Camera Framing

Descriptive shots

• EWS

  Extreme Wide Shot - Establishing

  Shows a vast setting where the subject is barely distinguishable. Places the action in its geographic context.

• WS

  Wide Shot - Long Shot

  The subject appears full-body alongside much of the environment. Describes the relationship between character and space.

• FS

  Full Shot - Group Shot

  Frames a small group of characters at full body, emphasising collective action over the surrounding environment.

• FB

  Full Body Shot

  Shows the character from head to toe, fitted to the frame, leaving little headroom or space below the feet.

Narrative shots

• MLS

  Cowboy Shot - Medium Long Shot

  Cuts the character at knee level. Born in the western to keep the revolver on the holster inside the frame.

• MS

  Medium Shot

  Frames from the waist up. Ideal for dialogue and for combining body action with facial expression.

• MCU

  Medium Close-Up

  Cuts at chest level. Reinforces the expressiveness of the face without losing all body language.

Expressive shots

• CU

  Close-Up

  Shows the subject's full face, from the neck or shoulders. Puts the focus on emotion.

• BCU

  Big Close-Up - Choker

  Frames just the face, from forehead to chin. Intensifies the gaze and dramatic tension.

• ECU

  Extreme Close-Up - Insert / Detail

  Isolates a very specific element: an eye, a hand, an object. Highlights information that drives the story.

By camera angle

• EYE

  Eye Level

  The camera sits at the subject's height. Neutral and naturalistic.

• ↓

  High Angle - Picado

  The camera looks down on the subject. Diminishes them, conveying vulnerability or inferiority.

• ↑

  Low Angle - Contrapicado

  The camera looks up at the subject. Enlarges them, suggesting power or superiority.

• ⤓

  Top Shot - Bird's Eye

  A fully vertical view from directly above. Useful to show composition, isolation or a god's perspective.

• ⤒

  Bottom Shot - Worm's Eye

  A fully vertical view from directly below. Generates strong defamiliarisation and drama.

• ∠

  Dutch Angle - Canted

  The camera tilts away from the horizon. Communicates instability, tension or disorientation.

By point of view

• POV

  Point of View - Subjective

  The camera adopts the character's gaze. The viewer sees exactly what they see.

• OTS

  Over the Shoulder

  Frame taken over one character's shoulder toward another. A staple of dialogue scenes.

• 2S

  Two Shot

  Two characters share the frame in balance. Establishes their relationship and dynamic.

• SEQ

  Long Take - Sequence Shot

  A single, continuous take with no cuts that covers an entire scene. Adds fluidity and immersion.