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Introductory shot of any scene to establish the setting. Wide enough to show the geography, time of day, scale of the subjects in relation to their environment, & is often used to transition between scenes.

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Establishes the location and geography of the scene, while also identifying which characters are in the scene, and their relationship to each other.

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Positions subjects far from the camera, to visually represent their relationship to the environment. Concerned specifically with the subject in the environment.

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When the subjects entire body reaches from the top to the bottom edges of the frame.

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Arranged from the top of the subjects head to just below the waist. Particularly strong and confrontational, adding power to the subject. AKA "Cowboy Shot".

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Most popular shot size. Neutral shot capturing subject similarly to how we perceive others in real life. Begins above the waist below the chest, and ends just above the head.

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Frames a subject from mid-chest to just above the head. Prioritizes the story and character details. Getting intimate with subject without losing physicality.

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Highlights change in emotion or adds a dramatic beat. Arranged at eye level.

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Frames subject to isolate a specific area (ex. eyes, lips, nose). Highlights something crucial to the narrative. Greatest tool for emphasis.

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One character in the frame. The primary focus is the one character.
Two types:
Clean - There is no part of any other character visible in the frame.
Dirty - Limited presence of other characters within the frame.

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Two characters in a frame. Both faces are clearly visible. It emphasis the visual relationship between the two characters.

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Similar to two shot, but with additional characters. (ex. Three shot has three characters in the frame, four shot has four characters in the frame, etc.)

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Multiple characters in a frame.

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Like a hybrid between single and two shot. There is a focus on one character while looking over the shoulder of another. Gives the viewer a sense of there with the characters.

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Viewer experience of the character. Makes the viewer feel like they are the character. There can be visual POV, and even audio POV.

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Very tight on a specific detail, adding emphasis.

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Below the eye line, looking up. This makes the subject appear more powerful. Can be used for heroes and villains.

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Used to beat the character down and make them look weak or vulnerable. Can also be used for higher shots of cities, landscapes, etc.

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90 degrees over subject. Can be used for a variety of situations (ex. should showcase complex movements, connection to the divine, or display horrific details of a crime scene).

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Skews the horizontal axis of the image. Adds a feeling of unease, mania, terror, bewilderment, and can magnify tension.

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Camera lies at a natural height the viewer would normally view the character. Doesn't impose any judgement not the character, and allows the viewer to create a connection with them.

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Illusion of a slightly lower angle without being so heavy. It is frequently used for an over the shoulder shot. Also commonly used to in romantic scenes to highlight a romantic look.

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Levelled at the hips. Gives it a very western-cowboy shot look. Adds tension.

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The camera is at knee height and shows character details that might be missed in a wider shot.

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The shot is down at the ground and tracks the characters movement through the scene from a very low perspective. It captures details that may otherwise be missed.

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No movement of the camera. Great for dialogue, precise painful compositions, and shots that highlight an actors performance. Sometimes used to trap a character and suggest helplessness. Can be unsettling.

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Rotates horizontally while remaining in a fixed location. Can be used to follow actions of characters or to reveal information. Different speeds of pans are used to create different affects on the viewer (slow pan = builds anticipation, fast pan = heightens energy).

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A fast pan, which heightens the energy of the shot. It is usually used to create/accent relationships between characters.

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Directs the camera upwards or downwards in order to capture the verticality of the films world, give characters dominance or vulnerability depending on the direction, or reveal information like a character, setting, or scale.

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Camera moves in toward the subject. This is used to add emphasis to the moment (like a visual cue saying "this is important!"). It can be used to direct attention to a specific detail, or can be used to communicate the internal conflict of a character.

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Camera moves away form the subject. This de-emphasizes the subject, making it appear smaller. It disconnects the viewer from the characters, and detaches the viewer from the scene. It is often used to add emphasis on negative emotions like isolation or abandonment. Additionally, as it pulls away, it unveils context of the scene setting or characters.

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Charge in focal length of the camera lens to zoom in or out. The zoom out reveals context around the subject, and the zoom in can draw attention to a specific detail (and can also sometimes cause uneasiness). The zoom makes the camera movement appear un-natural as it is something we are not capable to do with our own eyes.

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A fast zoom that is used to add a dramatic or comedic effect.

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Dolly movement and sense zoom at the same time creates an effect also known as the "vertigo effect", which can either have positive or negative physiological effects.
Dollying out while zooming in can highlight the growing relationship between two subjects (foreground subject becomes dominate over background). Dollying in while zooming out can portray internal or external conflict in a shot (background grows in size while maintaining scale).

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Turns camera on a long axis while maintaining the direction of the lens. This disorients and unsettles our equilibrium. It can be used to match character movement (ex. panic or conflict), and can visually reinforce the theme. It is also used to accent dramatic shifts in the narrative.

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Moves the camera through the scene following or leading the subject. It makes the audience ask questions like "where is the character going and what will happen when they get there?". This immerses the audience into the scene and draws the audience to specific actions. It can be used to build tension.

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Follows the subject from the left or right side. Establishes the world of film and character in a storybook fashion.

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Orbits around the subject horizontally or vertically. This adds dynamic movement when characters may be still. It keeps the viewers focus centralized on the subject for intimacy, panic, heroism, etc. A fast arc can be used to create a dizzying effect referring to the mental state of the subject.

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Moves the camera up or down. Small booms can reveal information. Large booms can follow characters in action or capture the world surrounding.

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Any camera movement that happens on the fly. Creates more of an intimate effect, and gives the impression that the evens are happening in real time and anything can happen.