters wear says much about the world they inhabit, who they are within the world, how they feel, and how they carry themselves.
Keeping track of wardrobe can be a tricky task from the outset. Breakdown your script with robust software that makes your film’s costumes easier to track. You can use StudioBinder's script breakdown feature to do it.
Script Breakdown Software • Subscribe on YouTube
With the intuitive drag and drop menu, highlight the particular wardrobe piece, you need, and simply tag it as "costumes."
Furthermore, costumes bring together every other part of the mise en scène. The costume grounds the character in the world created.
Look at any film and you’ll see proof that costumes are one of the most important elements of mise en scene. Costume gives the audience unmissable information about each character.
In Gone with the Wind, wardrobe contributes to our understanding of the story’s time period, social structure, action, and scene composition. It also defines (or belies) characters in straightforward, instantly felt ways.
The clothes in The Breakfast Club serve as key elements of film. Wardrobe in the story conveys a variety of universal high school archetypes while also managing to provide each character with his or her own unique personality.
Costumes tell us a lot about both the big picture and the particulars.
why is MISE EN SCÈNE important?
6. Hair and Makeup
Costumes extend and bind all the elements of mise en scène. This is also true of hair and makeup, with intimate connection to talent.
Alice In Wonderland, Marie Antoinette, and The Lord Of The Rings Trilogy showcase hair and makeup’s significance in creating character.
By magnifying and externalizing character traits, hair and makeup contributes to the elements of film in even the most complex worlds.
Mise En Scene close ups film techniques StudioBinder
Alright, mise en scene, I’m ready for my close up.
Hair and makeup can revitalize familiar characters, dispel preconceived notions about them, and make them relevant right now. Such is the case with the Joker in The Dark Knight Trilogy.
When it was announced that the character of the Joker would be rebooted in the new Batman series, many scoffed at the idea of recreating a character that Jack Nicholson had made so iconic for Tim Burton.
A similar adjustment was made for Todd Phillips' Joker as well. Here's a breakdown of how that character was realized in each iteration.
How Costume Changes Character • Subscribe on YouTube
With a radically different approach to the character’s hair and makeup, the new iteration of the Joker dispelled memories of the original and helped win Heath Ledger an Oscar.
MISE EN SCÈNE spotlight
7. Lighting sets the tone
Film techniques seen and unseen contribute to your mise en scène. Lighting techniques exemplify this “seen and unseen” quality. Just ask a cinematographer.
Lighting is one of the key elements of film. It’s the pièce de résistance in completing your mise en scène. Here's one of today's premiere DPs, Roger Deakins, discussing his relationship and approach to lighting.
Lighting is one of the essential mise en scene elements • Subscribe on YouTube
Lighting, like all the elements of mise en scène explored on this list, is best considered early in Pre-Production, during the script breakdown phase.
We find a striking example of lighting the Film Noir genre. The Film Noir style characteristically has strong contrast in color or shade with a prevalence of chiaroscuro lighting. This isn’t only because a lot of classic Film Noir movies are shot in black and white: it’s also achieved through lighting.
A good use of these film lighting techniques in a film outside the Film Noir genre is found in Schindler’s List.
Mise En Scene film Schindlers List StudioBinder
A solid mise en scene list must include Schindler’s List.
The contrast of stark blacks to ethereal whites, the moody lighting, the highlights seen and unseen all combine. They inform us of the theme of this period piece and the characters’ places in the world.
But a film does not have to use drastic lighting to set mood, tone, or theme.
8. The medium — film vs. video
You’re making a film, right? Film is the material that records moving images. It’s also the movie you make with those moving images.
Different kinds of film and processing techniques lead to different kinds of mise en scene. And between film, chemicals, digital, software, apps, and other tools, the possibilities are vast.
Film is a thin plastic strip coated with light-sensitive cellulose for exposure in a camera, used to produce moving pictures.
The size and uses of film vary. A film strip can be as small as 8mm and as large as 70mm. Film can be processed with chemicals such as tungsten to achieve a variety of effects.
This simple definition spawned an entire universe of artistic expression.
The variety of film that has been generated by Kodak or Fuji, to name only a couple, is truly astounding. It is hard to believe that there was once only one kind of black and white film.
That’s right, once upon a time filmmakers had a small selection of black and white film available. Today, the choices are abundant, beginning with size: 8mm, 16mm, Super 16mm, 35mm, 65mm and so on.
Then there is black and white or color, as well as stock and speed. Choosing a film stock is important for creating the look of your scene. One more obvious thing about film. It no longer has to be film. It can, and more than likely will be, digital.
Mise En Scene Film Techniques Shot on Four Camcorders StudioBinder
Mise en scene in video: the film Timecode was shot on four camcorders
Film or digital is now the ultimate question when it comes to making a choice for your project’s mise en scene. Check out test footage for the best 4K video cameras. Talk to other filmmakers. Do your research.
Which leads us to the next section.
elements of film
9. Picking the camera
Your camera does more than simply record your mise en scène. It actively shapes it. If the mise en scene translation comes out to “staging” or “putting on stage,” then what kind of camera you use makes a difference.
Your choice of camera is an essential element of mise en scène. It can paint as distinct and unique a picture as any other element.
At the heart of filmmaking is manipulating and capturing light to produce a picture. What you use to capture that light, simple or advanced, has an effect.
For instance, filmmaker John Cassavetes hated the artifice that was so common in the early years of filmmaking. He leaned towards improvisation in performance and Cinéma Vérité as a rule for mise en scène.
Cinéma vérité is a genre and style of filmmaking characterized by realism in all aspects of mise en scène. Using simple equipment and often improvised story and structure, the style lends itself to independent filmmaking. It has given rise to subsequent film movements such as Dogme 95.
Cassavetes grabbed the nearest Bolex 16mm camera he could find and hit the streets to make his masterpiece. Paul Thomas Anderson did almost the polar opposite in his film The Master.
He used a 65mm camera that insured that the subjects in his frame would be seen in a much higher resolution, as part of a literally wider world.
But one need not use a 65mm camera to achieve these effects.
Mise En Scene Film Techniques Panavision 65mm StudioBinder
Panavision 65mm - it’s as if 4k and 16mm had a mise en scene love child
The scope of the film and whether or not it is digital plays a large role here. There are now digital versions of 16mm, Super 16mm, and so on.
Every cinematographer can consider a wide array of camera choices to benefit your particular story.
MISE EN SCÈNE in motion
10. Camera placement
Where you choose to put your camera is just as important as what kind of camera you use. No viewer will be thinking of where you put camera if you place it correctly. Here we cannot overstate the importance of a shot list.
Camera Angles Explained • Subscribe on YouTube
Whether at a high angle above the subject or a hundred feet away, where the camera is and what it captures should be determined before you arrive on set.
Make a shot list. Start tagging your elements. Stay organized. Be prepared.
You’ll make a better film.
speed of MISE EN SCÈNE
11. Speeding up or slowing down film
As a filmmaker, you can shape and bend your created world like a wizard. Time can stand still, it can move at a fraction of normal speed or be sped up into a blur. This all comes down to frame rate. Here's our guide to frame rate and the options filmmakers have to manipulate their mise en scene.
Ultimate Guide to Frame Rate • Subscribe on YouTube
You can also change the tempo of your world and your characters with fast or slow motion. You, as a filmmaker, are a master of time and space, all contributing to mise en scene.
Many filmmakers have used the speed of the scene to accentuate every element of mise en scène. Whether fast motion or slow motion, you can become a master of time and space by controlling your elements of film.
The Matrix - to learn mise en scene techniques, take the red pill
Chariots of Fire, Raging Bull, Any Given Sunday and pretty much every other sports movie ever offered from Hollywood would not be complete without a slow-motion finish for the victor.
The speed of the scene is an easily accomplished film technique that is a cornerstone of filmmaking.
MISE EN SCÈNE on the scene
12. Comprehending composition
Composition is an element of mise en scène that has infinite possibilities. There are rules of composition many image-makers use when framing their subjects. These can be obeyed or broken depending on your intent for the shot but how you frame your shot is massively important in bring all of these mise en scene elements together.
Ultimately, characters and action should suggest the layout of the image, the placement of elements within it. Good composition guides a viewer’s eye and leads a viewer’s focus within the frame.
The Rule of Thirds is one way filmmakers can imbue their frame and scene with the focus they desire.
Mise en scene elements • The Rule of Thirds
Unless it reads a certain way in the script, where everything is placed does allow for creative liberties. But be careful that something you place flippantly will not lend itself to an unintended, confusing, or ulterior meaning.
You’ll really want your composition and placement to be intentional.
film techniques on display
13. Form and Frame
Bring it all together.
If you’ve done everything else right, you won’t want to leave these “unseeable” aspects of mise en scène to chance. Every beautiful picture deserves a spectacular form and a well-thought-out frame.
The form is the twin of composition. It’s not the who, what, where, or when.
Form is the how. How is your mise en scene communicated?
Animation? Puppets? Stop motion? Live action? A combination? How are the elements woven together in a symbiotic relationship?
Wes Anderson is a fan stop motion, miniatures, and live action. These forms set the tone for the entire mise en scène in films like Isle of Dogs.
Mise En Scene Film Elements Isle of Dogs StudioBinder
Form and frame: elements of film in Isle of Dogs.
Now for frame. Your picture’s almost done. How do you want to frame it? An example of how framing makes the scene in The Shawshank Redemption.
MIse En Scene Film Elements The Shawshank Redemption StudioBinder
Framing and mise en scene elements in The Shawshank Redemption
To say that the framing in the scene of the discovery of the escape is masterful is no hyperbole. Here, the warden is literally framed by the tunnel that will be his undoing.
Framing takes composition to the next level. When you frame your film, you’re doing so with the understanding that your created world functions within the real world. Where will you set the parameters for your viewers?
Camera Framing • Subscribe on YouTube
You’re deciding where the form of your story ends and the real world begins. You’re putting a border around your film — or artistically suggesting that the border doesn’t exist at all.
Frame is as crucial as any of the other mise en scene elements on our list.
focus on MISE EN SCÈNE
14. Depth of Field
Depth of field is one of the subtler elements of film, but a measurable one. How you use it contributes meaningfully to your work’s mise en scène. We've seen other mise en scene elements designed to draw the audience's attention. And using the camera is yet another tool to achieve the same effect, oftentimes in combination with other elements such as color or lighting.
With a light touch, a filmmaker can play with peripheral elements while keeping the primary focus in the viewer’s sights. Here's our ultimate guide to camera focus and how filmmakers can use techniques like deep depth of field, shallow depth of field, and the rack focus.
Mise en scene elements & camera focus • Subscribe on YouTube
Ask yourself, what draws attention first, then second, and even third? What’s the order of importance to what’s being shown, and why?
One of the most effective film techniques to master focus: depth of field.
listen to your MISE EN SCÈNE
15. Sound design
Sound design is one of the elements of film that often gets neglected by fledgling filmmakers.
Rest assured, effective use of audio is the single easiest way to heighten a lackluster scene — or ruin a great one.
Whether you are using diegetic or non-diegetic sound, music, and sound effects, it is critical that you think of what is heard as essential to your mise en scene elements.
In this video, we examine how Quentin Tarantino uses sound to modulate the tone of his violence. When he wants a scene to be disturbing or when he wants it to be fun, sound design plays a major role.
Tarantino's Sounds of Violence • Subscribe on YouTube
Sound is so high on the list of film techniques that it has not one, but two Academy Award categories. Here are our favorite Best Sound Editing and Best Sound Mixing winners.
Think hard about how you use sound, and don’t let it fall by the wayside in your creative project. No mise en scene definition would be complete without sound.
16. Music
The importance of music in film cannot be overstated when it comes to completing your mise en scène.
Ask anyone what comes to mind when they think of movie music, and odds are you’ll hear mention of Star Wars and Indiana Jones, maybe Jaws and the James Bond theme.
And what about films like American Graffiti, Dazed and Confused, and Pulp Fiction? Their well-curated popular songs infuse and reflect every single one of the other mise en scene elements.
Not to mention films with music, and musicians, at their core: Straight Outta Compton, Amadeus, Bohemian Rhapsody, What’s Love Got to Do with It.
The list goes on. And then there’s musicals! What do these films and their music have in common?
Music mise en scene examples • The Empire Strikes Back
The music becomes a character in the film itself. The leitmotif and the character are synonymous.
The rhythm, tempo, and texture of mise en scene is tied to the music.
When we think of “The Raiders March” (“Indiana Jones Theme”) we can’t help but envision Harrison Ford in character as Indiana Jones, wearing his hat and running from a boulder, or wielding his whip and leaping off a cliff.
Music, or the lack thereof, can be effective in painting a full picture. Music also is a way for the filmmaker to communicate to the audience. The filmmaker can inform and enrich the what, when, why, and how of a story’s moment-by-moment emotional resonance.
essential film techniques
17. Know the talent
Your actors are one of the most essential mise en scène elements.
Many directors feel that if you cast correctly, that is to say appropriately for the characters, story, and overall vision, then half the battle is already won.
Actors’ strengths and weaknesses can be exploited when they are the central focus of a scene.
Some actors are chosen for the melodramatic or overacting quality of their performance. Think Jim Carrey in 80 percent of the roles he’s played.
Jim Carrey literally chews the mise en scene.
Jim Carrey would be out of place in a Merchant Ivory film. The term “chew the scenery” can be used as a positive or a negative, depending on the scene and the intention.
The look and ability of your actors articulates your film’s mise en scene definition. For directors, working with cast on performance is quite possibly the most dominant way to shape mise en scene.
block by block
18. Blocking actors
Just as camera placement and movement are essential, so are placement and movement of talent.
Blocking takes all the mise en scene elements directly to the cast.
Attack the block - blocking mise en scene examples
Where an actor is arranged, and if, when, and how an actor moves in the scene, all highlight the reason for the scene itself.
Blocking organizes the action, the business of the moment. It flavors what’s going on, both on the surface and underneath.
Does an actor take a step, scratch an itch, put on a hat, do a jumping jack, bite into a sandwich? Does an actor do this before, after, or in the middle of speaking? Why? It can all have a major effect on the dynamics of the scene.
Blocking and Staging • Subscribe on YouTube
Consider what your actors do and how the action reads to your audience. Put yourself in the theater — how would you interpret it?
The term “What’s my motivation?” was coined by an actor given blocking direction that had nothing to do with the scene they were in.
Be prepared to explain and justify your blocking choices to collaborators, especially to your on-screen talent.
Your mise en scene depends on it.
elements of film in motion
19. Action in the background
The main action in any given moment is what your mise en scene all comes down to. What’s the conflict, the desire, the intention? How does it unfold? Where do your characters start in a scene, and where do they end?
Not just physically, but emotionally. How do they change?
Background action, seemingly throwaway action, and any action that is secondary to that in primary focus can be memorable and valuable as part of your mise en scène.
In Midsommar, director Ari Aster uses the wide open spaces of his daylight rural setting to create an extra layer of foreshadowing and suspense.
Mise en scene in action • Midsommar's background
This is a specific use of action in the background to complete the story. Remember that lack of action is still a form of action.
Even if characters do nothing, inaction becomes their action. Mise en scene depends on what’s being done.
20. Post-Production
The final step to completing your mise en scène is often the final step in locking your film.
Post-production and/or, more specifically, CGI or Computer Generated Imagery, can be the icing on the cake for your completed film.
You want to minimize surprises in executing your mise en scène by starting with a solid script breakdown during pre-production.
The script breakdown phase is also where you’ll want to determine what you’ll aim to accomplish during the post-production step. Unforeseen fixes and tweaks will very likely arise, and post is an ideal place to address these — but you’ll want to keep “major repairs” to a minimum.
The rapid growth of CGI can create mega-worlds of wizards and superheroes. This translates to the ability of filmmakers to add many critical mise en scène elements with computers.
up Next
Wes Anderson’s Mise en Scène
Mise en scène elements can be as simple as an actor in front of a camera. It can be as elaborate as a thousand-person crew and twelve visual effects teams. Wes Anderson has mastered all the mise en scène elements and crafted his own style. Find out how right now.
UP NEXT: Wes Anderson’s Mise en Scène →
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Glossary of Essential Film Terms
A Useful Film Techniques Glossary
Above the Line: The above the line credits (or ATL) refer to the major creative talent. The film jobs that are always above the line include the director, executive producer(s), screenwriter(s), main actors, and casting director(s). Depending on notoriety, occasionally the director of photography (DP) is placed on the above the line costs for a film.
Aerial Shot: An aerial shot is a camera angle filmed from overhead at an elevated point of view. The aerial shot is captured from a drone, helicopter, plane, blimp, or jetpack! A helicopter shot is a moving shot, often used as an establishing shot taken from a bird’s eye view. It is generally taken from a helicopter, allowing it to weave through a landscape.
Ambient Light: Natural illumination present within a particular location. This may be used to gauge how a crew might approach photographing a scene.
Angle: A space in-between two intersections. These spaces might be used by a filmmaking crew to position a camera.
Animation: An illusion of movement. Movements, as such, might be used as a tool in narratives such as cartoons or more.
Anime: A style of japanese animation. Akira is our favorite, what’s yours?
Antagonist: A character that might hold goals that oppose a protagonist. These characters might directly conflict with a story's plot by default.
Anthology Film: A collection of varying stories. They may be interrelated but potentially not always.
Anti-Hero: Protagonist defined by their own interest. In certain cases, they may be a character with questionable attributes to varying audiences, yet could hold virtuous qualities that push them into favor for other observers of a story.
Aperture: An opening in a camera lens that determines amounts of light contacting a camera’s sensor or lens in photography. In photographically exposing images, controlling levels of luminance may be key.
Apple Box: A wooden tool that could be multi-purposeful for a production crew. In appearance, these might be cubic or rectangular in nature. They can have a variety of uses from propping someone up, to being used for different grip purposes.
Arc Shot: A circulating camera shot that may utilize a subject as its point of reference. Varieties of genres or scenes could work to use this creative technique.
Archetype: A characterization or personification. In narratives, this could be used to offer a dynamic element to a plot.
Art Director: Designer of a production set. These creatives could be proposed as an additional lead and creative member to a department.
Aspect Ratio: A length and width to a photographic image in cinematography. Certain implications or symbolism might be used with contracted or stretched aspect ratios, such as 4:3, 16:9, 2.35:1, or more.
Assembly: A primary step in audio and video editing. Before splicing footage, arranging or organizing material may be one’s first consideration.
Asynchronous: Material, be it audio and visuals, that are out of sync with one another in movie production. This could be jarring to audiences, yet might also create unique impacts.
Audio: Sound within a movie production. This could range from effects, music, or more.
Audio Bridge: Sound that carries from one scene to another. In clip transition, this might be a tool to consider.
Audition: Actor’s interview in which they would potentially read from a script. These performers could be requested for additional readings.
Auteur: Author in french. This may be referred to directors or creatives that might be heads of departments.
Available Light: Ambient illumination that might be used to potentially photograph a scene. This could also be used in pre-production of films to gauge how a scene may be designed.
Avant-Garde: An artistic movement. Often this might be characterized as an abstract or experimental phase.
Axis of Action: An imaginary line that runs between one or two characters in a scene. When staging a moment in a narrative, it could be of use to ensure events are occurring within a consistent direction, in perspective to a viewing audience member.
Backdrop: Backings or paintings placed behind action. These may be used to set design.
Background: Items within a rear dimension or plane of action. When staging, consideration to this area could assist in formulating three-dimensionality.
Background Artist: A visual designer for a movie. Matte artists might be used as part of an overall creative team.
Background Music: Score heard within a scene. This audio may enhance a mood or sentiment of a moment in a narrative.
Backlighting: Illumination that forms separation from one plane to another. This technique could be utilized by designers, cinematographers, or other creatives.
Back Lot: An enclosed area for recording a scene. Spaces, as such for filming, might also be proposed for environments that require specificities, such as open land.
Back Projection: A photography technique that allows for placement of a particular backing in a later time phase. This may help to supplement budgetary needs.
Backstory: Exposition or story that began before an audience-witnessed narrative. These portions of a film might assist in educating an audience.
Barn Doors: Foldings that may be found around a light source or bulb. In directing illumination, this tool could be of assistance.
Below the Line: Production costs. These expenses might include salaries of laborers, publicity, or more.
Best Boy: Technical assistants for gaffers. In certain cases, they could be utilized to create convenient filmmaking processes.
Blockbuster: A successful film project monetarily and socially. These productions could accumulate over $100 million U.S.D. or more, depending on a region’s currency system.
Blocking a Shot: Determination of positioning for select elements in a creative production. These decisions might be left to a director or project lead.
Blooper: Mistakes during a filmmaking process. These could be recorded and potentially used later for comic reliefs.
Blue Screen: Monochromatic partitions that could be used to add special effects. These might also need to be evenly lit and positioned behind courses of action in a scene.
Body Double: A replacement actor. In scenes where much physical risk may be involved or due to a performer's specifications, these actors might step in for a cinematic moment.
Bookends: Complementary beginning and ending scenes in a narrative. These could often add intrigue to an overall project.
Boom Shot: Scenes in which a camera in a film production could be rigged to a crane, jib, or more. “Russian Arms” might be brought in for these moments, actions such as car chases. Feel free to view Netflix’s Point Blank (2019) where our very own from SICKBOAT assisted in filming.
Bounce Board: A light reflector for potential photography purposes. These could construct or enhance lighting schemes, such as three-point strategies.
Bracketing: Repetitive shooting of a scene at varying f-stops. This could result in a collection of exposure levels for one cinematic moment that might be selected during a post-production process.
Bumper: Portions or segments of a film before any photographic narrative is seen. Examples might include a brand’s logo, which precedes a show.
Butterfly: Large material that could be used to spread light. In visually designing a motion picture, it may be of use to control large pools of spill or illumination from within areas a camera records.
Call Sheet: Schedules offered to film production crews. These may assist in informing and organizing duties performed in a single day of recording a movie or project.
Cameo: Appearances from a notable celebrity or relatively known individual. Moments such as these could help promote a movie or draw awareness.
Camera: A tool to photograph a film or project. Overtime, filmmakers could operate digital, film, or analogue devices to record their art.
Camera Angle: Points of view of a photographic device. In certain cases, these could be used to create visual mood or tension.
Camera Movement: A technique to capture a subject in motion or form visual intrigue. Moving video recording devices around, away, towards, or more could all potentially form suspense for a scene.
Camera Operator: Professionals who activate, calibrate, or handle a photographic device during a production. These skilled talents may also rely on assistants to ensure convenient days of shooting.
Caption: Translations that could be posted as graphics upon a screen during films or movies. This written information may assist in communicating ideas to an audience.
Cash Cow: Film projects that could be garnered as having a probability of success financially after initial release. References, as such, could be placed on a project with specific expectations. Think of the Marvel franchise.
Cast: A collective of performers on a project. This may more directly refer to actors or those that could be seen in camera footage.
Catchphrase: Expressions, in a film project, that could draw notoriety with an audience. In certain contexts, these could be scripted lines in a movie that help promote it outside of theaters to attract more moviegoers. “We’re not in Kansas anymore” or “Luke, I’m your father” are good places to start.
Cel: A sheet containing hand drawings for formation of a cartoon. In a development phase of animated work, utilizing this tool could help structure pieces.
C.G.I.: An acronym for “Computer Generated Images ''. For narratives demanding use of surreal ideas, these visuals might assist in that overall goal.
Character: An individual in a narrative. Whether containing condemned or virtuous qualities, these players act.
Chimera (Soft Box): A tool that softens hard specular lighting sources. In other terms, these tools could act as necessary diffusion.
Cinéma Vérité: “True Film en français. These films may provide perspective into daily lives of characters as they act out a narrative.
Cinematographer: A chief or director of photography in a film crew. These professionals could, in collaboration with a project’s director, capture moments, shape light, and more.
CinemaScope: A cinematic aspect ratio of 2:35:1. It may be characterized as filling a screen horizontally and vertically.
Cinerama: A photographic strategy in which a filmmaking team attains an expansive view of a frame. A process such as this might require 3 cameras and 3 projectors to accomplish a task.
Clamps: Tools that hold grip and lighting equipment to specific items or surfaces. One might refer to these as C47’s, Cardellinis, or more.
Clapperboard: Informational slates. These could often be written on with dry-erase markers and potentially handled by a camera assistant.
Claymation: A form of animation. Putty, plasticine or other amorphous material that creators might use to form characters for a cinematic scene.
Cliffhanger: A moment in a cinematic piece where a primary conflict is not resolved. Cinematic television shows or other content could make use of these to prolong seasons or leave audiences desiring more.
Climax: Moments with large amounts of tension. A protagonist might confront a task that enhances plots within a narrative.
Close-Up: An image that is captured within a relatively close distance to a subject. Tension in a scene could be increased as a frame’s size begins to condense its field of view.
Color Correction: A process in which an image's gamma and gamut range are condensed or stretched. In coordination with potential directors of photography, colorists could begin designing a look to a movie with photographic references or with help from other creative leaders.
Comic Relief: A moment in which a character issues comedic expressions into a cinematic piece. This might break moments of tension or simply add further intrigue to a film project.
Composer: A musician that implements a score to a film. Enhancement of a movie’s overall experience could be done with a well-crafted musical composition
Composition: An arraignment, which could be of characters, set pieces, or more. In certain cases, this might be performed during moments of staging actors or curating a project.
Continuity: Consistency from one scene to another in a filmmaking production. A supervisor might be in charge of ensuring an arrangement of set pieces, actors, or more remain continuous from one shot to another with reasonable changes as a narrative progresses.
Contrast: A difference, be it in light, shadow, color, or more. This could be a golden necessity depending on creative directions.
Coverage: A collection of photography that might encompass select angles, resevese angles, or others. In collecting this, filmmakers could ensure a narrative or scene has been shot with multiple images to choose from in a post-production setting.
Crane Shot: A photographic angle that might be captured from an aerial device. This could be used to follow characters in flight or potentially in an action sequence.
Credits: Textual details of creative members that participated in working on a project. These might be placed after a movie has commenced.
Crew: Individuals involved with constructing and composing a creative piece. This group could range in experience yet all work cohesively to develop a story.
Critic: An analytic professional that assesses a film or movie. They may have experience in filmmaking or a related field to work they analyze, while also potentially influencing a project's success.
Cross-Cutting: Alternated action sequences that might be viewed by audiences. Post-production professionals may implement this practice with assistance from other creatives. Scenes with this technique could preview two contrasting moments that seemingly occur at a similar time within an audience member's mind.
Cross-Fade: A creative transition from one moment to another. When an image gradually turns from black and then into another recognizable image, this might be considered a subtle change that keeps an audience engaged.
Cross-Over: Films segmenting for one particular demographic. This might rely on marketing research and how a movie might align to a specific audience, yet this could ensure a narrative reaches those that a creative deems needs their story.
Crowd Shot: Large groups of extra actors that are captured by a camera during a filmmaking production. These might provide viewing audiences a sense of space or congestion in a given area where a scene takes place.
C-Stand: A light stand. This might be proposed to hold other items such as sound recording equipment, with use of proper clamps, or other grip equipment for a filmmaking production.
Cucoloris: A type of flag that cuts light. Special tools, as such, might be able to form unique patterns of shadows or illumination for creative purposes.
Cue: A signal for an actor to begin a performance. Filmmaking procedures may require that cast and crew members are alerted to a scene’s commencement.
Cue Card: A device used to assist in recollection of script for a performer. In times of script changes between preproduction and production, it could be of use to use this tool to help with any potential difficulties.
Cutaway Shot: Creative moments where a scene is interrupted with another sequence of action to draw upon an idea. This could result in primary and secondary sequences.
Cyclorama: A backdrop placed within a scene’s background. These help with exterior moments of a creative project that must be captured inside of a closed set.
Dailies: Reviewed footage from a prior day of recording a film. These frames could help task a crew with needed coverage in time ahead of them.
Day-for-Night Shot: A scene recorded during daytimes with techniques to create a night appearance. Production schedules might be enhanced or reduced to modify a project in-progress.
Deadpan: Expressionless deliveries by a performer. This might add creative comic relief or intrigue to an overall project.
Deep Focus Shot: A visual illusion showcasing an expansive depth of field in a given moment of action. Cinematographer’s might create this to ensure subjects within foregrounds, midgrounds, and backgrounds are in a sharp focus.
Depth of field: A range of a camera focus during a captured moment. Film photographers might use this to clarify and intensify pieces of a frame.
Depth of Focus: A visual technique that displays an expansive depth of field. Unlike one shot, this might be a strategy a creator uses throughout an entire project or scene.
Diegetic sound: Audio within a cinematic moment. In certain cases, these effects might assist in forming realism for an audience member.
Diffusion: A spread of specular light’s beam thus creating a soft quality to a back, fill, key or other positioned source. Creatives might rely on this for close-up photography or to complement a narrative.
Digital Production: Electronically recorded movies that do not rely on analog film cameras. Although there may be distinct qualities to traditional mediums, digitally captured narratives might work to create ergonomic budgets for agencies. Additionally, cost in celluloid rolls might require precious care and expenses which one might need to prepare for in advance.
Directing the Eye: Direction of attention formed through elements that are positioned in a frame. Cinematographers could utilize this technique to guide viewers to actions or necessary visual information.
Director: A lead creative of a film. This artist could be held responsible for all duties pertaining to a production from planning to execution.
Director's Cut: A version of a film that is not influenced in content or length by a studio. In certain cases, these pieces could reveal a story to viewers that introduces further dimensions.
Dissolve: Gradual superimpositions of varying images that could work as a visual transition. This technique might be relied upon to segue a cinematic moment to another.
Dolby Stereo: A type of audio quality created through a laboratory for cinematic purposes. Depending on sizes of film, a series of audio tracks might be applied forming a potentially unique aural experience.
Dolly Shot: Alteration of a frame’s background thus creating a visual illusion. Rigged photographic devices might be in movement that allow it to track subjects in-motion.
Double Exposure: A developing image is showcased to light twice to form a dissolve-effect. One could form visual illusions, such as transitions or experimental looks in a video.
Dub: Audio added to a film after production to potentially enhance a narrative. In cases where dialogue might be difficult to hear, an extra in-sync recording could be supplemented during post-production processes.
Dutch Angle: Canted positioning of a camera. Photographic devices might be rolled left or right to supply tension to a frame.
Epilogue: Scenes that wrap a motion picture. These could be moments of reflection.
Establishing Shot: A moment captured from a distance that might offer a view of a location or set. It could be vital in varying pieces of a narrative to place these images into a viewer's mind to instill where actions may be taking place or to insinuate a tenor.
Executive Producer: A chief financier that oversees a film project. From a business perspective, these key professionals could be accountable for dividend decisions, investments decisions, or more with an understanding of a motion picure’s liquidity of assets entering and exiting productions.
Exposition: Delivery of information that might be placed early within a movie. These scenes of expository material could help ensure audiences are understanding events that influenced other actions in a narrative.
Extra: A performer who may not have dialogue or noticable attention during a production. These actors might be viewed briefly in crowded scenes full of people.
Extreme Close-Up: Captured moments that allow viewers to see a subject from a small proximity in distance. Visual detail could be apparent with a unique frame size.
Eyeline Match: A sequence of frames that are cut and placed next to one another to place a connection into an audience's mind. For instance, a clip may contain a subject gazing into a distance, while moments later another clip of an object could be previewed on screen to showcase a relationship amongst both photographs. Staging during production might be vital to successfully edit this into a film.
Fade: A change in decibels or intensity of audio. This could work to transition amongst music tracks or to alter scenes.
Fast-Cutting: An edited sequence of clips that are rapid in succession. Audiences could be impacted psychologically by this technique that might be assembled within post-production stages.
Favor On: A queue to focus a camera's optics onto a particular subject. This could assist in drawing attention to a character or item.
Film Grain: A portion of illumination sensitive material that might be housed upon a celluloid strip. Large amounts of exposure could be suitable and could require analogue cameras. For digital cameras, this may be considered noise that results from over or under exposure.
Film Noir: Translates roughly to black movies in french. These might be characterized by their fast lighting ratios from dark to light. Detective cinema might also be a close distinction to these forms of motion picutres.
Film Stock: Speed or size of celluloid strips. In certain cases, this could influence exposure requirements during productions or also color temperatures, as certain stocks may be cooler or warmer than others when recording.
Filter: Items or substances that are placed around a camera's lens that impact an overall look. This might persuade how an audience interprets a motion picture’s appearance, thus offering a tenor.
Fish-Eye Lens: A wide angle optical illusion. Select camera applications could be attached in front of a camera sensor to present this perspective.
Flag: A cloth that blocks light. Duvetine might be used and may work to absorb illumination or control spill.
Flashback: A moment in a narrative that refers to a past action. To singal this, a post-production professional might implement visual effects or sequencing that drives a desired impact.
Flash-Forward: A section in a story in which a future event is previewed. This could be opposed to flashbacks that alter a motion picture’s time differently.
Focus: This might be described as sharpness or unsharpness in an image’s quality. Furthermore, bokeh could be described as undefinable pieces within a frame.
Foley Artist: A creative that might be defined as a professional that works with post-production specialists to add audio to a motion picture. These artists could add sound effects that enhance a film’s realism or overall experience aurally.
Footage: A portion of film or media that might be used to record a narrative. If recordings had already been performed then it may be reviewed as dailies.
Foreground: A plane closest to a camera. When staging, certain director’s might place important subjects in this area to draw immediate attention.
Foreshadowing: A hint that might preview a future event. This literary device might be used to keep an audience intrigued.
Fourth Wall: A psychological plane that might describe where an audience occupies when they view a motion picture. In other terms, this may characterize a spectator point of view that a moviegoer might take when receiving a story.
Frame: This might be defined as a single image. In viewing rectangular images a perspective could be assessed as events unfold in front of a camera’s lens.
Frame Rate: A speed in which celluloid strips might pass through a camera. Similar processes may also take place within digital photography. Nonetheless, these rates could impact motion of events as they take place.
Fresnel: An illumination source that may be often characterized for its specular beam and work in defining textures of subjects. These sources could be positioned to articuticulating sets or characters, while also working in an overall scheme of designing a motion picture.
Gaffer: This may be a chief electrician for a film crew. These professionals could work to mitigate electricity usage for a production.
Gaffer Tape: A removal adhesive that could often be managed by electricians or other film professionals. Tools, such as this, may be useful when there is a need to bind items together or for other related purposes.
Gate: A tool that holds film in place. This could be inspected to ensure clean celluloid is being consistently exposed. For digital cameras, one may analyze a sensor that might need to be inspected for dust or unwanted particles.
Gel: A colorful fiter. These may enhance a film’s appearance by strengthening an appearance of hues.
General Release: Distribution of a movie. From a studio perspective, when a motion picture is exhibited to an open public this could be a chance to measure box office sales or overall success.
Genre: Translates to “kind” in french. One could form a project that has varying types of characteristics to it in its overall nature. For example, there may be a sci-fi and romcom mix or a thriller-detective story.
Greenlight: A project that has been approved for production. This could allow for a chance for a narrative to be released to a general public.
Grip: Production crew responsible for running maintenance for camera equipment, such as dolly’s or more. These professionals might be best used to ensure a team can successfully record complex shots.
Gross: A cumulative amount of box office sales. Retail earnings may not be factored into this total.
Guerrilla Film: A project that may be moderately seeded or underfunded. These might be executed with non-union actors, however they could work to promote narratives outside of major sponsorships.
Handheld Shot: Unstable camera footage. Camera operators' hands might be a primary tool for stabilization of photographic devices.
Head-On Shot: Action approaching a camera. In certain cases, a crew might utilize this filming to draw attention to a message or idea as events unfold.
High Angle Shot: Action recorded above a scene. By implementing this seemingly omniscient perspective, one might be able to evoke a meaning or add variety to their collection of camera footage.
High Definition: A type of image resolution that might be claimed to equate to clarity of a picture. 16 by 9 may be a standard ratio one could refer to when describing this particular visual presentation.
Hitting a Mark: Reference points for cast and crew to coalesce towards that could be queued by a director or other creative leader. This might be of assistance in case a scene requires precise timing of an event.
HMI: A specular lighting source. This could replicate appearances of a sun or other motivating figure in regards to illumination.
Homage: A tribute to a person or item. In displaying appreciation for a certain idea, one could place a moment of gratitude within their project to offer deference.
Horror: A narrative genre that might be found entertaining to audiences. Certain characteristics of these films might be those that intend to horrify or scare their audience.
Iconography: Utilization of a symbol in a film or motion picture. This might be placed to assist in driving a theme for a project.
IMAX: A large film format for potential visual display. Formats such as this could be larger than standard 35mm or other narrower sizes.
In-Camera Editing: A potential production technique in which camera footage is collected in a sequence that would replicate how a final picture might be released to an audience. When saving time for post-production processes, it could be worth trying this idea to accommodate time-sensitive content.
Insert Shot: Camera footage that might be cut towards later in edited sequences. These clips could be used to briefly transition from establishing or wide shots.
Intercut Shots: A possible editing technique in which an idea that simultaneous actions are occurring. Split-screen action might help to achieve this or consistent alternating transitions may be of use.
Interlude: A potentially brief moment in a narrative. In certain cases, this might not relate to a plot completely.
Jump Cut: A device that interrupts a present action. Discontinuity might be artistically dersiered, hence a potential use of this tool.
Juxtaposition: A possible difference in two items or ideas. This could be used to convey a message.
Key Light: A primarily source of illumination for a subject capture on camera. Positioning and angling could help curate an appearance or look in a scene .
Kino Flo: A potential set of fluorescent lights. In scenarios where diffused sources are needed, this tool could become of use.
Landmark Film: A project seemingly deemed reputable by select audiences. These may be characterized as legendary.
Lavalier: A microphone that might be used to discreetly record dialogue. Sizes of these electronic devices could be placed upon performers in select areas.
L-Cut: Asynchronous audio and video that might work to transition from one moment in a narrative to another. This may directly describe appearances of edited media in post-production software, such as Adobe Premiere Pro or Davinci Resolve.
Leitmotif: A motif that could remind an audience of an idea in a film or motion picture. These might clarify a message to audience members, taking an appearance of any auditory and visible element in a narrative.
Lens: An optic utilized to pass light to a camera’s digital sensor or film. These might be placed upon photographic devices to ensure illumination is focused and manipulated to curate an image.
Letterboxing: A potential adjustment to a film’s ratio, in which a bottom and top portion cover an image. This aesthetic might be suitable depending on content recorded. For example, it may be necessary to adjust a frame as it may complement long or wide subjects recorded during a day of shooting.
Library Shot: A possible stock image that could help establish visual space. These frames might be pulled from generic collections of photography.
Lighting: Illumination within a cinematic moment. Light may model subjects from varying angles and directions. This element could also be measured in f-stops.
Line Producer: A production member that might assist in on-location procedures. These professionals might mitigate expenses and monitor daily processes.
Lip Sync: A synchronization of audio and movement of one’s mouth. When dubbing a scene, it could be of use to ensure a soundtrack of dialogue matches a pace or rhythm to images viewed on screen.
Location: Possible places of spaces utilized to record a scene. Set designers and other creatives might rely on areas to develop a mis-en-scène for a cinematic moment.
Location Sound: Ambient audio that might be recorded during an actual production. In establishing aural realism, an audience member may be further immersed within a narrative.
Long Shot: A photograph of a scene taken from a relatively far distance from a subject. These frames may help establish a sense of space and allow a viewer to visually inspect a set.
Looping: A potential re-recording of a performer’s dialogue during post-production of a motion picture. In certain instances, this may help clarify select scripts.
Low Angle Shot: Framing of a subject from a relatively low perspective. Psychologically, characters could be viewed as superior or powerful from this point of view.
Magic Hour: A time during a sun’s cycle, in which golden hues are emitted and ambient light is diffused. Illumination from this moment could also be referred to as “Golden Hours '' and make for a visually pleasant scene.
Mask: Obstruction of view of a camera’s frame with opaqueness, weather created digitally or physically during a production. Subjective camera scenes or clips may utilize masks to recreate unique points-of-view.
Master Shot: A captured frame that displays all actions from one photographic perspective. After a scene has been recorded from this wider set-up, tighter-sized frammings on subjects might be captured to extract vital detail of actions for a given moment.
Match Cut: A transition that ties together unrelated clips or moments. These cuts might be of use to move an audience from one point in a narrative to another. Similar actions or motions could be needed from each piece of media that one would like to unify to formulate a settling sequence.
Medium Shot: Photographic frammings that capture subjects from their wait to their heads, if applicable. These frames may place senses of intimacy or tension to a scene’s tenor.
Melodrama: A narrative with intense emotions. These pieces might center on pusrading viewers through forms of psychological pathos with rigorous plots full of tension.
Miniature: Photography of subjects that enlarge their physical structure. Visually stories may require that character’s sizes are embellished or over emphasized.
Mise-en-Scène: A word in french that may refer to an “arrangement of scenery” for a given scene. When blocking or orchestrating a cinematic moment, an idea could be extracted by an audience that could be promoted as visually pleasuring.
Mixing: Combining audio tracks for a media project that requires a soundtrack or other purposes. These could also pull varying sounds that drive a message or idea.
Mockumentary: A genre of content that appears as a documentary, yet withholds humor and references to a realistic person, place, or idea. In certain cases, this could be used to clarify or intensify a message.
Money Shot: A moment that offers a realization of value for an audience member. Media projects might contain an element that drives audience satisfaction.
Montage: An assemblage of clips for a sequence. These orderings of content could work to drive and implant ideas in an audience’s mind.
Motif: A repetition of an idea or symbol. Thematic elements such as these could work to formulate messages for viewers and those that take in a piece of media.
M.P.A.A.: An acronym standing for Motion Picture Association of America. This organization works to collect and mitigate studio interest, while also deliberating rankings for films.
Narration: Informative audio that may be voiced by a performer to provide clarity to a story. This could be done by a character or an all-wise presence.
New Wave: A form of filmmaking in which improvisation and creative routes of producing stories were released. Its style looked to have been championed by artists navigating away from a traditional format of structuring stories.
Off Book: A performer that has recalled all of their script and could execute their role. Professionals might work without aids to guide them.
180-Degree Rule: A framework for directing placement of a camera. This could be an axis that is in relation to a subject's direction of action that a cinematographer could work to stay away from in order to deter crossing that path. In essence, staying on one side of a subject or room could assist in maintaining a suspension of disbelief for an audience viewing your media. .
One-Liner: An inserted piece of script for potential comedic impact. These areas of dialogue might be used to maintain an entertaining sentiment throughout a media project.
Overcranking: Frame rate that overpasses 24 frames per second. For example, a clip recorded at 60 F.P.S. may result in an overcranked image. Certain creators might use this technique to later retard a clip’s speed later in post-production.
Overexposed: An image revealed to light to an extensive amount. Combining this strategy with lenses and certain filtrations may also form helation glows in photographs, drawing unique attention to highlights of clips.
Overhead Shot: Frames in which a camera is positioned above recorded action. A bird’s eye view could be used to offer perspective to an image.
Over-the-Shoulder Shot: A frame composed with a medium sized subject in view and from behind. Framing characters in this matter might create three-dimensionality to a scene.
Overture: A media project’s opening or closing credits. Audio may be accompanied in these portions of a picture.
P.A.: An acronym for “Production Assistant. These professionals might work cross-functionally with varying departments often as an aid to other ranked crew members.
Pace: A tempo to an action or idea. Utilization of this tool might be established through audio, dialogue or more.
Pan: A rotation of a photographic device. This could direct attention or allow viewers to expand their visual understanding of a scene’s landscape.
Paradox: An idea that may be false and true simultaneously. Devices, as such, might work as psychological tools to implement an idea to an audience member’s mind.
Parenthetical: A potential suggestion for how one could consider a section of written work. In scripts, these portions might be used to guide performers in their delivery.
Pipeline: A project in development. Media creators could have either one or more pieces progressing on a path to release for massive audiences.
P.O.V. Shot: A scene displayed from a character's perspective. In these unique scenes, ideas and outlooks could be presented that may drive messages to a potential audience.
Post-Credits Sequence: An epilogue for a project. Audiences may view this as a closing of a narrative.
Pre-Production: A possible planning stage for media projects. This phase allows creators to assess what tools that may further develop their story once it has been approved by stakeholders, such as a client or studio.
Prequel: An event that supposedly took place before another narrative. These portions of a project might further inculcate a viewing audience about events that might have an impact on future actions.
Pre-Screen: A viewing of a project before a larger release. Select audiences might be able to offer producers or other attached creatives a perception of how a piece may perform in grander box offices.
Principal Photography: A phase in which a project has been significantly recorded. A director of photography from a 1st unit may be present to complete this task, while 2nd units of a camera department may arrive later to finish portions of a narrative that were logistically inconvenient to capture.
Producer: A senior professional of a project’s production. These liaisons might coordinate between crews and financers to solve budget, narrative, or more issues.
Production Design: A creative that potentially orchestrates an appearance to a project. They might also work in tandem with an art department to drive a style to a piece.
Production Value: A project’s perceived quality. In these terms, media might be evaluated by select criteria such as through costumes, design, or more.
Prologue: A moment that arrives before an engaging piece of a narrative. Specifically, a plot might not be introduced yet or main characters might be missing from a story.
Protagonist: A character with a clear goal that audience’s may recognize and hopefully support. These players may also be valued for progressing a story through events and to a conclusion.
Pull Back: A frame travels away from a subject. This visual movement might enhance any present three-dimensionality to an overall image, while also drawing distance from a particular item.
Push In: A frame that approaches a subject. In this scenario, items might enlarge and become a focal point of attention.
Racking Focus: An optical illusion in which a focal plane alters. Attention of a viewer might drive from one object to another through manipulation of a camera’s lens in a media clip.
Reaction Shot: A frame that may preview a response from a character or subject. These moments might also provide psychological cues for how an audience reacts to a given action.
Real Time: A potential timespan of a narrative’s plot. This could contrast how viewers experience a project.
Rear Screen Projection: A recording or a scene, in which a backdrop may be placed in at a later moment. This could allow for an addition of visual effects to a media project, such as for driving scenes or more.
Redlight: A project in turnaround that might be halted from production. These pieces might be permanently or temporarily stalled.
Reel: In cinema, this may be a winding spool to hold rolls of celluloid strips. Associatively, this may also refer to a highlight of a creator's work.
Reverse Angle Shot: A diverse perspective of a frame that may relate to a previously recorded clip as its opposite point of view. This may allow for more of an inventory of clips to choose from in a later post-production process.
Rotoscoping: A tracing of frames by animators. Creators may formulate a scene through this technology.
Rough Cut: A draft of an edited project. Media creators might be able to try varying effects and styles at this phase of their process and preview it to others.
Satire: A potential mocking of an institution for a symbolic impact. Certain narratives may take on this form to make comments towards a select aspect of their society.
Score: Musical audio within an overall soundtrack of a project. Media may require that sound is carefully orchestrated to complement a piece.
Screen (A Single and Double): A frame that blocks or cuts light. These tools may become effective when a certain lighting set-up requires shielding from possible illumination.
Screen Direction: A potential pathway in which characters might move throughout a scene. Director’ might orchestrate this to formulate a structure to a scene.
Screen Test: An pre-examination of a varying element within a project. Actors and more may be requested to review how they may appear or work within an actual production.
Screenplay: A possible script. Screenwriters might be responsible for developing a narrative that could be turned into an visal project.
Screenwriter: A potential individual that formulates a screenplay. These creatives might be accountable for how a story begins and ends.
Second Unit Photography: An additional crew that may record what other units of a camera department might have missed. These professionals could be responsible for continuing work comlpeted by a director of photography in a 1st unit.
Sequel: A potential narrative that continues a story from another released project. These may help develop a following of a series by audiences.
Setting: A possible place and time that a project ocurres. In detailing information through dialogue, a narrative might also be positioned in a viewer’s minds through scenery.
Shot, Scene, and Sequence: Potential ideas that structure a narrative. One could develop a project through these concepts to progress a story for an audience.
Shot List: A possible itemized record of needed photography for a production day for a crew reference. These may contain pieces of an overall scene that would have to be recorded to maintain a schedule.
Showrunner: A potential professional that holds much influence over a project. These individuals might be writers or more.
Shutter Speed: A time in which potential frames are exposed to illumination. Shutters may rotate or flicker to disrupt an image.
Slate: A possible digital board that may contain vital information. Details such as crew members, titles, or more could be placed upon these boards to assist post-production professionals with organization of film or media, without viewing an entire clip once having ingested material.
Slow Motion: Film or media that might playback at a quick rate. This optical illusion could influence ways in which viewers experience a cinematic moment.
Soft Focus: A possible visual effect in which sharpness of a lens is reduced. A cinematographer might utilize this optical technique to alter appearances of a select frame.
Sound: A potential audio piece to a media project. This could be measured in decibels to accurately assess intensity or loudness.
Soundstage: A possible soundproofed room. These spaces might alter how audio travels and is recorded.
Soundtrack: An optical audio section of a motion picture. Furthermore, media projects might utilize this aural tool to enhance a mood to a scene.
S.O.T.: A possible acronym for “Sound On Tape” to those working with media projects. This could assist with evaluating whether a crew may have to record more audio after a production, dub a scene, or more.
Spec Script: A potentially non-commissioned script. These might be sent by screen-writers to secure employment or more. Writers may draft work that is inspired by an existing project in this case.
Special Effects: Possible optical illusions that are formed outside of traditional means of production. In certain cases where a visual element is not present on a day of recording a scene, a crew may implement a creative substitute to form an alternative of their own. Computer generated images might also be useful in this process as well.
Spin-Off: A possible prequel or sequel project that derived from an existing one. These might enhance a previously released story.
Split-Screen: A potential optical illusion that displays two or more actions next to each other on one screen. This could offer a psychological idea to a viewer that multiple occurrences are taking place simultaneously.
Split Screen Film Mattes: A design asset for content creators of all kinds to easily create the split screen aesthetic. Also called, Split Screen Matte and Split Screen Matte Overlays.
Spoiler: Information about a narrative that might reduce psychological tension for a viewer. In select cases, first-time viewers to a certain media project might need to be oblivious to ideas pertaining to a story in advance of witnessing it.
Static Shot: A frame that is stationary. Cameras might abstain from movement to form a desired effect.
Steadicam: A handheld photographic device. Cinematographers could resort to this tool to record a scene from an unstable point of view.
Still: A static camera recording that may often capture one moment in time, rather than a series of photos per second. This could also be referred to as an immobile image.
Stinger: An unexpected selection of footage that might be placed in a narrative’s conclusion. Media creators might place these moments in a project to add an intriguing ending to their works.
Stinger: A potential extension cord for electricity purposes. Crew might utilize this tool to ensure power could be supplied to a given piece of equipment.
Stock Footage: A possible selection of pre-recording. These images might be historical in nature or reference common visual elements, such as landscapes.
Stop Motion: A potential animation technique to assist in forming a story. Certain creators might utilize models or more to formulate unique creations.
Storyboard: A possible sketch of a narrative from one moment to another. To sequence a scene, creatives could utilize this tool to pre-visualize their plans for recording a cinematic piece.
Subtitles: Text that could be placed in a lower portion of a frame. Creatives might utilize this tool to translate dialogue or apply descriptors to a visual image that one might see.
Surrealism: Ideas that may resonate with one’s subconscious. This form of cinema might also utilize fantastical or unrealistic themes within its overall works.
Swish Pan: A rapidly turned camera, that while recording, could direct a viewer's attention.Tripods and other stabilization devices might help to formulate this movement of swiveling from left or right.
Symmetry: Ideas that might resemble one another. This could be an image or shape that is captured on video to formulate a unique visual dimension within an overall image.
Symbolism: An object or a word that inspires an idea. Media projects may contain characters or other creative elements that represent an abstraction.
Tagline: A potential summation of a narrative to an audience. Creatives might present a hint about a plot through this tool.
Take: A continuously recorded scene that may run during a production day. Cinematographers might be asked to record a few rounds of one moment for creative purposes.
Technicolor: A development process for possible film or celluloid strips that might have been used to record a scene. Three strip color processes might enhance an image's gamut or range in chrominance.
Telephoto Lens: A photographic accessory that might be used to formulate compression of space within an image. These tools might be long in focal length with narrow angles of view.
Theme: A potential message of a narrative. In certain cases, these messages might also assist critics with assessing value to projects.
Three Shot: A possible frame that might contain two and plus one more character. These framings might be wide in nature.
Tight On: Frames that might be close in proximity to recorded action or light in negative space within an overall image. Notice in detail might certainly be viewed as potentially subtle movements become clarified to characters.
Tilt Shot: Frames in which there may be an imbalance in horizontal symmetry of an image. A camera might be canted or rolled to one side.
Time Lapse: Images that might be recorded at a slower speed than potentially 24 frames per second. This could display a passage of time or how events change in a given moment.
Tint: A possible strategy to adjust hues within a given image. Project’s might be altered during recordings on sets or in post-production phases.
Tracking Shot: A frame that may follow a moving subject. These images could also require a great amount of coordination with a crew to construct, yet this may also offer viewers a more immersive perspective as they engage with a project.
Treatment: A summarization of a film or media project. Pre-production processes might require this document to plan narratives and prepare for production.
24 Frames Per Second: A frame rate that might be garnered as a standard for recording a scene. Creatives, such as cinematographers, might manually set this function within cameras.
Two Shot: A frame that might include more than one subject. Photographic devices could be in close proximity to characters during recordings depending on chosen focal lengths for capturing that moment. Additionally, this image might also be used for dialogue scenes.
Undercranking: A process in which a frame rate is retarded in speed. Images might be previewed with quick motions from subjects.
Underexposure: An image that might be offered less light or luminance. This technique might be referred to as an opposite to overexposing. Lastly, depending on recording formats, such as those that might be found within a digital camera, a lessening of exposure to light might be required to craft a desired image.
Vertigo Effect: A possible video capturing technique that requires an operator to zoom and dolly a photographic device simultaneously. Certain creatives might be able to achieve this effect through post-production editing. Nonetheless, on set, operators might expand their field of view with a variable focal length lens, while also pushing a camera towards a recorded action. That procedure could also be done in reverse, forming what others may refer to as a dolly zoom.
Vignette: A section within a narrative that might be able to be independent from other pieces of a story. Viewers may reference these portions out of an entire project.
Visual Effects: Additions to media projects that might be computer generated or included with special techniques. Post-production specialists may complete these tasks and build on to stories by enhancing a visual feature or space
Voice-Over: Select dialogue that might be recorded. Performers might narrate these pieces to increase comprehension of a story or more.
Walk-Through: A possible rehearsal that could be done on a day of production. Camera’s might not record action, however blocking and practice of running a scene may be done in tandem with a director’s command.
Wardrobe: A potential reference to a costume division. This title might also be placed on a leading creative or material that could be worn by performers.
White Balance: A technique that a camera operator might use to establish a relative standard for hues that may be captured in a scene. This process might also ensure that discoloration is avoided.
Wide Angle Shot: Frames that might be recorded with an expansive field of view. An amplification of space might be previewed or seen that could intrigue viewers.
Widescreen: An expansive aspect ratio, which could be used to display a film or project. Frames may be wider than 1:33:1 in size. Movies may display wide landscapes that impress viewers.
Wipe: A visual transition that might be used to to move from one scene to another. This may take an appearance of one image moving horizontally away from a viewer while another comes in to replace it.
Wrap: A possible completion of recording a film or media project. In certain cases, this might be used to signal that a piece has finished a phase, such as production, post-production, or more.
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The Film Techniques Toolkit
Love film but don't know how to analyse or discuss it? In this Guide, we give you the toolkit to identify and discuss those must know film techniques.
All about the Film Techniques Toolkit
Films take us on journeys; we become immersed in worlds beyond our own. The best films lead us to ask questions about our world as well as ourselves. However, sometimes it can be difficult to translate our reactions to film into meaningful English analysis.
When filmmakers construct their films, they combine multiple techniques together to develop meaning. Film combines visual elements with auditory elements to develop meaning.
To understand how the various techniques combine to create meaning, watch the following video we have put together that lists the techniques employed in various film scenes.
The list below provides some of the key film techniques for writing about cinematic texts.
Important Film Techniques
Go to technique:
There are a huge number of techniques that are used in films to convey meaning. Below are some of the must-know techniques that are included in the glossaries of Matrix English Theory Books.
Camera angles refer to the tilt of the camera in relation to the scene and the characters. Unusual camera angles can emphasise an action sequence, disorientate the audience, and suggest the relationship between characters.
The main angles are:
• Low – Establishes the power of the character or object
• Eye-Level – Allows the audience to get personal with the character(s)
• High – Presents the subject as vulnerable or lacking in power
• Worm’s Eye – Presents the figure as very large and/or powerful
• Canted (also known as a Dutch Angle)- Develops psychological unease or tension.
• Bird’s Eye – Often used to establish a shot and characters’ relationship to it
Analyse a Cinematic Text Angle Types
Examples of various shot angles
Bridging Shot
A shot that marks the passage of time in a film. This is sometimes a series of newspaper headlines, a calendar, tress going through seasonal changes, or the hands turning on a clock.
Animated GIF: This bridging shot marks the passing of evening. Note the fast turning of the clock hands and rapid melting of the candle.
Colour, especially the choice of colour palette or scheme, can reflect the mood of the piece. Colour in a scene can also be enhanced through lighting.
For example, in The Great Gatsby (2013), the use of a vibrant colour scheme reflects the opulent lifestyle of New York elites in the 1920s.
You can learn more about colour symbolism at Studio Binder.
Colour Palette Analysis by Movies in Color of Baz Lurman’s The Great Gatsby (Warner Bros. 2013), Cinematographer: Simon Duggan
Cucoloris is a lighting technique where an object is placed between the light source and the subject in order to create a patterned shadow. A staple of film noir.
Filter used for Cucloris. Image and device by Henry Nelson.
Is an editing technique where actions are established as occurring at the same time. The camera will cut away from one action to another action elsewhere to suggest these things are occurring at the same moment.
A conversation between two characters is called dialogue. Written by scriptwriters to convey the film’s plot, dialogue is also useful in conveying character.
A transition that moves between one shot and another by overlaying one shot and fading the first image out while strengthening the second shot. This can denote daydreams, memories, the passing of time, or signify phone conversations and long-distance communication.
Consider this example from Paul Thomas Anderson’s Inherent Vice (2014):
Animated GIF: In this dissolve, we are taken to one of Larry “Doc” Sportello’s memories that are triggered during a phone call.
Dolly Shot
A dolly is a wheeled cart that the camera and operator are seated on. A dolly shot is a shot where the dolly is pushed along to move with the action. This is similar to a tracking shot, but without the tracks so that the camera can have a broader range of motion.
The video below discusses the difference between dolly shots and zooms and how they can be used (or even combined) to create effects and meaning.
Editing Sequence
The order of each shot and how they have been put together to create a scene. This is usually based upon the storyboard used by the director.
However, some directors such as Werner Herzog refused to use storyboards, and shoot many scenes which they edit together by trial and error.
Editing Wipes
In editing, wipes are used to transition between scenes in a variety of ways rather than just cutting. Types of wipes include:
• Horizontal wipe – the wipe moves horizontally across the screen
• Vertical wipe – The wipe moves vertically across the screen
• Diagonal wipe – The wipe moves diagonally across the screen
• Star wipe – The wipe is the shape of an expanding star to demonstrate something special happening
• Heart Wipe – The wipe takes the shape of a heart expanding or contracting to illustrate romance or friendship
• Clock Wipe – The wipe is a circular motion like a clock arm to illustrate the passage of time
• Matrix wipe – a patterned transition between scenes
Establishing Shot
A type of extreme long-shot that establish the context – time and setting – of a scene or film. Often establishing shots use famous landmarks or places, like the Sydney Harbour Bridge.
Eyeline Match
A type of cut where the shot of a character looking at something cuts to a shot of the thing they were looking at the same level. This type of cut is used to show the audience what they were looking at.
Fade In/Out
An editing technique where the shot fades out from one shot going to black before fading into a new shot.
Images that refer to previous events in the characters` lives. Flashbacks can be used to foreshadow future events.
Text which is printed on a background and placed between filmed scenes through editing. In silent films, intertitles can convey dialogue and exposition.
Intertitle from Metropolis Dir. Fritz Lang (1927)
Similar to other editing wipes, this is a type of transition where the screen irises closed around a particular thing on screen. These can be used to signify daydreams, provide a dramatic transition, or signify the end of a scene.
Jump Cut
A cut that moves fractionally forward in time. These shots focus on the same subject but either use a different angle or have the subject in a different position to illustrate that time has moved forward in time. Jump cuts are usually used to show time passing forward.
Lighting contributes to the mood of a film and suggests interpretations of a character. Are they good? Are they nefarious?
Low key lighting emphasises the shadows in a shot, while lighting from above or below can suggest that a character possesses sinister qualities.
Analyse a Cinematic Text lighting from below
An example of a sinister cat lit from below.
Analyse a Cinematic Text Low Key lighting
An example of shadows from Low Key Lighting.
Long Take
Also called a sequence shot (and occasionally referred to as a one-shot)
Match Cut
Jumps from one shot to another similar shot that matches the composition of the first shot.
Mise en scène
Mise en scène translates as ‘what is put into a scene’. This French expression refers to the composition of a scene, including placement of characters, costume, makeup and setting.
A montage is a type of editing sequence where a series of shots play rapidly to create a narrative. Often a montage will be accompanied by a unifying piece of music to convey the dominant mood connected with the sequence.
Analyse a Cinematic Text Montage
Animated GIF: A montage from Fritz Lang’s Metropolis (1927)
Mood refers to the feelings suggested by the combination of all the elements on the screen and the accompanying sound. Another way to refer to the mood is to discuss atmosphere.
Music can convey the theme, mood and atmosphere. There are different types of music in films.
• The score is extra-diegetic music composed for the film, designed to evoke the film’s desired mood for the audience.
• Music heard by the characters in the film is called diegetic music.
Over the Shoulder (OTS)
A type of sequence shot or tracking shot where the camera follows a character by following them and shooting over their shoulder. Like a Point of View shot, an over the shoulder shot focalises (that is, focuses in on) on the characters experience.
Also referred to as a Long Take or Sequence Shot. A one-shot is actually a type of long-take or sequence shot where the effect of being one shot is created through editing. For example, Alejandro G. Iñárritu’s 2014 film, Birdman uses careful editing to give the appearance of a single take.
In some cases, a one-shot is used to refer to whole films made in one take, such as the 2015 film German film, Victoria.
Panning Shot
A shot where the camera swivels horizontally around a fixed point to follow the subject.
Point Of View Shot (POV)
A shot that is taken from a character’s point of view, like a first-person video game. Point of View shots focalise (that is, focus in on) a character’s experience.
Rack Shot
A shot where the camera shifts the focus while holding the same shot to bring another object into focus. Rack shots change the depth of the shot.
The example below is from the TV series Sherlock. In it, the focus shifts from Sherlock to Watson.
Animated GIF: In this rack shot, the focus shifts from Sherlock in the foreground to Watson in the background.
A unit of narrative used to divide up a dramatic text or film. A scene usually takes place in a single location and focuses on a single action in one moment of varying length.
The place where the action of the film occurs.
Sequence Shot
A sequence shot is a single long take shows a series of actions happening one after another within the same shot. Sequence shots are occasionally called long takes and one-shots. Sequence shots are very hard to do and can develop quite a lot of meaning.
A famous example is Martin Scorses’s Copacabana shot from his 1990 film, Goodfellas.
This shot illustrates the Henry Hills’ wealth and connections while he shows off to his date. This take combines over the shoulder and point of view perspectives.
Shot type
Shot types indicate how close or far the camera is from the characters. Shot types range from Extreme Long Shot (XLS), where the characters may be very small and embedded in a landscape, to Extreme Close Up (XCU), where part of the character’s face makes up the whole shot.
The shots are:
• Extreme Long Shot (XLS)
• Long Shot (LS)
• Medium Long Shot (MLS)
• Medium Shot (MS)
• Medium Close Up (MCU)
• Close Up (CU)
• Super Close Up (SCU)
• Extreme Close Up (XCU)
Analyse a Cinematic Text Shot Types
Image: Examples of various shot types
The sound of a film helps to create atmosphere – this can include:
Like music, sound can be divided into:
• Diegetic: occurring in the world of the film
• Extra-diegetic (occurring outside the world of the film)
An object used to suggest ideas in addition to, or beyond, their literal sense. For example, the glass slipper in Cinderella symbolises the opportunity that Cinderella has to live a different life. Watch films carefully to spot symbols and their potential meaning to the plot. If a symbol recurs throughout the film it is a motif.
Analyse a-Cinematic-Text-Symbolism
Animated GIF: This GIF is from Sam Mendes’ American Beauty (1999). The dancing plastic bag symbolises how beauty is found in things that are often discarded. The bag is rubbish to many, but its dance in the wind is beautiful.
Steady Cam
A type of camera that is used in action sequences. A steady cam rig allows the camera to be worn by the operator so they can follow an action sequence without the shot become overly jerky.
A way to transition between shots. Transitions involve cuts, fades, and wipes (see above for specific definitions).
This is a good video that explains these various techniques.
When the camera tilts in shot to show the subject away from the horizontal axis.
Title Card
See intertitle
Tracking Shot
A shot that follows a subject as they move.
Two Shot
A shot that features two characters and is used to establish or develop their relationship.
The camera zooms in or out to focus on an object or to show how far away it is. Zooms can be used for dramatic effect or can be used to show objects in relation to each other for scale.
See Dolly Shot above for a video discussing the difference between Zooms and Dolly shots.
Need more help with textual analysis?
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Film Editing: Terminology
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Some of the terminology that a film editor uses includes:
Close-up (CU): A shot showing a detail only (ex., face only or hands only).
Cross-cutting: Cutting back and forth between two or more events or actions that are taking place at the same time but in different places. Cross-cutting is used to build suspense or to show how different pieces of the action are related.
Cut: An abrupt transition from one shot to another.
Cutaways: A cut away from the primary subject to something the filmmaker has decided is equally or more relevant at that time. Often cutaways consist of shots showing the reaction of one character to another. This is often used to compress time in what appears to be a seamless manner.
Dissolve: An overlapping transition between scenes where one image fades out as another fades in. Editors often use this to indicate a change in time and/or location.
Establishing Shot: A shot, usually taken from a distance, which establishes for the viewer where the action is to occur and the spatial relationship of the characters and their setting.
Extreme Close-Up (ECU): A detail of a close-up (eyes or mouth only, etc.).
Fade In: A shot that starts in darkness and gradually lightens to full exposure.
Fade Out: A shot that starts at full exposure and gradually fades to black.
Freeze-Frame: At a chosen point in a scene, a particular frame is printed repeatedly, given the effect of halting or "freezing" the action.
Jump Cut: A cut where two spliced shots do not match in terms of time or place. A jump cut gives the effect that the camera is literally jumping around.
Long Shot (LS): A shot taken at a considerable distance from the subject. A long shot of a person is one in which the entire body is in frame.
Medium Shot (MS): A shot framing a subject at a medium range, usually a shot from the waist up.
Reverse cutting: A technique alternating over-the-shoulder shots showing different characters speaking. This is generally used in conversation scenes.
Sequence Shot: An entire scene or sequence that is one continuous camera shot. There is no editing.
Film Editing: Manipulating Time and Space
PDF Downloads
Complete Film Editing Activities Guide (PDF)
Activity 1: Film Editing Terminology
Activity 2: Writing with Images
Activity 3: Creating Meaning
Activity 4: Learning from the Best
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Film Glossary
Bird's eye view. A shot in which the camera photographs a scene from directly
Close-up, Close shot. A detailed view of a person or object, usually without much
context provided.
Continuity. The kind of logic implied in the association of ideas between edited
shots. "Cutting to continuity" emphasizes smooth transitions between shots, in
which space and time are unobtrusively condensed. "Classical cutting" emphasizes
dramatic or emotional logic between shots rather than one based strictly on
considerations of time and space. In "thematic montage" the continuity is based
entirely on ideas, irrespective of literal time and space. In some instances,
"continuity" refers to the space-time continuum of reality before it is photographed.
Crane shot. A shot taken from a special device called a crane, which resembles a
huge mechanical arm. The crane carries the camera and cameraman, and can move
in virtually any direction.
Cross cutting. The alternating of shots from two sequences, often in different
locales, to suggest the sequences are taking place simultaneously.
Deep focus. A technique of photography which permits all distance planes to
remain clearly in focus, from close-up range to infinity.
Dissolve, lap dissolve. These terms refer to the slow fading out of one shot and the
Dolly shot, tracking shot, trucking shot. A shot taken from a moving vehicle.
Originally tracks were laid on the set to permit a smoother movement of the
camera. Today even a smooth hand-held traveling shot is considered a variation of
the dolly shot.
Editing. The joining of one shot (strip of film) with another. The shots can picture
events and objects in different places at different times. Editing is also called
Establishing shot. Usually an extreme long or long shot offered at the beginning
of a scene or sequence providing the viewer with the context of the subsequent
closer shots.
Extreme close-up. A minutely detailed view of an object or a person. An extreme
close-up of an actor generally includes only his eyes, or his mouth.
Extreme long shot. A panoramic view of an exterior location, photographed from
a great distance, often as far as a quarter-mile away.
Eye-level shot. The placement of the camera approximately 5 to 6 feet from the
ground corresponding to the height of an observer on the scene.
Fish-eye lens. An extreme wide angle lens, which distorts the image so radically
that the edges seem wrapped into a sphere.
Flash-editing, flash-cutting. Editing sequences so that the durations of the shots
are very brief.
Full shot. A type of long shot which includes the human body in full, with the head
High angle shot. A shot in which the subject is photographed from above.
Long shot. Includes an amount of picture within the frame which roughly
corresponds to the audience's view of the area within the proscenium arch of the
legitimate theater.
Long take. A shot of lengthy duration.
Loose framing. Usually in longer shots. The mise-en-scne is so spaciously
distributed that the subject photographed has considerable latitude of movement.
Low angle shot. A shot in which the subject is photographed from below.
Master shot. A single uninterrupted shot, usually taken from a long or full shot
range, which contains an entire scene. Later, the closer shots are photographed, and
an edited sequence, composed of a variety of different shots, is subsequently
constructed on the editor's bench.
Medium shot. A relatively close shot, revealing a moderate amount of detail. A
medium shot of a figure generally includes the body from the knees or waist up.
Mise-en-scne. The arrangement of volumes and movements within a given space.
In the cinema, the space is defined by the frame; in the legitimate theater, usually
by the proscenium arch.
from Andrew Sarris:
As I wrote some years ago, I would suggest a definition of mise-en-scne that
includes all the means available to a director to express his attitude toward his
and their placement in the decor, the angle and distance of the camera, and even the
content of the shot. Mise-en-scne as an attitude tends to accept the cinema as it is
Montage. Transitional sequences of rapidly edited images, used to suggest the
lapse of time or the passing of events. Often employs dissolves and multiple
exposures. In Europe "montage" means editing.
Oblique angle. A shot which is photographed by a tilted camera. When the image
is projected on the screen, the subject itself seems to be tilted on its side.
Open forms. Used primarily by realist film directors, these techniques are likely to
be subtle and unobtrusive, with an emphasis on informal compositions and
apparently haphazard designs. The frame generally is exploited to suggest a
temporary masking which arbitrarily cuts off part of the action.
Over-the-shoulder shot. A medium shot, useful in dialogue scenes, in which one
actor is photographed head-on from over the shoulder of another actor.
Point-of-view shot. Any shot which is taken from the vantage point of a character
in the film. Also known as the first person camera.
Pull-back dolly. A technique used to surprise the viewer by withdrawing from a
scene to reveal an object or character that was previously out of the frame.
Rack focusing, selective focusing. The blurring of focal planes in sequence,
forcing the viewer's eye to "travel" with those areas of an image that remain in
sharp focus.
Reaction shot. A cut to a shot of a character's reaction to the contents of the
preceding shot.
Reverse angle shot. A shot taken from an angle 180 opposed to the previous shot
-- that is, the camera is placed opposite its previous position.
Scene. A unit of film composed of a number of interrelated shots, unified usually
by a central concern -- a location, an incident, or a minor dramatic climax.
Set-up. The positioning of the camera and lights for a specific shot.
Shot. Those images which are recorded continuously from the time the camera
starts to the time it stops. That is, an unedited, uncut strip of film.
Sub-text. A term used in drama and film to signify the dramatic implications
beneath the language of a play or movie. Often the sub-text concerns ideas and
emotions that are totally independent of the language of a text.
Telephoto lens, long lens. A lens which acts as a telescope, magnifying the size of
objects at a great distance. A significant side effect is tendency to flatten
Three-shot. A medium shot, featuring three actors.
Tight framing. Usually in close shots. The mise-en-scne is so carefully balanced
and harmonized that the subject photographed has little or no freedom of
Two-shot. A medium shot, featuring two actors.
Wide angle lens, short lens. A lens which permits the camera to photograph a
wider area than a normal lens. A significant side effect is its tendency to exaggerate
perspective. Also used for deep-focus photography.
Wipe. And editing device, usually a line which travels across the screen, "pushing
off" one image and revealing another.
Zoom lens. A lens of variable focal length which permits the cameraman to change
from wide angle to telephoto shots (and vice versa) in one continuous movement.
Zoom shot. A shot taken with the aid of a zoom lens. The lens changes focal length
during the shot so that a dolly or crane shot is suggested.
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http://www.pearltrees.com/t/cine/tech/id3863816
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