Camera angle

As a camera perspective is referred in terms of viewing angle, the location of the camera at an object. This is not to be confused with the adjustment variables, which are defined exclusively according to the image size cutout. However, some camera angles often correlate with a certain Mindest-/Maximalabstand to an object.

The camera angle determines both the position of the viewer as well as the surface of the film set, which is recorded on the film. The choice of a camera angle can therefore both dramaturgical and technical considerations is applied. A camera perspective can be retained by the writer already in the script in order to achieve a desired effect on the audience. In pre-production, storyboards can be customized, supporting the implementation of these perspectives during the filming basis of this information.

Often film studios demand but also so-called master scripts that do not contain such instructions and therefore have a rather theatrical character. In this case, the camera angles are later elaborated by director and cinematographer.

A rough distinction between four perspectives:

• 3.1 bird's
• 3.2 Top -Shot

Soffit

Bottom view (or even low -angle shot ) designate a camera position, receives the objects from a low vertical position.

A soffit can be used to

• To arouse the viewer awe or excitement towards the object,
• To enhance the size and height of the object,
• Actors to spatially separate
• Distorting composition lines and produce a Forced perspective,
• To remove the horizon from the image or
• Undesired foreground disappear from.

To establish a relationship between two actors, soffits from above-mentioned reasons, also be used to represent a dominance of an actor using a point-of -view setting.

Soffits are also often used in reshoots, as it may be, the partial or complete suppression of a background allowed and so reshot outdoor scenes, for example, without the movie set would have to be rebuilt.

If a bottom view filmed with a wide angle lens can easily arise the impression of a cartoon.

Froschperspektive

Low-angle referred to in the film technique an extreme low angle. The camera is located at a very low point to the object and captures this vertically.

Equivalent of the below top shot can be found at points repeatedly settings in movies, which can be described as a special form of the term. The object is captured ° range of the bottom of the 90, the camera is thus theoretically in and below the floor. A man from this perspective of, so would have to refer to a sheet of glass are such that the camera can just look on the shoe soles. This effect is rare and is generally considered not much more than a gimmick, as the dramatic expressiveness is rather limited. However, it can in some cases, strengthened by specifically reaching light effects create a threatening atmosphere or a threat from above.

Normal view

In normal vision, the camera is at the same height of the filmed object with an actor mostly on the eye level. The normal view tries to mimic the natural sense of perspective in general.

But this also goes hand in hand that normal vision can be reflected yet as soffit or supervision. This applies to high objects: A viewing angle, looking at the Eiffel Tower in the center in a straight line, can not be described as normal view, if you want to suggest a natural perception. Mirroring this applies to the normal monitoring: Looking a reflector-character from an elevated point of view down where inspection is employed. This also happens because of the naturalness of this perspective in this situation - and not necessarily because of the dramatic effect of a low angle.

Supervision

As the supervisory (or high-angle or high-angle shot ) refers to increased vertical camera angle that looks down on the object.

A plan can be used to

• To make the audience with the environment of an actor familiar, by spreading this like a card,
• To establish a scene with many actors ( a football game, a battle, etc.),
• The inferiority or powerlessness of an actor (and possibly his situation ) represent. See also: Loser 's Point

A plan is less suited (eg, as in a race ) represent rapid actions in the long term, as is lost with the removal of even the sensation of speed. The perspective shows the view of the dominator, fittest. People who are photographed from this perspective, look a rather solitary, poor, humiliated.

Bird's-eye view

This is an extreme oversight, that is, the camera is on a high vantage point and looks very oblique from the top to the object down. In most cases, one speaks of film technology only from bird's eye view, if the picture detail is at least a complete picture of the relevant object and accordingly placed at a certain minimum distance. Seen from the top to the bottom of the object.

Top -Shot

The top shot is a special form of supervision in which the action is captured from above (approximately 90 ° angle to the object ). When recording, for example, a man from this position only top of the head and shoulders are visible. The top shot as a cinematic style means to collectivity, unimportance and subordinate awareness suggest.

Oblique view

In the oblique view (also tilted camera or Dutch Angle called ) is the vertical axis of the camera at an angle to the vertical axis of the object, the image on the screen is so weird and loses his balance. This camera angle is often chosen for dramaturgical reasons to express confusion, otherness, violence and instability of a situation or an actor. As this perspective distracts the viewer from the actual story, it is rarely used.

Oblique views often increase their effectiveness if they follow a normal view and, for example, show a chaotic or violent scene that falls suddenly over a calm situation.

In the advertising industry oblique views are often to quickly cut frames to give related more dynamic and thus represent everyday activities more powerful.

An oblique view is usually filmed with a view from below. In combination with other perspectives, camera movements and trips may result in a surreal impression.