A film director is a person who directs the making of a film.

[1] Generally, a film director controls a film's artistic and

dramatic aspects, and visualizes the script while guiding the technical crew and actors in the fulfillment of that vision. It is
the director's sense of drama, along with the creative visualization of the script, that transforms a screenplay into a well-
made motion picture.

Responsibilities

The role of a film director in the creation of a movie is a large one, and typically includes completion of the following tasks:

• Realizing the overall artistic vision of the film.

• Controlling the content and flow of the film's plot.
• Directing the performances of actors, both by putting them in certain positions and by eliciting the required range of
emotions.
• Organizing and selecting the locations in which the film will be shot.
• Managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the
film's soundtrack.

Often directors choose to delegate many of these responsibilities to other members of their film crews. For example, the
director may describe the atmosphere he wants from a scene, then leave it to other members of the film crew to find a
suitable location and/or to set up the appropriate lighting.

Meanwhile, other directors have far more control and bring their artistic vision to the pictures they make. Their methods
range from those who:

• Outline a general plotline and let the actors improvise dialogue.

• Control every aspect, and demand that the actors and crew follow instructions precisely.
 • Write their own scripts (such as Quentin Tarantino, Hayao Miyazaki or Robert Rodriguez).
• Collaborate on screenplays with long-standing writing partners.
• Act as their own cinematographers and editors.
• Star (often in leading roles) in their films, such as Orson Welles, Woody Allen or even Ed Wood, Jr.

Directors work closely with film producers, who are usually responsible for the non-artistic elements of the film, such as
financing, contract negotiation and marketing. Some directors will often take on some of the responsibilities of the producer
for their films. Steven Spielberg is known for doing precisely that, and the early silent film director Alice Guy Blaché not
only produced her own pictures but actually created her own highly successful studio.

Camera Angles
The shot angle is the level from which you look at your subject through the camera.

Eye-level angle - One of the most commonly used shots is the eye-level shot. Why? Because it's the perspective most familiar to us - we usually
see things from our own eye-level. This angle also causes the least discomfort because we're used to it. If you're shooting a person, and you want
to make it an eye-level shot, make sure you shoot at their eye-level, not yours.

Low Angle - In this shot the camera looks up at the subject, making it seem important, powerful, or perhaps larger than it is to the viewer. For
example, you might be sitting on the ground looking up at someone who is standing.

(click here for an example)

High Angle - In this shot the camera looks down on the subject, decreasing its importance. The subject looks smaller. It often gives the audience
a sense of power, or makes the subject seem helpless. In this case, you'd be higher than the other person (maybe they're sitting, or maybe you're
standing on a desk) looking down on that person.
Elements of Cinematography
Camera: In film making multiple cameras (multiple camera positions of a single camera) are often used. In editing phase
scenes/shots are assembled in a way that the story is told in an effective way. In computer animation, a considerable amount of
time is spent on pre-planning (e.g., storyboarding and animatics) so that a maximum amount of fully rendered scenes an/shots will
be used for the final animation.

The topics in this handout are:

• Types of shots -- shot size, camera angle, POV, two shot, over the shoulder shot.
• 180 degree rule
• Camera moves
• Composition rules
• Safe areas

Types of shots: The followings are types of shots commonly used in film, video, and animation.

1. Shots with different shot sizes. One of the major distinctions among types of shots is the shot size. The shot size identifies
how large and area will be visible within the frame. Among the following common shot sizes the distance between the camera and
subject varies.

• Extreme wide shot (EWS) shows a broad view of the surroundings around the character and coveys scale, distance, and
geographic location.
• Wide shot (WS) shows an entire character from head to toe.
• Medium wide shot (MWS) shows a character usually cut off across the legs above or below the knees. It is wide enough to
show the physical setting in which the action is taking place, yet it is close enough to shot facial expression.
• Medium shot (MS) shows a character's upper-body, arms, and head.
• Close-up shot (CU) shows a character's face and shoulders. It is close enough to show subtle facial expressions clearly.
• Extreme close-up shot (ECU) shows only a part of a character's face. It fills the screen with the details of a subject.
extreme wide shot wide shot

medium wide shot

medium shot
 extreme close-up shot
close-up shot

The images are from "The Art of Technique: An Aesthetic Approach to Film and Video Production"
by John Douglass and Glenn Harnden

Notes: Indecisive cut and shock cut

When cutting from a shot to another shot of a different shot size (e.g, from a wide shot to a medium wide shot) while framing the
same subject, the difference in image size must be decisive. If the size of the subject does not change sufficiently, you will get the
unpleasant effect of an indecisive cut and the audience will perceive it as a mistake or a distraction.

On the other hand, when cutting from a shot to another shot of a significantly different shot size (e.g, from a wide shot to a close-up
shot), you will produce a shock effect which is most likely inappropriate. The usual compromise is to have a shot of a shot size that
is inbetween the sizes of the two shots (e.g., from a wide shot to a medium shot, and then to a close-up shot).
2. Shots with different camera angles. Another one of the major distinctions among types of shots is the camera angle. Changing
the camera angle changes the appearance and function of your shot.

Horizontal camera angles. Moving the camera around the subject horizontally while aiming at the subject creates different camera
angles below:

1. Frontal. The frontal angle tends to flatten the three dimensionality of facial features and environments.
2. Three-quarter front. The three-quarter front angle is more often used than the frontal angle or profile because it shows
more depth and volumes.
3. Profile.
4. Three-quarter rear.
5. Rear.
Vertical camera angles. Moving the camera around the subject vertically while aiming at the subject creats different camera
angles below:

1. High angle. The camera is placed above eye level, looking downward. A high angle shot can make a character look smaller,
younger, weak, confused, or more childlike.
2. Eye level. Most commonly used.
3. Low angle. The camera is placed below eye level, looking upward. A low angle shot can make a character look bigger,
stronger, or more noble. It also gives the impression of height.
 high angle
low angle

The images are from "The Art of Technique: An Aesthetic Approach to Film and Video Production"
by John Douglass and Glenn Harnden

Note: Indecisive cut

When cutting from a shot to another shot with a different camera angle (e.g, from a frontal shot to a three quarter front), framing the
same subject, the difference between the two camera angles must be greater than 35 degrees. If the difference is less than 35
degrees, and the appearance of the subject does not change sufficiently, you will get the unpleasant effect of an indecisive cut and
the audience will perceive it as a mistake or a distraction.

3. POV shots. In a point of view (POV) shot, the camera is placed at the eye position of a character. (Birn, 8.2.4 POV Shots, pages
180-1)

4. Two shot & over-the-shoulder shot

 • Two shot shows two characters.
• Over-the-shoulder shot is a close-up of a character as seen over-the-shoulder of another person in the foreground.

Two shot Over the shoulder shot

180 degree rule

If you are using multiple cameras and plan to edit the different shots in a scene into a seamless sequence, an important rule to
keep in mind is to place all the cameras on the same side of a line of action. A line of action is a path which your subject is
traveling along or an imaginary line between two characters who are interacting. This rule is called "180 degree rule".

Look at the following camera placements:

If Camera 2 and Camera 3 are used, the audience stays on one side of the line of action. These shots are called
"reverse angle shots".
If Camera 2 and Camera 4 are used, the audience crosses the line of action. It's disorienting and confusing.
 The images are from "The Five C's of Cinematography" by Joseph V. Mascelli

Camera moves
The camera position is often animated in computer animation for no good reason or no reason at all simply because the virtual
camera can be moved easily. If you want to animate realistic and effective camera moves, study popular types of possible camera
moves with a real camera. Try the following:

• Pan. The camera rotates from side to side, so that it aims more to the left or right. The camera does not change the location.
• Tilt. The camera rotates to aim upward or downward without changing the location. Tilt is sometimes called "pitch".
• Zoom. The camera's lens is adjusted to increase or decrease the camera's field of view, magnifying a portion of the scene
without moving the camera.
• Dolly. The camera's actual position changes, such as to move alongside a moving subject or to travel closer to a character
during a scene. Dolly in moves the camera closer to the subject. Dolly out backs the camera away from the subject. Dolly
in and dolly out are sometime called "track".
 The image is from "The Art of 3-D Computer Animation and Imaging" by Isaac Kerlow.

Dolly vs. Zoom

The difference between dolly and zoom is that when you dolly, you are moving the camera in space, while zoom refers to changing
the camera's focal length. When you move the camera, the perspective changes. Objects far from the camera change in relative
size at a slower rate than objects which are close to the camera. That is what you see through your human eyes as you walk
around, your perspective changes. On the other hand, when you zoom (i.e., when you change the focal length of your camera),
your camera does not move and perspective does not change.
Composition Rules: The followings are useful guidlines you can use when composing a shot.
1. Rule of thirds
Rule of thirds divides the frame into thirds both horizontally and vertically. The points where the vertical and horizontal lines cross
are aesthetically pleasing spots to place subjects or to have perspective lines converge. It is usually best to avoid placing horizon
lines exactly in the middle of a frame, but to place the horizon either above or below center, approximately one-third or two-thirds
up the height of the frame.

The images are from "Digital Lighting and Rendering" by Jeremy Birn and "The Art of Technique"

2. Teeter-totter rule
Lighter weight can counterbalance a heavier weight if it is placed farther away from the center of the frame.

3. Avoid frontal angle

The frontal angle tends to flatten the three dimensionality of facial features and environments. Angling the shot produces more
depth and volumes.
 Shooting straight against walls produces flat compositions with Angling the shot into walls produces receding perspectives
little sense of depth in frame. and a better sense of depth.

Safe Areas
Text, e.g., the title of your animation, should be kept in the center 80% of the screen, within a guideline called the title safe area.
To make sure that your audience will not miss any important action in your animation, the vital parts of your scene should take
place within the central 90% of your frame, a guideline called the action safe area. Why? It's because what's outside the action
safe area is invisible on most TV sets. (Birn's Page 190.)

Camera Shots
(Framing the camera to show emotion, detail and setting)
When a movie is made, a variety of camera shots are used to add atmosphere and create a mood for the story. The shot refers to the kind of
image we see in a frame. A description and purpose of the shots used to create a film are listed below. The red writing indicates the most
common types of shots. The other shots can be used for a special purpose or to create more tension and atmosphere.

Click here for more things to consider.

Shot Code Description Purpose Example

Extreme ECU This is a very close shot showing the detail of an object or the To make the viewer aware of some
close-up physical features of a person. specific detail in the film. It can be used to
heighten tension.

Very close- VCU This is a face shot taken from the mid-forehead to above the This shows the close detail of the
up chin. character's eyes and mouth. It can be used
to heighten tension.

Big close- BCU This is full head height and the head takes up the entire This shows the detail of the character’s
up screen. It contains little or no background. face.

Close-up CU This is a shot taken of a person’s head from just above the This used to introduce a character and
head to the top of the upper chest. It can also be used to film allows the character to show emotions. It
an object at close range. It contains little or no background. can be used to heighten tension.

Medium MCU This shows the upper half of the body. The shot is taken from Good for conversation between two
close-up the above the head to lower chest. characters.

Medium MS This shows half of the body. The shot is taken from above the This allows you to get to know the
shot head to just below the waist. character more closely by viewing their
facial expressions and body language.
Medium MLS This shows the whole person as well as some of the Places the person in context.
long shot background.

Long shot LS This shows the whole person and other characters, but the This allows the viewer to understand the
background dominates the shot. relationship between the characters and
their environment.

Extra long ELS This shows the landscape of the film or a barely visible This gives information to the viewer about
shot character in the distance of a background. where the action is to take place. It often
sets the atmosphere of a film.

Visual Literacy
How do I make meaning

Camera Angles
There are four main types of camera angles used to suggest a relationship between the viewer and the subject of the image. As with camera
shots, there can be degrees of variation on these angles.

Angle Description Purpose Example

High The camera is placed above and looks It is used to make the character look small and
down on the subject or object. also indicate that the character is weak or
 inferior.

Eye An eye angle places the audience on eye- It is used to indicate that the character is on
level with the character. equal footing with the audience. It suggests
reality.

Low The camera is placed looking up on the It is used to make the character look big and
subject or object. indicates that the character is powerful and
dominant.
Overhead/ The camera is placed overhead or directly Characters and objects are made to look small
Bird's eye above the object or scene. and vulnerable. A character or object could be
followed at a different speed or pace.

Camera Movement
There are a variety of camera movements the director can use to make meaning on screen for the viewer. They are described below and to see an
example of these movements click on the links associated with each type of movement.

In this unit of work the Dolly and the Tracking camera movements will not be used.

Angle Description Purpose Example

Zoom The camera moves towards or away from It is used to make objects appear closer or
a particular object. further away.

Panning The camera turns from side to side, i.e. It is often used in the opening scene of a movie
from left to right or right to left. or can be used to show the landscape from the
 view of the characters.

Tilt The camera moves diagonally from the It is used to show the character from head to
top to the bottom of the frame. toe and can emphasize size. It can also indicate
speed and reaction.

Dolly The camera moves towards or away from It allows you to follow the characters or the
the character. The camera is often placed action, from one place to another.
on wheels to allow for a smooth
movement.

Tracking The camera moves along with the actors It engages the viewer in the action where they
or the action. The camera is usually on can feel part of it.
wheels.

Lighting
Lighting plays an important part in creating the atmosphere in a film. The amount of light and the direction of the light source can give meaning
to the viewer of the film. For example, lighting is used to indicate the time of the day.

Click here for more information on lighting.

Angle Description Purpose Example

Back lighting The main light source comes It is used to create a silhouette. The character
from behind the character. can be made to look mysterious due to the
effect of the shadows. It can create a sense of
 impending doom and is often used in horror
movies.

Key and fill lighting It is the main light source in a It is usually directed onto the main character.
particular scene. Fill lighting can be added to soften the effect of
shadows.

Under-lighting The main light source comes It can be used to disfigure the face. Horror
from below the character. films make use of this technique.

Top lighting The main light source comes It is used to remove shadows produced by the
from above the character. key lighting. It can also create the illusion of a
bright, sunny day.

Side lighting The main light source comes It is used to light one side of the character’s
from one side of the screen. face and produces shadows across the set,
creating a sense of mystery.

Colour
Colours can make us feel cheerful or gloomy, peaceful or excited. Film uses colour to evoke a particular mood or feeling. Some examples of
where colour can be used effectively in film making is through costumes, props, lighting, sets and film titles and credits. Sometimes colour can
be used as a motif or continuing theme throughout the movie.

In most cultures, many colours are associated with a symbolic meaning. This meaning is often different across cultures. For example a wedding
in a Western culture is usually white while an Indian wedding utilises the colours of red and orange. A funeral in an Asian culture uses white
while a Western culture funeral is traditionally black. Some common colours and their meanings for a Western culture are:
Yellow Orange
Cheerful, happy, warm, hopeful Warmth, enthusiasm, ambition, fun
Red Black
Passion, heat, blood, danger, excitement, energy Evil, death, rebellion, power
Blue White
Peace, coolness, tranquillity, harmony, protection Purity, chastity
Green Brown
Growth, success, vegetation, health, life, generosity Stability, comfort, friendship, reliability
Purple Grey
Wealth, royalty, passion, wisdom, respect, mystery Neutral, classic, quiet, drab

Rule of 3rds
Keeping your subject constantly in the middle of the screen can make for a boring movie. The viewer’s eyes need to move around the screen so
that the placement of subject in the frame is constantly changing with each shot. Applying the rule of thirds can help to avoid the problem of
visually dull movies.

To do this, you split the frame into three sections vertically and horizontally as illustrated below. The most significant part of the picture should
be placed where the lines intersect. Try to put your subjects on the lines instead of in the middle when you are shooting. With the horizontal lines
it is best to place your subject either in the top or bottom third of the frame.
 The images below illustrate some of the principles of the rule of thirds.

Avoid putting your moving subject in the middle. This is viewed as an uninteresting and boring image.

In this picture the eye is drawn to the top-left part of the picture with the subject placed on the intersecting
lines.
 The subjects run along the vertical lines and the image is balanced.

When shooting landscapes you need to decide where to place the horizon. If you wanted to emphasize the sky
because of a sunset or cloud formation you would place it in the top two thirds of the picture. As an
establishing shot or end shot for your film a large expanse of blue sky could be used for the titles or credits in
your movie.

This picture is split neatly into thirds. The sky occupies the top third of the picture, the mountains the middle
third and the foreground the bottom third.