CLOSE-UPS

is a large-scale portrayal of a portion of the action and it is a device unique to motion picture. Sizes of close-ups Medium (from waist) Head and shoulder Head (head only) Choker (from lips to eyes) Extreme (detail of an object/subject)

Proprieties The close up may transport the viewer into the scene Eliminate all non - essetials isolate whatever significat action should receive narrative emhasis properly used they add visual clarity and drammatic impact improperly used they confuse the audience and distract the viewer

Over the shoulder close-up is a close-up of a person as seen over-the-shoulder of another person. It is an effective transition from objectively filmed shots to point-of-view close-ups. The over the shoulder close ups may be eliminated if the player are shown in objective close-ups only. The are a subjective use of the camera. The should show a rear three-quarter view of the subject, his cheek line, but not his nose. Cut-in close-ups is a magnified portion of the proceding larger scene. It is always a part of the main action. Cut-in close-ups must be established in a preceding long-shot or re-established if the camera follow action in closer shots. Cut-away close-ups are related, but not a part of the previuous scene. They depicts secondary action happening simultaneously elsewhere but connected to the narrative. Thus they dont need to be established. Close-ups may be filmed... objectively from an unseen observer, mostly not aligned to another in the scene. Eye level of the person photographed subjectively in which the person being filmed looks right into the camera relating to an unseen viewer or to an character in the scene Eye level of the person photographed point-of-view from a position at the side of a player in the scene. It is the closest the objective camera can approach a subjective angle without having a player look directly into the lens. Nontheless it is an subjective kind of shot, because it involves the viewer. Eye level of the playe whose viepoint is being depicted. over-the-shoulder only for cut-in shots. Are filmed as closely as possible to the eye level of the player depicted, and considering the player in foreground.

TYPES OF CLOSE-UP

Close-ups choice... Where possible, it is preferable to use cut-in. Cut-in close-ups go directly to the into the heart of the established scene, hightening the interest. Cut-away, unless justified by a significant story point, disrupt the narrative.

Close-ups advice! Camera angles for a series of close-ups, should be matching in size and angle. Player movement into & out of close-ups, should be entirely performed if there is a medium or long shot to edit with the close-up. The timing of player movement in close-up should match that in bracketing scenes. Usually action in close-up seems faster, thus players performing some kind of actiond, should move with deliberate slowness. Camera set-ups, should use marker for camera and light position if the had to be repeted for some reason. Background for close-ups should not distract the audience from the character. A close-up, if the story needs it, could be a sequence opener.

Form The Five Cs of cinematografy Joseph V.Mascelli