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We’ve all been there. You make plans, storyboard things, but on the day of filming you might change around the actors, or the location doesn’t work, or the scene doesn’t work. There isn’t much time, and you have to record something worthwhile. It happens to everybody.
These ten shots will give you adequate coverage, and have saved my skin many times.
Before we go ahead, don’t forget to download my free blueprint on making a movie. The link is in the description.
Shot#1: A long or medium shot of the action
The objective of this shot is to get the actors and action together in the best possible composition. You need to find an angle that showcases your scene in the best possible light and film it.
If this part is where you’re stuck, my guide to shooting a scene will help you out. Most of the time the location will put practical limits on where you can place the camera. Your choices will be limited and from whatever remains you pick the best possible vantage point.
Shot #2: The close up of the face
Let’s face it. Your audience predominantly watches films for the actors. They like to see faces. So there’s no harm in showing it to them. Whatever your vantage point for Shot #1, either zoom in or move closer to film a close up of the face.
The goal is to pick the most emotional moments or best reactions or all the dialogues. Sometimes even an uninteresting face can be used in the edit to put together a scene. When you’re short of time you don’t want to neglect the invaluable close up.
A couple of pointers. You shouldn’t break the 180-degree rule, and you should try to move the camera at least 30-degrees away from the position of shot number one. This will ensure the cut is smooth and there’s enough variety in the shots.
Shot #3: The close up of the action
This is logical and flows from Shot #2. These are close ups not of people but what they’re doing, or looking at, or holding. If it’s a scene of two people talking you could look for interesting body language signals that could add value to the scene.
Pay attention to your actors while filming shots one and two, and you’ll always pick something interesting to film as a close up.
If it’s something important and relevant to the plot then it has to be filmed. If it feels important, it probably is, and must be caught on camera.
Shot #4: Over the shoulder shot
If there are two actors in the scene, or if there’s only one actor doing something, get behind them and film the classic over the shoulder shot. You get a bit of their head and shoulders but the attention is on whoever they’re talking to, or whatever they’re doing. If they’re just walking, then it’s where they’re walking, or looking, or whatever.
Imagine having these shots and then being able to cut back to the close up of their face. Important and always dramatic.
One of the great advantages of the over the shoulder shot is they cut so well with the rest of the shots, so you don’t have to put too much thought into your camera angles. Remember, this video is not about the absolute best camera angles, but angles you pick when there’s no time to think.
There’s a side benefit of the over the shoulder shot. Because you’ve been moving around so much and circling the actors you will also get your creative juices flowing by this point, and you’ll be ready for shot number 5.
Shot #5: The creative shot
Get a totally different angle of the action or actors. The goal here is to get a different kind of background, so the shot provides a new context, maybe a different way of looking at the scene.
If you can’t think of anything, then maybe the scene doesn’t warrant a creative shot. Not all scenes need one. Some scenes are simple and better presented from just one or two angles. Don’t force the creative shot. If it comes, it comes from a good place. If it doesn’t come then take the hint.
Shot #6: Inserts
Once you’ve done with the first five shots you can spend some time looking for interesting objects, clothing, action, jewelry, aspects of the location, etc. Always ask yourself if it is emotionally relevant to the story.
The close ups of these elements are called inserts and they might not have a direct bearing with the actors or action. But if thought from another perspective, could provide metaphorical meaning to your scene.
You might also need inserts to get you over a sticking cut in editing. Happens all the time.
Shot #7: The Environment
Entering and exiting the scene, camera-wise, is also useful. How does the actor enter or exit the scene? Film a bit from both ends and you might be able to use it.
You can give your actors the freedom to move around to explore the set or location a bit and just follow what they’re doing. Interesting things can happen.
These shots allow the editor to segue into the sequence in creative ways. If you have shots of a decent length you might be able to use music alongside, but a scene that begins abruptly just hasn’t enough space for a musical buildup.
Shot #8: The Low Angle (or High Angle) Shot
The biggest mistake I have made as a beginner when trying to get interesting shots is I don’t remember to! What I mean is, I usually filmed from the same height, just like how a typical tourist does.
The simplest no-brainer way to an interesting shot, is to go low and film the actors or scene from a low angle. It automatically adds drama, and can be done quickly.
Force yourself to explore your options by crouching low and see for yourself. The world looks a lot different. You can also go high angle, but that’s not always practical. I’ve found, out of the two options the low angle is better most times.
Shots #9 and 10: The timelapse or drone shot
These shots have become almost necessary nowadays.Time lapses allow you to juxtapose two scenes in interesting ways, or add the passage of time.
I don’t have the luxury of calculating all the time, so I just let the camera run for fifteen minutes to half an hour, depending on the action. If you can shoot at 60 fps you can do whatever you want with it in post.
Camera drones give you a bird’s eye view of the scene, and it can make a massive difference to the way the scene is perceived.
I like to use drones only if the land or set has something important to say. If the shots don’t add value, and are just distracting, it’s a waste of time to fly a drone.
And finally, a bonus Tip:
The 5-second rule
Many professional cameras have a pre-roll feature, where the camera will continuously record footage to a buffer even if you haven’t pressed the record button. The camera should be turned on for this.
If this isn’t possible, try to get five seconds of extra footage. In other words, start recording a bit before you need to, and end the recording a bit after you need to. I’ve found five seconds a happy medium. It allows the editor space in editing, as well as having extra handles for cross dissolves and fades.
I call out to roll the camera, and count to five before saying Action. When I’m happy with the shot, I count to five before saying cut. Once the habit is ingrained you don’t need to think about it.
That’s it! I hope these ten shots will help you get through a scene even when you’re short of ideas.
