b. Varying subject distance.
It should be apparent there is a definite
improvement in the sequence when you change not only the camera angle but also the
If you merely change distance, the only variation between the
scenes of the sequence is the change of subject size. Moreover, slight differences
in action will be more noticeable on the screen and a change of camera angle will
minimize this. Another advantage of changing the camera angle is that it provides
variety in your scenes and makes the overall production much more interesting.
c. Changing camera height.
While you are changing the angle between scenes
during the basic sequence breakdown, another variation possibility exists--you can
also vary the height of the camera. For example, both the LS and MS are shot at
eye level, and then, when you are coming in for the CU, you lower the camera to
almost ground level.
Any type of variation would be suitable here, depending on
the circumstances of the sequence and the mood you are trying to convey.
(1) You will find that a low camera angle tends to make the subject higher
and seem more important, while a high viewpoint tends to reduce both the size and
apparent importance of the subject. Here again, a too-abrupt change of angle can
cause audience confusion. Unless you are after a special effect, 45 degrees should
be the maximum.
(2) The mood of a scene and its psychological effect on an audience can be
molded by a proper choice of angle. For example, in some of the horror movies you
have seen, the villain is usually shot from a low angle to make him seem huge and
menacing, while the heroine would be seen from a high angle to emphasize her
helplessness. The scene now gives you the feeling that the villain is all powerful
and cannot be overcome. But when our hero comes to the rescue, he is given the low
angle treatment making him the strong personality.
d. One very important point to remember when using angle shots is to be
careful that your angles are not obvious.
Your audience should be aware only of
the action and the mental impression being conveyed. If they admire the terrific
angles in your sequence, the main objective--telling the story--is lost.
various camera angles that carry a sequence of scenes from a long shot to a
closeup, each shot must match the other so closely that anyone viewing the picture
on the screen will feel as though he had actually stepped closer to the person or