smooth transitions so that they are accepted by the viewer as part of the story
A well-filmed sequence, like a good story, starts with an interest-
exciting introduction, progresses smoothly through its story, builds up to a
climax, and reaches a reasonable conclusion.
b. As a motion picture or television cameraman, you will contribute the most
vital element to a film production. You will supply the footage of the action and
also film the footage needed for transitions that allow the editor to maintain
continuity. You will work from a script when shooting controlled action, and you
will furnish the scenes called for.
a. Every motion picture or television story is made up of one or more
A sequence is a series of related scenes photographed with the long
shot, medium shot, and close-up technique.
Each sequence is a complete story
b. In recording activity, the need for sequences becomes even more apparent.
It is important that sequences be photographed with the idea that they will portray
a completely understandable story when they are put together and projected on the
screen. In other words, the story must be developed in the long shot, medium shot,
and closeup, and not be left to the imagination of your audience.
(1) A good cinematographer will employ the three basic sequence shots of
scenes, the long shot (LS), medium shot (MS), and close-up (CU). Let's examine the
long shot first. As the name implies, this is a shot taken at some distance from
the subject. In the case of a man standing, it would most likely be a full-figure
shot and would probably include some sky and foreground area. Second, the medium
shot of the same person would probably cover from the top of his head to just below
his waist line. Third, the closeup would most likely be of the person's head and
(2) In many cases the three basic sequence shots are expanded to include
the extreme long shot (ELS) and the extreme-closeup (ECU). An extreme long shot of
a standing person might show him as being quite small in relation to the rest of
the picture. As an example, you can visualize an extreme long shot of a boat on
the shore of a lake with a small figure of a man approaching it. The LS, MS, and
CU show him getting in the boat, sitting down, and preparing to start the motor.
Then an extreme closeup of his hands on the starter.
(3) When shooting the basic sequence, you should bear in mind that the size
of the subject in relation to the full picture area is purely relative.
camera-to-subject distance will vary for any particular long shot, depending on the