Chapter 3 Camera Angles

Employing Camera Angle Different shots and the viewpoints (angle of the camera) in relation to the subject, may be employed in various combinations to produce a motion picture story with visual variety dramatic interest psychological overtones cinematic continuity

CAMERA ANGLES SUBJECT ANGLE All subject matter have three dimensions Height, width and depth of all subjects to be emphasized All are solid, whether they have rounded or flat surfaces, or combinations of both. Solidity is most pronounced when viewed so that two or more surfaces are seen. Object presented by only a single surface to the camera is flat - because its depth is not apparent Angle is the most important factor in producing illusion of scenic depth.

Facial modeling is best when subject is turned forty five degrees (three quarter angle) to the camera. Front and side of face, if properly lighted, will appear round, and eyes are displayed fully.

Subject viewed straight on shows only its height and width, not its depth. Person viewed straight from front or in profile lacks roundness. The same subject viewed from an angle, presents its three-dimensional nature. The modeling of a face and a body is best judged from an angle which presents both the front and side.

3D solidity is most pronounced when two or more surfaces are photographed. Angling the camera in relation to the subject so that two sides and top or bottom are viewed, results in effective rendition.

Angle camera so that parallel lines diminish & converge, preferably toward the right, so that viewers' eyes are carried into distance. Shooting these box cars square-on would result in flat cut-out appearance, lacking in solidity and depth.

The camera-operator records a 3D world on a 2D film surface. The solution lies in angling the camera in relation to the subject, so that a depth effect is recorded. Ways to achieve depth in filming: lighting, camera and player movement; overlapping subject matter; linear and aerial perspective; use of short focal length lenses, etc. The most effective method to record depth, however, is by choosing the proper camera angle.

So Before We Proceed... Always position the camera at an angle, preferably a forty-five degree, or three-quarter angle, to the subject. Such angling record people with roundness, and solid objects with two or more surfaces, and converging lines produce perspective - suggesting three dimensions. Shooting square-on, so that only the front or side of people or objects are filmed, should be avoided, unless flatness is required for narrative reasons.

Dynamic angling of this jet fighter produces more dramatic effect than would have resulted from level angle shot.

Camera Height As important as camera distance and subject angle, but often disregarded. Must be considered in relation to subject matter. It is a special requirement of the subject adjusting the height of the camera to the subject contributes to continuity factors. Audience involvement and reaction to the event depicted may be influenced by whether the scene is viewed from eye-level, or above or below subject.

Level Angle A level camera takes shots from the eye-level of an observer of average height, or from the subject's eye-level. A level camera views a setting or an object so that vertical lines do not converge. Level angle shots are generally less interesting than those filmed from upward or downward angle. A level camera is required, whenever eye-level views are filmed. A level camera does not distort verticals, so walls and sides of buildings, or objects, will remain true.

Objective shot Presents view, setting and players as seen by an observer Filmed from the eye-level of an average person - about five and a half feet high. Close-ups of a person must be filmed from the subject's view point, whether standing or sitting, so that the audience sees the person on an eye-to-eye basis. It is necessary, therefore, when moving in from a long or medium shot to a close-up, to adjust the camera height to the particular subject being filmed.

A seated person filmed from cameraman's standing eye-level results in high downward angle shot of top of head, half-closed eye lids and distorted view of subject. A much better shot results when filmed from subject's eye-level.

Do's and Don'ts in Objective shots Don't ignore seated person's lowered height, and continue shooting close-ups from a standing eye-level. Shoot at subject's eye-level rather than from your own eye-level else it results in downward angling on seated subject. A subject's eyes, plus the intimate relationship desired between viewer and screen player, are completely lost from a high downward angle which records top of head, half-closed eyelids and a distorted view of the player.

Do's and Don'ts in Objective shots Just as an individual may be judged by "how he looks you in the eye," much of the appeal of a player in a film is expressed through the eyes. It is imperative for cameramen to understand the significance, and strive to position the lens at the subject's eye-level when filming objective close-ups.

Point-of-view close-ups are filmed from the subject's eye-level when the players interact with each other. The relative heights of the players are to be taken into consideration.

POV shots from The Maltese Falcon

They are filmed from the opposing player's height when a difference in height exists - when one player is seated and the other standing, or when an adult relates with a child. The camera must be angled upward and downward on a pair of back-and-forth p.o.v. close-ups, in these instances. Such angling need not be precisely from the opposing person's head position. The angle may be cheated, but it should simulate the up-or-down look that occurs under these conditions.

Subjective Close-up shot

Objective shot Presents view, setting and players as seen by an observer Subjective close-ups, in which the subject looks directly into the lens, are always filmed from the eyelevel of the person photographed. A higher or lower camera will cause the person to look up or down in order to look into the lens - and thus create an awkward relationship with the viewer. The person presented subjectively should always be seen on a level eye-to-eye basis, as if the viewer were sitting or standing on the same eye-level.

Close-ups in theatrical feature pictures are positioned carefully Slight variations from subject's eye-level are made only when necessary to correct facial faults, such as - turned-up nose, look better from a slightly higher angle - a weak chin, may be improved by a slightly lower angle - Men appear virile when filmed from slightly lower angles - Flabby jowls or wide nostrils may be visually corrected by a slightly higher angle. All these up-and-down angles are very slight, however, and usually may go unnoticed.

While level angles are not as pictorially interesting or dramatic as higher or lower angles, they are best for close-ups of people and for shooting general scenes which should be presented from normal eye-level. They present an easily identifiable viewpoint, because the audience sees the event as if on the scene.

There are instances when level camera shots are more dramatic than angle shots. Such shot give the viewer a subjective impression similar to a player looking into the lens. The speed, increase in image size and subjective treatment can be highly dramatic.

All angles are relative and therefore must be considered in relation to the scene as well as placement and height of the subject being filmed.

High angle shot - camera is tilted downward to view the subject. Does not infer that the camera be placed at a great height. The camera may be placed below the cameraman's eye-level, to look down at a small object. Yet, it is filming from a high angle! Any downward angling of the camera should be considered a high angle shot, regardless of whether the camera is angled slightly to photograph the top of a package, or almost vertically downward to depict a mountain climber's point of view downwards!

High angles may be chosen for technical / psychological reason High angle shots reduce the height of a player or object. High-angling is excellent whenever a player should be belittled, either by his surroundings, actions or for the narrative purpose. The subjective camera may also place the audience higher, so that it may look down upon a player to feel superior over both, the player and his situation.

The camera, acting as the collective eye of the audience must shoot across the entire area of the action, from front to back, only from a high angle. Raising the camera and shooting downward aids in keeping sharp focus across the entire picture area. Cannot carry sharp focus on a level shot if filming near and far objects. A high angle may cover the same front-to-back area with less difference between near-and-far focus whenever reducing the lens depth of field

High angle shots are a welcome departure from eye-level shots and provide contrast, variety and dramatic impact even to commonplace scenes. Must be considered to establish the idea, supply pictorial beauty, or influence audience reaction to the screen players.

A high, downward angle should be used with discretion on fast-moving action, because movement will be slowed down.

In low-angle shot, camera is tilted upward to view the subject A low angle does not necessarily mean a "worm's-eye" view of the setting or action. A low angle shot may be made of a bug or a building.

Low angles are desirable to - inspire awe, or excitement - increase the subject height - separate players or objects - eliminate unwanted foreground - drop the horizon and eliminate the background - create a forceful perspective - position players as symbol of Authority - intensify dramatic impact

Low angles cause people, objects and structures to loom up in the picture because they are recorded with a broad base and a diminishing perspective. Employment of wide-angle lenses further emphasize the optical effect. When filming players from a low angle with a wide-angle lens, care must be taken - or a caricature may result.

Wide-angle lens, low angle tilt combined with 3 quarter camera angle is strongest Camera may be placed below a false floor, to achieve the required lens height in relation to the subject.

Inspires awe in the audience - the viewer is placed in a lowly position from which he looks up to the symbol of authority. In some instances it may be necessary to place a player or object on a pedestal, in order to enable subject to appear higher in relation to the camera/.

LEFT - WITH JUMP CUT BELOW - LOW ANGLE INSERT IN BETWEEN

Excellent for cheating a cut-away reaction close-up against the sky, or other nondescript background. Dropping the horizon out of the frame removes all background identity and permits filming such close-ups almost anywhere at any time. Problem of jump-cuts discovered while assembling shots, may be easily solved by inserting low-angle reaction close-ups without matching a studio set, or returning to outdoor location site.

LEFT - WITH JUMP CUT BELOW CLOSE UP INSERT IN BETWEEN

Excellent for cheating a cut-away reaction close-up against the sky, or other nondescript background. Dropping the horizon out of the frame removes all background identity and permits filming such close-ups almost anywhere at any time. Problem of jump-cuts discovered while assembling shots, may be easily solved by inserting low-angle reaction close-ups without matching a studio set, or returning to outdoor location site.

Both natural and man-made structures may be given increased height and dominance by shooting up at them. Skyscrapers, trees, monuments may all benefit from such treatment. Distortion inherent in such shots are acceptable - We Are conditioned to seeing tilted photographic perspectives, and realize that the converging lines are parallel. In reality, a person looking up from close to the base of a tall structure gets an impression similar to that produced by the camera.

Low-angle studio interiors are rarely filmed for theatrical pictures, because sets are generally constructed minus ceilings, to allow overhead lighting. However, location interiors of actual buildings may utilize ceilings if they provide additional dramatic effect to setting or story.

Players may be treated in this manner with a low angle either as an introduction, or during a sequence when they must approach another player in a dominating manner.

A three-quarter low angle, employing a wide angle lens, adds illusion of tremendous speed and power to a moving object.

Players may travel in diagonal line, not straight across screen. The background should be filmed at an angle, rather than flat on, to produce diminishing compositional lines. Flat-on angles, presenting subject travel and background square to lens, should be avoided unless showing a neutral shot.

Camera1 records background with gradually diminishing lines; and running player with gradually increasing image. Camera 2 records flat square-on background and player with same size image

Side three quarter angling, plus the low viewpoint produce converging lines, which are made more interesting by gradually increasing image size of the player

Angle- Plus-Angle Shot is angled in relation to the subject and tilted either upward or downward. The front and sides depicted, along with the underside or top of the subject

Such double angling - record more subject facets - result in the finest modeling - deliver the most forceful linear perspective - produce a three dimensional effect - Eliminates the 2D flatness of straight on angling - Eliminates dullness of filming with a level camera.

Dutch angle In Hollywood studio parlance a "Dutch" angle is a crazily-tilted camera angle, in which the vertical axis of the camera is at an angle to the vertical axis of the subject This results in tilting of the screen image, so that it slopes diagonally, off-balance. Tilt should be deliberate/ most effective if filmed from a low camera setup. Such slanted images must be used with discretion and at appropriate place or they may detract from the story-telling. Must be reserved for sequences when weird, violent, unstable, impressionistic or other novel effects are required.

Cameras should never be tilted just a little off level, so that the slightly slanted image seems accidental. A tilt should be deliberate, with a definite slant of sufficient angle to throw the image off balance, but not so steep as to appear on its side. The actual angle will vary with subject matter and action.

The camera need not be tilted throughout the shot. It may start level, and then abruptly tilt to depict a change in events, change in direction or introduce sudden unbalance in player involved. A tilted shot may return to level when events return to normal. The camera may, on rare occasions, rock back and forth during the shot, tilting from one side to the other.

The angle of tilt is very important. An image that slants to the right is active, forceful, while one that slants to the left is weak, static. A slanted horizon, running from lower left to upper right, suggests ascent; while one that slants from upper left to lower right suggests descent.

Deliberately change the shot characteristics, camera angle, onscreen subject placement, scale and proportions to avoid jump cuts.