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SONY PDX10 Handbook page 16
5. Close-Up-CU
Concentrates on either a face, or a detail of mise en scene, it magnifies
the object and shows the importance of things, be it words written on
paper, or the expression on someone's face. The close-up takes us into
the mind of a character. In reality, we only let people that we really trust
get THAT close to our face, so a close up of a face is a very intimate
shot. A film-maker may use this to make us feel extra comfortable or
extremely uncomfortable about a character.
7. Macro
Another type of extreme close-up, usually for
small
objects,
flowers,
coins, print
etc. Zoom
out to the
widest shot
and physi-
cally move
the camera to the subject until the subject and
the lens are right next to each other. Focus.
This will give you a much more detailed and
clear picture then by zooming in.
6. Extreme Close-Up-XCU
As its name suggests, an extreme version of
the close up,
generally
magnifying
beyond what
the human
eye would
experience in
reality, ie. a
tight face shot.
Rule of Thirds
You can use the rule of thirds as a guide in the off-center
placement of your subjects. Imagine your picture area
divided into thirds both
horizontally and verti-
cally. The intersections
of these imaginary
lines suggest four
options for placing the
center of interest for
good composition and
balance with in the
picture.
Head Room
Poor head room (left) gives viewers the
impression of relative weakness, compared
with the strength of less head room (right).
Head room refers to the space between the top
of the subject's head and the top of the frame.
Nose room aka Lead Room
The subject on the left "feels" cramped because he is too
close to the right side of the frame--there is no room for his
gaze. The subject on the right has plenty of "nose" room for
his gaze or gesture. If the subject is looking towards the
right frame, leave more room
at the right. If the subject is
gesturing towards the left
frame, leave more room at the
left. If the subject is moving
towards the right frame, leave them more room at the right.
Continuity-Director’s Line
Be sure to keep the talent on the
same side of the frame through-
out all the shots...for example if
the host is on the left looking
right towards the guest in a wide
shot, then when cut to a close-up
of the host he/she should also be
on the left looking right.
Summary of Contents for PDX10 - DVCAM
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