Cinematography
Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film.
Size of shot
Examples of shot size (in one filmmaker's opinion)
The use of different shot sizes can influence the meaning which an audience will interpret.
The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens.
Common shot sizes:
- Extreme close-up: Focuses on a single facial feature, such as lips and eyes.
- Close-up: May be used to show tension.
- Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up.
- Long shot
- Establishing shot: Mainly used at a new location to give the audience a sense of locality.
Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would have less of an impact on a small TV or computer screen.
Mise en scène
"Mise en scène" refers to what is colloquially known as "the Set," but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects.
Movement and expression
Provided in this list of film techniques is a categorised (and then alphabetised) list of techniques used in film (motion pictures). There are a variety of expressions!
Camera view, angle, movement, shot
- Aerial shot
- American shot
- Arching shot
- Bird's eye shot
- Close up
- Crane shot
- Dolly zoom
- Dutch angle
- Establishing shot
- Follow shot
- Forced perspective
- Freeze frame shot
- Hanging miniature
- High-angle shot
- Long shot
- Long take
- Low-angle shot
- Master shot
- Matte
- Medium shot
- Over the shoulder shot
- Pan shot
- Point of view shot
- Rack focus
- Reaction shot
- Sequence shot
- Shake-O-Vision
- Shot
- Shot reverse shot
- SnorriCam
- Tilt (camera)
- Tracking shot
- Trunk shot
- Two Shot
- Video frame
Lighting technique and aesthetics
- Background lighting
- Cameo lighting
- Fill light
- Flood lighting
- High-key lighting
- Key Lighting
- Lens flare
- Low-key lighting
- Mood lighting
- Rembrandt lighting
- Stage lighting
- Soft light
To achieve the results mentioned above, a Lighting Director may use a number or combination of Video Lights. These may include the Redhead or Open-face unit, The Fresnel Light, which gives you a little more control over the spill, or The Dedolight, which provides a more efficient light output and a beam which is easier to control.
Editing and transitional devices
- A Roll
- B Roll
- Cross cutting
- Cutaway
- Dissolve
- Establishing shot
- Fast cutting
- Flashback
- Insert
- Jump cut
- Keying
- L cut ("Split edit")
- Master shot
- Match cut
- Montage
- Point of view shot
- Screen direction
- Sequence shot
- Smash cut
- Slow cutting
- Split screen
- SMPTE time code
- Shot reverse shot
- Talking head
- Wipe
Special effects (FX)
- 3-D film for movie history
- 3-D computer graphics
- Bluescreen/Chroma key
- Bullet time
- Computer-generated imagery
- Digital compositing
- Optical effects
- Stereoscopy for 3D technical details
- Stop trick
- Stop motion((dream sequences))
Lighting
In cinematography, the use of light can influence the meaning of a shot. For example, film makers often portray villains that are heavily shadowed or veiled, using silhouette.
Techniques involving light include backlight(silhouette), and under-lighting(light across a character form).
Sound
Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic and non-diegetic sound:
- Diegetic sound: It is sound that the characters can hear as well as the audience, and usually implies a reaction from the character. Also called "literal sound" or "actual sound":
- Voices of characters;
- Sounds made by objects in the story; and/or like heart beats of a person
- Source music, represented as coming from instruments in the story space.
- Basic sound effects, e.g. dog barking, car passing; as it is in the scene
- Music coming from reproduction devices such as record players, radios, tape players etc.
- Non-diegetic sound: It is sound which is represented as coming from a source outside the story space, ie. its source is neither visible on the screen, nor has been implied to be present in the action. Also called "non-literal sound" or "commentary sound":
- Narrator's commentary;
- Voice of God;
- Sound effect which is added for dramatic effect;
- Mood music; and
- Film Score
Non-diegetic sound plays a significant role in creating the atmosphere and mood within a film.
Sound effects
In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are.
Techniques in interactive movies
New techniques currently being developed in interactive movies, introduce an extra dimension into the experience of viewing movies, by allowing the viewer to change the course of the movie.
In traditional linear movies, the author can carefully construct the plot, roles, and characters to achieve a specific effect on the audience. Interactivity, however, introduces non-linearity into the movie, such that the author no longer has complete control over the story, but must now share control with the viewer. There is an inevitable trade-off between the desire of the viewer for freedom to experience the movie in different ways, and the desire of the author to employ specialized techniques to control the presentation of the story.
Computer technology is required to create the illusion of freedom for the viewer, while providing familiar, as well as, new cinematic techniques to the author.
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