START MAKING

SA
M
PL
E
MOVIES
The step-by-step guide

and videos

TOM BARRANCE
1
 CONTENTS
Published by Learnaboutfilm Ltd
1 INTRODUCTION 3 47 Cornerswell Road
Penarth CF64 2UX, Wales, UK
2 FILMMAKING STEP BY STEP 5
3 WHAT YOU NEED 12 ISBN 978-1-9164073-1-2
4 TELLING YOUR STORY 22
5 PICTURE 28 © Tom Barrance 2021

6 SOUND 81 All rights reserved. No part of this publication

7 SEQUENCE 90 may be reproduced in any form without the

8 TIME 110 prior written permission of the copyright

owner. To request permissions contact
9 ESSENTIAL SCENES 115 [email protected]

10 EDITING AND SHARING 125 This sample is for private inspection and
evaluation only.

STORY IDEAS 141

SCRIPT FORMAT 142
DOWNLOADS 143
GLOSSARY 144
CREDITS AND ACKNOWLEDGEMENTS 158
INDEX 159 learnaboutfilm.com

2
 1
INTRODUCTION
YOU CAN MAKE MOVIES

3 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
Filmmaking can seem complicated when you start. They won because they had a great idea. Instead of
What camera you should buy? What settings should thinking “I can’t make the movie I want with this
you use? What computer and software should you phone” they asked themselves “What kind of movie
use for editing? could I make with this phone?”
Equipment isn’t that important. You can even use Their answer: a silent film.
your phone. Here’s why. They looked at how early movies told their stories,
I went to one of those events where filmmakers then made a parody: exaggerated gestures, funny
get together to show their short movies. One of the intertitles and plinky piano music.
filmmakers got up and proudly announced that So what you really need is a good idea. Then you
they’d shot their movie on an expensive film camera. need to take the time to work out how to turn the idea
But the camera was the only interesting thing about into a movie.
the movie. There were some nice shots, but the story Use the equipment you’ve got, or can afford. Practise
was dull. with it and build your filmmaking skills. Then put
Compare that to the national high school film your efforts into planning the movie, filming it
competition I judged a few years back. The winners as well as you can, and editing it carefully. This
used a basic phone that could only shoot low- applies whether you’re making a fiction film or a
resolution black and white video. documentary.
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 2
FILMMAKING STEP BY STEP
THE FILMMAKING PROCESS

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THE FILMMAKING PROCESS
Making a movie is much easier when you’re organised.
Make sure you’re clear about your story, and work out how
FIVE STAGES OF FILMMAKING
In the film industry there are five main
to tell it. Then follow a structured process for filming and
stages to making a movie:
editing the movie.

1 DECIDE ON YOUR STORY OR IDEA DEVELOPMENT

Coming up with the story, writing
What’s the film about? Why are you making it?
a screenplay, getting funding and
What’s the story?
recruiting talent.
2 WORK OUT HOW TO TELL THE STORY PREPRODUCTION
How will you combine images and sound in sequences?
Planning the movie in detail, recruiting
3 ORGANISE YOUR FILMING the crew and organising the shoot.
What are you going to film, where, and when?
What equipment and people will you need?
PRODUCTION
Filming the movie.
4 FILM YOUR SHOTS POSTPRODUCTION
Make sure you film all the shots you need.
Editing the clips together, creating the
Check your shots before you leave the location.
soundtrack and completing the movie.
5 EDIT AND SHARE YOUR MOVIE DISTRIBUTION
Work out which clips to use and how you’ll edit the movie.
Releasing the movie for sale or cinema
Edit it, then export it in the video formats you need.
screening.
Publish the movie online or arrange screenings or
distribution.

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1 DECIDE ON YOUR STORY IDEA
Think about what your story or idea is, why you’re making the movie,
and who’s going to watch it.

IS YOUR IDEA CLEAR? STORY STRUCTURE

Try writing down the basic concept for your movie in You could follow a traditional story structure:.
a couple of sentences or 140 characters. • Start with the ‘setup’. Introduce the characters and
If you can’t do this, you need to rethink or simplify it the situation, then add an incident or problem
before you start planning in detail. which they must deal with.
There are some story ideas for fiction movies here. • Then go to the ‘confrontation’, where they work
through challenges and obstacles.
SHORT FILM STORY TIPS • End with the ‘resolution’, where the story comes to
• Grab the viewer’s attention from the start an end or the problem is solved.
• Keep them interested: move the story on, keep the You can use this structure with fiction or factual films.
pace up
If you’re making a very short movie you don’t
• Only include what you have to: leave out anything necessarily need to follow this: you can rely on an
that doesn’t help tell the story interesting or unusual style of camerawork or editing,
• Keep it simple: one story, one or two places, one or or you can show a small slice of life that the viewer
two characters will realise is part of a longer story.
• Show, don’t tell: use images, sound and editing
rather than dialogue BE WARY OF TWISTS
Many beginner filmmakers come up with a clever
• Get the audience to use their imagination: you
story idea that relies on surprising the audience with
don’t have to spell out everything.
a twist or reveal. That can work, but not on its own:
your story needs to be interesting and engaging all
the way through, not just at the end.

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2 PLAN HOW YOU’LL TELL THE STORY
Even if you’re just filming a simple sequence or event, you need a plan of
what you’re going to include and how you’ll film it.
You could write a ‘treatment’: a detailed written description of the story
and how your movie will tell it. To develop visual ideas, you could collect
images from different sources to make a ‘mood board’.

1
THE SECRET

SCENE 1

INT. LIVING ROOM - NIGHT

Two young men - John and Sam - are looking at their phones. The
room is chaos, with empty pizza boxes and a games controller on
the floor.

JOHN
You know, I saw something really strange at work
today.

SAM
What was that?

JOHN
I saw one of Lisa’s friends hiding something.
She looked really dodgy.
(pause)
I think they’re up to something.

SAM
What kind of thing?

JOHN
I don’t know – I couldn’t see what it was.
(pause)
I’m going to have a look tomorrow.

SAM
(sounding dubious)
Whoah - you’re going to start messing with Lisa?
Rather you than me.

JOHN
(casually)
Don’t worry, I know what I’m doing.

He picks up the pizza box and leaves the room. Sam looks after
him with a pensive expression. Storyboards don’t have to be
perfect: even basic drawings can
help you visualise your movie.
The boxes should be the same
If there’s dialogue or speech A storyboard is a set of drawings or aspect ratio (shape) as the video
you’ll probably need a script. photos of the shots. You can add image. If you use sticky notes you
descriptions. can easily rearrange and add shots.
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3 ORGANISE YOUR FILMING
Check out the locations where you’ll film, the permissions you need,
and who’s going to be in each scene.

THE LOCATION ORGANISING THE SHOOT

Check out every place where you’re planning to If your film is complex, create a shooting schedule
film, by visiting it (doing a recce) if possible. listing where and when you’ll film each scene.
• Do you need permission to film there? Make sure everyone and everything you need is
• Will you have to pay? available on the shooting days. You could use call
sheets to list them.
• Is there space to get all your shots?
You can find templates for release forms, shooting
• Is it safe? What can you do to reduce any
schedules and call sheets online.
potential dangers?
• What’s the light like? Will you need to bring lights CHOOSING ACTORS AND PRESENTERS
or reflectors? If possible, audition your actors or presenters. Don’t
• Will there be any interruptions? assume your friends or colleagues can act.
• If you’re planning to record live sound, will there
any distracting background sounds? BLOCKING
Before filming a scene, plan the actors’ positions and
• What’s the sound quality like? Hard walls and
movements and where to place the cameras. This is
floors can cause echo. Can you reduce this by
called ‘blocking’. You could work this out by drawing a
bringing soft furnishings, rugs and curtains?
plan of the set, or use ‘previz’ software.
PERMISSIONS Rehearse the scene before you film it. Get your actors
Get any legal agreements such as actor release or presenter to run through the scene a couple of
forms, and permission to use spaces, signed before times, making any changes to their positions and
you start shooting. You don’t want to be arguing performances. Let them improvise slightly if it feels
about rights after you’ve completed your film. more natural.

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4 FILM YOUR SHOTS
Follow your storyboard or shot list. Make sure you film everything you need.
Don’t rely on the automatic settings for exposure, focus and white balance:
lock them or set them manually.

GET YOUR CAMERA READY CHECK THE SOUND

Check the settings, battery and memory. Listen out for background sound. Check the levels
Make sure the lens is clean. and listen on headphones if possible.

CHOOSE YOUR LENS OR ZOOM SETTING KEEP IT STEADY

Decide whether a wide-angle (zoomed out) or Camera shake is distracting. Keep the camera still,
telephoto (zoomed in) setting is best for your subject. or move it smoothly.

CHECK THE LIGHT FILM ENOUGH

Work out how the light will affect your shot. Make sure that your shot is long enough to work
with, and that you don’t miss out anything important
FRAME YOUR SHOT at the beginning or end.
Compose your shot carefully. Check the background
and the edges of the frame. CHECK WHAT YOU’VE FILMED
Play back your shots before you leave the location if
SET EXPOSURE possible.
Take control of how bright or dark the shot is.

SET FOCUS
Check that the right part of the shot is in focus.

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5 EDIT AND SHARE YOUR MOVIE
Once you’ve shot your film, you need to edit it together and get it ready to
share. Editing is much easier if you get organised and follow a plan.
This is the basic editing workflow.

PLAN IMPORT ROUGH CUT FINE CUT

Look through your clips Import the clips you Make a rough version Fine-tune your edits to
and work out roughly need into your editing of the entire sequence make sure they look right
how to edit them program. before you adjust the together.
together. individual edits.

SOUND COLOUR TITLES SHARING

Clean up dialogue, add Correct the colour. Add titles, credits and Export the movie in
background sound, You could add a colour graphics. the formats you need.
effects and music, then grade (an overall ‘look’). Upload it to a streaming
mix the audio. service, distribute it or
organise screenings.

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3
WHAT YOU NEED
EQUIPMENT FOR FILMMAKING

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WHAT YOU NEED TO GET STARTED
To make a video, you need to be able to film your clips, then edit them together.

FILMING EDITING
For filming, you can use a camcorder, a still camera that shoots video, You can edit with a program on
an action camera, or a smartphone or tablet. your computer, or a mobile app.
• A tripod or stabiliser will help you film steady shots. There’s a wide choice of editing
• A budget microphone and headphones can make a big difference to programs, from simple free apps
sound quality. to sophisticated professional
programs.
There are plenty of other accessories you could use, but you don’t need
to buy them all at once.

LEARN YOUR TOOLS

Get familiar with your equipment before you use it for serious projects:
• Learn how to get your camera ready and adjust the settings.
• Practise setting focus and exposure and filming different kinds of shots.
• Try out your equipment by making short, simple practice films.
13 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
SHOULD YOU USE YOUR PHONE?
Phones are discreet and convenient, and can shoot high quality video in the right
conditions. But most cameras and camcorders give you more creative control.

WHY YOU SHOULD WHY YOU SHOULDN’T

You probably already own one. The camera is tiny.
You can start filming straight away It’s not great in low light and for contrasty scenes. It’s hard to film
without needing to buy a camera. shallow focus shots.
It’s inconspicuous. The lens is fixed.
People are used to it. It’s small and Unless you have a multi-lens phone, you’ll need to use add-on adapter
light, so it’s easy to carry with you lenses for wide and telephoto shots.
and to mount in unusual places. Audio is limited.
iPhone stabilisers are affordable. You’ll need to get close or use a separate microphone. You may not be
You can get steady shots without a able to monitor what you’re recording.
tripod, and it’s easy to film smooth It’s hard to hold steady.
tracking shots. To get steady shots you may need to use a clamp, case or stabiliser.
Put a stabiliser on a boom pole or Manual controls are limited.
monopod and you can even film Even with pro camera apps, adjustments are limited and slower than
fake crane and drone shots. the buttons and dials on ‘real’ cameras.
You can shoot and edit on the same Formats are limited.
device. Most mirrorless cameras and DSLRs can record video in high-quality
That’s useful if you need to be able formats that are easier to adjust and correct than iPhone video.
to put a movie together quickly in There’s no eye-level viewfinder or swivel screen.
the field. Bright sunlight, and high and low angle shots, can cause problems.

14
CHOOSING A CAMERA
There are several different kinds of camera you could use for filmmaking.
For most people, a mirrorless camera (an interchangeable lens still
camera that shoots video) is the best option. They’re better in low light
than phones and most camcorders, with more creative control.
Click here (external link) for my current recommended cameras.

MIRRORLESS CAMERAS AND DSLRS

Mirrorless cameras (left) are the most affordable way to
get into creative filmmaking. They have interchangeable
lenses, and it’s relatively easy to blur the background of
your shots.
DSLRs (right) have a mirror-based optical viewfinder made
for still photography. They’re less convenient for video,
but can be useful if you want to shoot video and stills.

CAMCORDERS
Entry-level camcorders (left) have built-in zoom lenses.
They’re affordable and easy to use, but limited. You may
not be able to connect microphones or headphones.
‘Prosumer’ models (right) give you more control and
have audio inputs and outputs.
Professional camcorders (left) can record high quality
video formats suitable for broadcast. Sensors are bigger,
controls are easier to access, and you can connect
pro microphones. They can be better than mirrorless
cameras for news, events and documentary.

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 CINEMA CAMERAS
These large-sensor interchangeable lens cameras are designed
specifically for filmmaking. They can record in professional video
formats that are better at handling contrasty light, and allow more scope
for colour and exposure correction.
They combine a lot of the advantages of mirrorless cameras and
camcorders, though they’re expensive.

COMPACT CAMERAS
Most modern still cameras can shoot video. Point-and-shoot compacts
are convenient, but many have limited video features and lack
microphone or headphone sockets.

ACTION CAMERAS
Cameras like the GoPro (far left) and the tiny, stabilised DJI Pocket are
good for sports and travel. They have fixed wide angle lenses and fairly
small sensors. They can be very useful in certain situations, but they
aren’t ideal as a main video camera.

PHONES AND TABLETS

Phones are convenient and discreet, and you can shoot good video in
the right conditions. iPads and other tablets are more awkward to film
with but easier to edit on.

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WHAT TO LOOK FOR IN A CAMERA
EASE OF USE ZOOM RANGE
Are the controls and sockets easy to access and use? With a camcorder, check the optical zoom range
Is the menu system easy to understand? (ignore digital zoom). The wide end is the most
important: look for 28mm equivalent or less.
CREATIVE CONTROL
Can you set exposure, white balance and focus AUDIO
manually? Can you plug in an separate microphone?
Can you connect headphones to monitor the sound?
EYELEVEL VIEWFINDER
Not all cameras have these (the ones on DSLRs only CLEAN HDMI OUT
work for stills). An EVF makes it easier to see the This means that your camera can output video
image when it’s sunny, and to handhold the camera. without any overlays or text. It’s important if you want
to use an external recorder or do live streaming.
SWIVEL OR TILTING SCREEN
Useful for high and low angle shots. For vlogging RECORDING FORMAT
selfies, the screen should swivel to face forwards. Check that your editing program can handle the
camcorder’s recording format.
IMAGE STABILISATION Check the resolution. You may only need 1080p HD,
Very useful for handheld filming. You may not need
though filming in higher 4K resolution has some
it if you shoot on a tripod or stabiliser. The best ‘five-
advantages. For digital cinema projection you’ll need
axis’ stabilisation combines optical stabilisation in
DCI format.
the lens, and in-body stabilisation where the image
sensor moves. Some cameras can record more colour information
(eg ‘10 bit’ and ‘4:2:2’). The files are bigger and require
ACCESSORY SHOE a powerful computer for editing, but they offer more
For mounting a microphone or light. scope for image manipulation and colour correction.

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SENSOR SIZE
The size of the image-capturing sensor is important. Bigger sensors are FULL FRAME APSC MFT 1 INCH
usually better in low light. Depth of field will be shallower, so it’s easy to
blur the background. But lenses are larger and heavier.
Phone sensors are very small. Most camcorder sensors are larger, but still
relatively small. Some have bigger ‘one-inch’ sensors.
Interchangeable lens mirrorless, DSLR and cinema cameras have much
bigger sensors. There are three main sizes:

APSC Relative sensor sizes compared:

These are about the same size as a traditional 35mm movie frame, which • Full-frame is 36mm wide
makes them ideal for filmmaking. APS-C cameras are good value, with • APS-C is around 23mm wide
sensors that are large enough for creative shallow focus effects. Super 35
• MFT is 18mm wide
sensors in some cinema cameras are roughly the same size.
• ‘One-inch’ is about 12mm.
MFT
MFT (Micro Four Thirds) sensors are smaller than APS-C, so lenses
are more compact. Most MFT cameras aren’t quite as good as APS-C
cameras in low light and for shallow focus. You can compensate for this
by buying ‘fast’ (wide aperture) lenses, or using focal reducers to adapt
lenses designed for larger sensors.

FULLFRAME
This sensor size is based on the 35mm still photography film format.
It’s ideal for low light and extreme shallow focus shots. But full frame
cameras are expensive and the lenses are bulky.

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RESOLUTION MEGAPIXELS
Resolution means how many individual dots or ‘pixels’ make up the A megapixel is a million pixels.
image. Higher resolution images usually look sharper. But the files are A ‘25MP’ sensor has about 25
bigger and you may need a more powerful computer to edit them. million pixels. A high ‘pixel
count’ like this lets you make
HIGH DEFINITION bigger prints from your stills,
Most cameras and phones can record 1920 x 1080 (1080p), also known but it’s irrelevant for video.
as Full High Definition (FHD). This is fine for most uses. Even DCI 4K is less than 9
Some older HD cameras can only record in basic 1280 x 720 pixel megapixels.
(’720p’) resolution. A sensor with a high number
of megapixels can actually be
4K worse in low light, because
Many modern cameras and phones can film 4K. It’s twice as sharp as each individual light-sensitive
1080p HD, but you may not notice the difference on smaller screens. ’photosite’ has to be smaller.
There are two versions:
• UHD (Ultra High Definition). This is 3840 x 2160 pixels, which has
the same 16:9 aspect ratio (shape) as ordinary HD.
• DCI (Digital Cinema Initiatives), used for digital cinema projection.
With 4096 x 2160 pixels, it has a wider 17:9 aspect ratio.

DO YOU NEED 4K?

You don’t need 4K for most online use, and you may not even need it
for cinema screenings. But even if your final film will be 1080p, it can
be worth shooting 4K:
• It can look sharper, even when downscaled
• You’ll have the option of cropping at the editing stage
• You can create a 4K version if you need it later.
19 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
WHAT ELSE YOU NEED
You can film with just a camera or phone. But it’s worth buying a few basic
accessories that will help you record better pictures and sound.

KEEPING IT STEADY GETTING THE SOUND RIGHT WORKING WITH LIGHT

A basic tripod will stop camera It’s hard to get good audio You can improve natural light with
shake. If you want to film smooth with your camera’s built-in affordable five-in-one reflectors.
pan and tilt shots, get one with a microphone. It’s much better to They include white, silver and gold
fluid head. A bowl head is easier to use a separate one. reflectors, a diffuser, and a black
set up. A basic lavalier microphone that side for blocking unwanted light.
An electronic stabiliser can let you goes on a person’s chest can If you need lights for filming, LED
film steady shots without a tripod. make a huge difference. You can panels are the safest option. Ones
With practice, you’ll also be able to even plug it into a phone or audio with good colour quality can be
film smooth tracking shots where recorder in their pocket – so they expensive.
the camera seems to ‘float’. You can move around freely – then When you’re getting started you
can also get affordable stabilisers sync up the sound later when you could use builders’ worklamps
for phones. edit. as a cheap, powerful (though not
You can buy clamps, rigs and cases More about microphones controllable) light source.
for handholding phones or tablets. More about lights

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EDITING PROGRAMS

Final Cut Pro (Mac only) is Apple’s pro editing Adobe Premiere Pro (Mac/PC) requires a monthly
program. It’s powerful but relatively easy to learn. subscription.

iMovie (above) comes free with

iPhone, iPad and Mac.
VN Editor (right) is a free
alternative for iPhone, iPad,
DaVinci Resolve is a free pro program for Mac or PC Android and Mac.
that requires a fairly high-spec computer.

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4
TELLING YOUR STORY
USING FILM LANGUAGE

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I made a one-minute film to tell a simple story. These are the shots I used.
You can watch the film online here.

23
SHOTS
There were 42 separate shots in the film. That’s more than one shot
every two seconds. Why did I use so many?

By using all these separate shots, I could show the whole scene, pick out
details, and put the camera in different places.
I could even suggest that someone was watching the man, without
showing the watcher (above, right).
Using separate shots also let me make a shorter movie. The action would
have taken at least four minutes in ‘real time’. But I concentrated on the
most important things and left out anything that doesn’t help tell the
story. That makes the film more engaging to watch.

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SOUND

I used several different kinds of sound.

Some of them seem to be a natural part of what‘s on screen: birdsong,
splashing through water, the sounds of hitting and dropping the
canister, and heavy breathing. Filmmakers call these ‘diegetic’ sounds.
But I didn’t record them all live. I added the sounds of dripping,
breathing and roaring at the editing stage.
I used ominous music when the man sees the doorway (right), and a
pulsing beat as he’s running to get out.

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SEQUENCE
I planned and edited the shots so they make sense together.

I filmed from different positions, but placed the camera so the man
always seems to be moving in the same direction. I filmed from in front
and behind, so you can see him and what he’s seeing.
And I edited the shots together so that they seem to flow. Even though
the movement is filmed as separate shots, it feels continuous.

I could show things happening in two places at once, by cutting

between shots from inside and outside the bunker.

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FILM STORYTELLING ESSENTIALS
So when you’re making a movie, you need to plan it as separate shots,
with sound, that will go together as sequences.

USE DIFFERENT SHOTS

Don’t wave the camera around or zoom in and out. Work out exactly
what should be in each shot and how to film it. You’ll need between ten
and 40 shots for a one-minute video.

USE SOUND EFFECTIVELY

Sound can be more important than pictures. Start thinking about sound
when you start planning your movie.

PLAN YOUR SHOTS IN SEQUENCES

Make sure every shot adds something new to the story, and that your
shots make sense together.

USE FILM LANGUAGE

Film language means how you set up and film your images, use sound,
and combine them in sequences to tell your story.
In the next chapters I’ll look at these in detail, starting with the picture.

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5
PICTURE
PLANNING AND FILMING YOUR SHOTS

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THE PICTURE
These are the main things to think about when you’re planning your images.

SHOT SIZE LENS

How much of the scene Should you use a wide
should you include in angle (zoomed out) or
each shot? telephoto shot? What
should be in focus?

POSITION/ANGLE EYELINE
Where’s the best place Where should people in
to put your camera? the shot be looking?

COMPOSITION MOVEMENT
How will you Will things or people in
arrange things in the the shot move? Will the
picture? What’s in the camera move?
background?

LIGHT COLOUR
What’s the light like, and How will you use colour
where’s it coming from? to tell your story?

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SHOT SIZE
Shot size means how much of the scene you include in the shot,
and what you leave out.
Most films need three main kinds of shot.

THE WHOLE SCENE PEOPLE IN THE SCENE FACES AND DETAILS

Extreme long shots or wide shots Shots like long shots (head to You need plenty of closeups.
are filmed from a long way back. foot) and mid shots (hips to head) They focus on people and details
They’re mainly about the place, show people and some of what’s rather than the place.
not the people. around them. So they’re good for
You can use them to show
Use them to show where the film introducing people and showing
expressions and emotions, and
is set and how things in the scene them in context.
to point out important details
fit together. These shots are often used in that viewers might not notice
action scenes, as there’s room to otherwise.
move.

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THE WHOLE SCENE
An extreme long shot mainly shows the setting.
If it does include people, they may be too small to recognise.

You can use an extreme long shot as an ‘establishing An extreme long shot can also make someone look
shot’ to set the scene. small, lonely or insignificant.

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PEOPLE IN THE SCENE
The shots on this page let you see
people and what’s around them.
These shots are good for action, as
there’s room to move.
They’re easier to set up and film
than closeups, but they don’t have
as much impact.

A long shot shows the whole body, from head to foot.

Mid shots show people Medium long shots A two shot is any shot You could also use a
from hips to head. include three quarters of with just two people. group shot showing
the body. people together.

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FACES AND DETAILS
You can use closeups to
concentrate on people, their
emotions, and details.
There are several kinds of closeup.
Medium closeups are good for
pieces to camera or interviews.
Big closeups can show strong
emotion or threat.
An extreme closeup can show
strong emotion or draw attention
to an important detail.
As you get closer, shots seem
more intense. But you have to be
more precise about the framing,
and the subject has to keep still.
A basic closeup includes the whole face. It may cut off the top of the head.

Medium closeups show Big closeups include just An extreme closeup ...or an important detail.
the head and shoulders. the main features. shows part of the face...

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CLOSEUPS IN THE STORY

You can use a closeup as an ‘insert’. This shows a Closeups are useful for showing emotions.
detail that the audience might not have noticed in a A ‘reaction shot’ shows somebody’s face when they’ve
wider shot like the one below. just seen, heard or realised something.
To create suspense, you can put the reaction shot
before the thing they’re reacting to.
In a comedy, reaction shots after the action can help
make a situation seem funnier.

34 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
SHOT SIZE NAMES

EXTREME LONG SHOT (ELS) LONG SHOT (LS) MEDIUM LONG SHOT (MLS) MID SHOT (MS)
THE SETTING: PEOPLE ARE SMALL THE WHOLE SCENE/HEAD TO FOOT THREE QUARTERS OF THE BODY FROM HIPS TO HEAD

MEDIUM CLOSEUP (MCU) CLOSEUP (CU) BIG CLOSEUP (BCU) EXTREME CLOSEUP (ECU)
HEAD AND SHOULDERS JUST THE FACE JUST THE MAIN FEATURES PART OF THE FACE OR BODY

TWO SHOT (2S) GROUP SHOT

ANY SHOT WITH TWO PEOPLE A GROUP OF PEOPLE

35 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
CAMERA POSITION AND ANGLE
Work out the best place to film the shot from. Moving around or filming
from above or below the subject may give a clearer or more useful view.

CAMERA POSITION

Filming from in front feels as if Interviews and dialogue scenes Moving further around feels a bit
we’re really engaged. look more natural at a slight angle. less involving.

A profile shot feels neutral. Filming from behind can show ...or that they’re turning away,
It can show the point of view of what someone can see, or where hiding emotions, or don’t know
someone observing the person. they’re going... they’re being watched.

36 © Tom Barrance 2021. This sample is for private inspection and evaluation only.
CAMERA ANGLE

A high angle shot from above can give a useful When someone’s looking down, a low angle shot
overview of the scene. lets you show their face clearly.

A birdseye shot, from directly overhead, can show A wormseye shot is filmed from directly underneath.
how everything in the scene fits together.
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