Using Camera Angles Like a Pro (page 2)

Commercials and music videos share several characteristics. They usually make no effort to conceal shooting or editing techniques. In fact, they seek extreme angles and lenses because bravura movie making is part of the show. Finally, all this gee-whiz videography doesn't wear the viewer out because it never lasts more than a few minutes or, for commercials, 60 seconds.

As far as angles go, commercials demand extreme care and discipline. In a message that may last as little as ten seconds, every single setup must convey a maximum of information in a minimum amount of time. That means finding the absolute best point of view and lens for each and every shot. All-in-all, commercials may have the most consistently beautiful images of all the genres we're covering.

Music videos combine the aural music on the sound track with the visual music of the shots and cutting. As far as angles go, there are no rules for this genre, except that the images should be as striking as possible. (Obviously, we're exempting programs that merely display the singer and/or group.) To match the songs, the images may sometimes be far from "beautiful," but they usually show that they're carefully designed. It is precisely this "designed" look that sets music videos (and commercials) apart from fiction and documentary programs, which want to avoid looking contrived.

Special-purpose videos include programs for corporations, schools, churches, and community organizations, as well as training videos made to convey specific knowledge or skills.

In most cases, these shows stick to the moderate angles and neutral viewpoints of documentaries (which they pretend to be, even though they aren't). When these programs resemble commercials: say, to introduce a product or polish the image of an energetic, forward-looking company, then they adopt a commercial style, with the dynamic angles and lenses you'd expect to find in a car ad.

Training videos share the commercials' need to show precisely the right thing at the right time from the right angle. All training programs rely on inserts to deliver essential details, and videos about school or factory bench-top operations tend toward very large subject sizes, achieved with telephoto lenses, so that the videographer can stay out of the action and the lighting on it.

So there's a flying survey of the ways in which different video genres tend to use camera angles. Don't forget: no generalization is worth anything.

Generally, every well-chosen camera angle does four jobs:

• It delivers information, especially context ("the big picture") for wide shots and details for closeups and inserts.
• It creates impact. Closeups enhance intensity; high and low angles suggest power or lack of it; off-level shots feel dynamic or even uneasy.
• It facilitates editing. Through contrast with the preceding and following angles, it lets the editor make invisible, or at least unobtrusive edits.
• It enhances performance. Closer shots intensify performances; longer shots make them less intense.

• Subject distance: extreme long shot, long shot, full shot, 3/4 shot, medium shot, head and shoulders closeup, closeup, big closeup, extreme closeup.
• Horizontal position: front angle, 3/4 angle, profile angle, 3/4 rear angle, rear angle.
• Vertical position: birdseye angle, high angle, neutral angle, low angle, wormseye angle.
• Lens focal length: wide angle lens, normal lens, telephoto lens.
• Camera level: normal, dutch (off-level).

Angles are named using these labels, either singly or in combination (e.g. "a low, 3/4 medium shot"). In script writing, angle descriptions are usually limited to very general terms, e.g. wide shot, close shot.

Angles may also be described by their:

• Purpose: master shot, establishing shot, insert, cutaway.
• Population: single, two shot.

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