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Video transcript

in the last video we covered the basics of framing and staging for added emphasis and impact it's sometimes helpful to make more dramatic use of your camera for instance with an extreme wide shot these can be used to show how big a world is create a sense of scale or to make details difficult to see on the other hand extreme close-up shots are framed very tightly around the subject and can feel intensely emotional uncomfortable you can also play with shooting your action from various angles for example placing your camera down low and pointing it upward results in what's called an up shot using an upshot can give a character a feeling of power or dominance the opposite upshot is a down shot where the camera is placed above the subject and pointed downward like this notice how a Down shot can make a character feel inferior helpless or trapped another type of shot is called a Dutch angle this is where you tilt the camera to get a diagonal view of the scene shots like this can be used to create a disorienting unnatural or off-balance feeling let's ask our artists how they use these types of shots whether to use a low angle looking up or have the camera high looking down I think a lot of that sort of depends on what your character is doing what's your character's point of view in one-man-band there's a high angle shot it's the only one in the entire film the reason is this little girl is looking down into a great where a coin has fallen we would never use that camera angle for any other part of the movie except that because she's looking down so we kind of want to be over her shoulder looking down so it was a story point that made us use the camera in that way in the beginning of the Incredibles Bob is in the incredibile and he's we're hitting the buttons to transform the vehicle and do certain things when the nav system is right there so he's poking buttons so there's a camera kind of low looking up at him the camera is kind of where all that equipment that he's touching is so plant your camera where it needs to be to sell that story be of what your character is looking at they're also times where you might want to go to an extreme closeup of somebody or an extreme wide shot you know there's a shot in Toy Story 2 where the toys are going into Al's Toy Barn and we went out to a really wide shot of them entering the store for the first time just to remind the audience that this is a human-scale store with tiny toys in it making their way through the store we had to remind ourselves to show the audience that occasionally so they could feel the delight of seeing that these are toys in a human world come to life conversely there are times you want to go for extreme close-ups and that just means going in for an extreme detail might be a close-up of an eyeball in Toy Story 2 we had a whole sequence where Woody's being cleaned up including a close-up of Woody's eyeball getting wiped with a q-tip an extreme close-up of his foot with the word Andy being kind of painted away those are just times where you want to go into a tiny little detail because you're trying to communicate a very specific thing and you don't want the clutter of other information in the frame I love getting lost in movies when I see a movie for the first time I am there for the ride I'm completely immersed in the movie and if there are extreme angles that don't mean anything I am often yanked out of the picture and I'm aware I'm watching the movie and I'm questioning why I just saw that weird shot typically you want to use them for emphasis and if you're using using too much of them then it's difficult for you to give emphasis to any specific thing I feel like those things need to be used very very sparingly in the beginning I used to like those because those are the extreme shots are the exciting shots but what I didn't realize I loved drawing them and I loved breaking them down compositionally for myself but what I didn't realize is that on the other end when I was watching them in other movies those those extreme angles if they're overused really pull me out but there might be times that you do want to shoot everything in an extreme close-up I mean there there are rules of filmmaking the rules of film grammar but those rules can be broken they're not something to stick to slavish ly but it is good to have a good understanding of that film grammar before you make conscious decisions about how you want to bend those rules you have a lot of freedom in how you use framing and staging but remember the most important thing to do is to make choices that best support the emotion of your story use the next exercise to get some practice