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In the previous episode
of "The Shot List",
we broke down all the most
commonly used shot sizes
in the filmmaker's toolbox.
But once the camera
shot size is determined
the question becomes,
how should I compose the
subjects in each frame?
"- And...
...action, Dirk."
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This is episode 2
of "The Shot List".
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Framing.
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Now, let's get into the
proper frame of mine.
These are the most commonly
used framing options
to cover action in a scene.
"- I've never seen
anything like this."
Singles,
which can be clean or dirty.
Two-shot.
Over the shoulder.
Point of view.
And finally the insert.
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Our first framing convention
the Single.
A single shot
features one character
alone in the frame.
The individual character
is the primary focus.
But there are two ways
to frame a single.
A clean single
is when no part of
any other character
is visible in the frame.
It's best to use
when you want to convey
a character's isolation.
Whereas a dirty single,
includes a limited presence from
another character in the frame.
And don't forget that singles,
like all of the framing options
can be combined with
any of the shot sizes
we covered in the last video.
Whether it's a close up,
a medium shot
or a wide shot.
The single still applies.
When two characters are
visible together in frame
this is called the two-shot.
The orientation of the characters
to one another can vary.
But to be considered two-shot
both phases must
be clearly visible.
The two-shot is all about
creating visual relationship
between two characters.
This relationship
might be affectionate,
contentious
or even imaginary.
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When more characters
are added to the frame
the terminology adjusts to
three shot.
Four shot.
And so on.
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There is no official limit
on how high this number can go.
"- One, two, three, four, five."
But numbering this
would be overkill.
Best to just call
it a crowd shot.
Remember that no matter
how many characters you
include in a single frame.
You are creating a
relationship between them.
The most common and useful
way of covering a conversation
is the over-the-shoulder shot.
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And OTS shot acts like a hybrid
between a single and a two shot.
And similar to a single,
we're often only focusing
on one character at a time.
From these OTS angles,
we get perspectives
from both sides
and a sense that we are
included in the moment.
"- Can I help you?
- I hope so.
- I'm an old friend of George's
thought I stop and say hello."
When you want the audience to experience
the perspective of a character,
it can be effective to
frame up a point of view
or POV shot.
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The idea of the POV can cover
a wide range of perspectives.
A person.
An alien.
A camera.
A disembodied spirit.
Or even a shark.
In many cases,
a POV shot is also paired with POV audio
so we can see what they see
and hear what they hear.
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The insert shot
is not just about going
extremely tight on a detail.
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The way the
information is framed
is often even more important
than how prominent
it is on screen.
Inserts can also be
combined with POV shots.
A first-person perspective.
Or are we looking
at the insert shot
from a third-person perspective?
Or a hybrid frame like this.
Both an elegant insert
and an effective POV.
We've covered the most common
types of camera framing
but now let's put
it all together.
Let's look at Bong
Joon-Ho's "Parasite".
This sequence of scenes
is about the physical and
ideological connections
between family members.
Watch how the director
ties them together
through framing decisions.
An ultra-wide four shot
of the Kim's in the
Park family's backyard.
An insert shot of four
whiskey glasses been filled.
A medium four shot
of the Kim family.
A hybrid four shot. OTS. POV.
A close-up dirty single.
A dirty single.
A dirty two shot.
A dirty OTS shot.
A complimentary OTS.
A dirty single.
A full four shot.
A two shot.
Pans over to a
different two shot.
The pan continues
to a three shot.
A dirty single.
A dirty single.
And OTS shot.
A clean single.
Pans over to frame
another clean single.
Lastly, a wide four shot.
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As we've seen
the way you frame a shot
helps guide the scene in
the desired direction.
Once you understand what you
want to achieve in the scene,
you can decide how best
to frame your subjects.
Plan out your shots in
detail before production.
We shot-listing
using StudioBinder.
If you're looking to create
and collaborate on a shot-list,
you can find a link
in the description.
In the next episode
of the shot-list,
we'll explore
every camera angle.
Subscribe and click the
bell to get notified
as we release our next
filmmaking techniques video.
In the meantime,
happy framing.
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