Shot Types and Camera Movements within Film Clips

Batman - The Dark Knight Trailer
Batman The Dark Knight, directed by Christopher Nolan (2008)



This trailer includes a variety of different shot types, however, I have only selected a few to discuss.

At 0:05, we see a bird's eye view of the city at night, which then pans across to the left, to show Batman standing on the edge of a building. This shot helps establish the scene and introduces the audience to the main character and main setting in which the film takes place. We get to see Gotham from Batman's perspective, as it were, and entices the audience right from the start. The dark image we see sets the mood for the rest of the trailer.

At 0:07, we see a downward tilt of Gotham city. This technique shows us how far from the ground Batman is, and we feel like we are part of the shot, looking down with him as he jumps off the roof.

1:54 is a POV shot. It shows us Batman's point of view, as if we were driving the Bat mobile as it jumps over the cars in the chase sequence. The forward tracking movement of the camera places the audience at the scene of the chase, as if they are actually involved. This is highly effective as it enables the watcher to participate with the film, even if it is only for a short time.


The Shawshank Redemption - Escape Scene
The Shawshank Redemption, directed by Frank Darabont (1995)



This scene is from The Shawshank Redemption, where the main character finally escapes.

At 2:01, we see a slow back tracking shot of Andy as he crawls through a narrow, dark tunnel. This technique makes the audience feel very claustrophobic, and we are able to go through the exact pain-staking struggle he is going through to get to freedom.

Towards the end of the clip, at 3:04, we see a high-angled shot of Andy after he has escaped, standing in the rain. The camera then tracks outwards to show the extent to which he is free. We move from a very tight frame to a very large frame, emphasising the freedom, which the audience can almost taste. This emotive shooting creates a very close relationship between the audience and the character.

This sequence uses camera shots which are very effective in the film, as they emphasise the emotion in this particular part of the film.


Harry Potter and the Order of the Phoenix Trailer
Harry Potter and the Order of the Phoenix, directed by David Yates (2007)



At the beginning of this clip we see the Warner Bros. sign, which then leads into a forward-tracking shot of the city, which slightly arcs as it moves. This angle sets the scene of the clip, for the rest that follows.

0:20 shows a CU flash of Lord Voldemort. I chose this to analyse because i think it is a very effective technique to use; the quick shot suggests that he is an important character and he plays a key role in the film. The audience gets the feeling that he is also an evil character from the eerie atmosphere of the shot.

At 0:41 there is a fast forward-tracking shot, which zooms into the woman from behind. From this shot we get the impression that she is being chased by something, which leaves the audience intrigued to find out what is going to happen.


Matrix Fight Scene - Neo and Morpheus
The Matrix, directed by Andy & Larry Wachowski (1999)



I chose this fight sequence from The Matrix because it contains some very good camera techniques, which help to develop the continuity of the story.

There is a forward track and zoom on Neo at 0:04 as he prepares to fight, which then cuts to zoom out on Morpheus as he also gets ready. This signals the start of the fight for the audience and prepares them for action. The camera then cuts to a VLS at 0:11 before the fight begins.

At 0:18 a shot-reverse-shot occurs between Morpheus and Neo. The purpose of this motivated cut shows the audience the reactions of both the men to one another. The shot that follows is a LS master shot, 0:30, which shows both men in context to the setting, as the fight continues.

The director uses a series of a crab and arc at 0:33 as the men move around during the fight-this provides the participation of the audience with actual physical movement, as it makes them feel that they are moving with the characters. From this shot, the camera then pans around to show an OTS from Morpheus perspective.

There are a number of tilts and high angled shots used within the sequence to show the fight from a different perspective. At 1:08 the camera, currently at ground level, gradually tilts and arcs upwards as Neo gets up off the floor. This brings us back to eye level and makes us feel more comfortable as an observer.

At 1:34, probably the most interesting technique used, is that where the camera is facing Neo and it arcs and rotates a near full circle to show Morpheus standing in front of him. This is very effective because it makes it seem as if the audience are in the way of the fight, so we retreat behind Neo to watch from safety as they continue to battle.

Another technique used is a crash zoom. At 3:07 we crash zoom into Morpheus' fist, as he attempts to punch Neo. This is deliberately done to focus our attention on the punch, and to see just how close he gets.

Overall, this sequence uses highly-specialised shots and camera movements to create a fast moving, action packed sequence. The use of lots of cuts and a large varitey of different angles disorientates the audience and creates an unrealistic effect; which adds to the unrealistic view of the Matrix itself.

FDA - Video Notes

The following notes are based on several video clips; all of which discuss the different aspects one must consider when making a film. To view these video clips and visit the FDA website click here

The Release of a Film:

• Consider the 'marketability' of the film ie: the target audience (who is the intended audience of the film?)
• Ad campaigns - must target specific members of audience
• Marketing budget
• Box office potential (how well can the film do in the box office?)
• Promotion channels ie: the internet, radio, magazines, TV (actors & directors interviews etc)

Positioning & Audiences:

• Define the audience (teenagers? adults?) & genre (comedy? horror?) of the film
• Specialised films are directed at 'cine-literate' audiences
• Crucial when making a film to establish what type of film it is and who it is for

Target Audiences:

• Research is done to find out how to focus on T.A ie: where to advertise, depending on who the audience is
• Eg: teenagers are most likely to see adverts for films on the net or outdoors, whereas older people may see them on TV etc
• Set budget, therefore advertise to optimum efficiency

Competition:

• Enormous amount of competition - you need to stand out from all the other films out there (why would people come to see your film over others?)
• Weather plays a key part in advertising - during August, adverts should be placed outdoors, when most people are out; adverts on TV when the weather gets colder etc.
• Holidays often see an increase in cinema activity amongst youngsters ie: October half-term, poor weather, dark therefore more children may choose to visit the cinema

P&A Budget:

• Covers cost of actual film prints, and its shipping
• Ad costs - posters, TV spots, trailers at cinemas, radio
• Budget is set to target certain markets

Word of Mouth:

• Most important form of advertising
• Can build/destroy the 'life' of a movie at a cinema (negative WoM can be very hard to overcome)
  
• Free advance screenings help people spread the word to friends
• More effective than ads in papers etc

Marketing Plan:

• Advertising - TV, radio, billboards, magazines, internet, posters (can be rather expensive)
  
• Press - interview actors or directors, put stories of the film into magazines (cheaper than other form of advertising)
  
• Word of mouth - free advertising, most effective way is to test screen the film
• Personal recommendation from a friend or relative can be the most powerful trigger for a trip to the cinema

Film Trailers:

• Essential for the public - first and only exposure of the film in the cinema
  
• Graphics, sounds and overall concept of the film need to be portrayed efficiently
• Needs to get the intended message across and grab the audience's interest

Link Between:

• Firstly convince exhibitors to take the film
• Find somewhere to 'put it'

Digital Marketing:

• Creating a video, game, quiz etc which gets sent to someone; and if it is good enough, will then pass it on (on-going chain)
• Very simple but not as effective as other types of marketing (WoM for example)

Test Screenings:

• Research poster ideas, trailers, film concepts etc
• Check visuals and graphics meet audience's expectations
• Recruited audiences test screen final production
• Questionnaires and focus groups carried out to find out what the public thought
• Films can be edited after feedback

Persuading Cinemas:

• Convincing exhibitors and cinemas to take the film and show it at their multiplex
• Need to be able to sell the film to the cinemas

Opening Weekend:

• Highly important for the future of the film
• 3 day figure - Opening day (Friday) and following two days (Sat&Sun) figures are considered
• Monday morning - 'make or break' the film (determine how long the film will stay in cinemas)
  
• If the film has not produced enough money at the end of the 3 days it won't be in cinemas for very long - 'Holdover'

Piracy:

• 2006 - piracy accounted for 20% of all DVD sales in UK
• Inferior quality
• People buying pirate copies may not be aware of other criminal activities that their money goes to

Horror Still Shot Analysis

1. This shot shows a tall, dark figure standing ominously in a very dark basement; which connotes that he could be a killer/villain. The low level of lighting creates a black background, which emphasises the dark and enigmatic feel usually created from the horror genre. The underlighting casts a shadow on parts of the figure's face, creating a mystreious, spooky feel about the shot. The expression on the figure's face makes the shot more realistic and the setting (dark basement) provides a typical backdrop for a horror scene. The mise-en-scene of this picture helps to create a scary and chilling shot, which I think are the key elements of a horror shot.

2. To achieve this effect we went to the school basement and used an artificial light source held by the subject himself. We used a small shaft of light to maximise the effect of the shadows cast on the figure's face.

3. The person's expression makes the shot very believable, thus making the shot realistic and quite scary. The shadows on the figure's face help to create a mysterious, eerie atmosphere and the brick arch in the background gives a 'frame within a frame' shot; with the person positioned in the centre third of the frame.

4. In hindsight, I would have planned the shot beforehand, placing the light source out of the frame to make the shot more plausible. In addition, I could have used a brighter light to show the surroundings in more detail, without losing the shadows on the person's face. Finally, the person could have been wearing darker clothes to suit the ghostly, atmosphere we were trying to create.

Shot Sequence Analysis

SHOT 1

MCU, high-angled, almost birds-eye shot. The low key lighting casts small shadows over the character, yet his appearance is clearly visible. The character shown is pointing a gun slightly towards the left of the camera, which suggests that there is another character involved in this scene (out of shot). From this shot we can tell that the man is lying on the floor, and the planks in the background imply that this scene takes outdoors. The man is grasping the left side of his head, possibly in pain (his expression seems to show this), yet is still yielding a gun in his other hand; showing that he is defiant to give up even though he is trapped. We are not able to make out whether he is a villain or not from this shot. He is dressed in black, which corresponds to the crime/thriller genre of the movie.


SHOT 2

LS, high angle - camera has zoomed out from the first shot to introduce a second character. His back is facing the camera so his identity is kept a secret from the audience. The man is standing over the character on the floor, with a gun pointed at him (appearing ominous and villainous to the audience - adds to the sense of tension and suspense). The blood splatter is emphasised by the lighting, which shows us that the man standing is ruthless, as he has shot the other character, who is clearly struggling. The man with the gun is wearing a long coat which ties in with the dark, setting and theme of the scene.


SHOT 3

VLS, side angle view gives us a different point of view of the action and shows us two new characters (a little girl tied to a post and a tall man wearing a black coat standing in the background). This angle gives the audience a better understanding of the setting, we can see the distant lights of the city in the background (which suggests this is taking place in a remote part of town, adding to the secrecy and tension). The lighting highlights the dock to show the audience where the main action is taking place.


SHOT 4

LS, zoomed in from the last shot to focus in on the action. The figure holding the gun has raised it, to show that he is intent on shooting to kill this time. This builds suspense and anticipation, as we wait to see what happens next. At this point, we still do not know who the villain is and who the saviour of the little girl is but we assume that the man standing has come to rescue her. The man on the floor looks to almost be begging for mercy as the lighting is almost like a spotlight on the scene.



SHOT 5

MCU, low key lighting casts shadows on the girl's face. The camera cuts to the girl to show her emotion. We can tell that something has just happened but we are unaware of what it is exactly. The fear and sorrow felt by the girl is clearly shown to the audience, thus helping us empathise with her. This is the first frame which shows real expression of emotion, which contrasts the grim atmosphere behind the other scenes.


SHOT 6

The last shot is a LS, slightly low angled, as if we are looking in on the action from the pier (maybe we aren't supposed to be seeing this, so it appears that we are looking in as a secret). The body on the floor is now motionless, which suggests he has been killed. The man standing over him appears to have been shot also, so we assume that it is the man furthest in the background who has shot him. We have not seen either character's features so their appearance still remains a mystery. This adds to the enigmatic atmosphere as we are left wondering what will happen next.



All in all, this sequence is very effective in creating a tense atmosphere. The way the characters are portrayed makes it very hard for the audience to distinguish between the hero and the villain. We cannot make clear sense of what is going on in the scene, which adds to the enigmatic and suspenseful mood. The lighting plays an integral part of the sequence, making sure the key actions are highlighted; so the audience know where to look and are kept on edge. The clever use of angles and camera shots keep the audience glued to the action, creating a gripping feeling of anticipation throughout.