Our group take ‘when’part.
what important point in this part is announce when that time.
So it need to present sky to show what time is it now.
Also it important to show long dsitance so we need to take shoot in distance.
When
The when question can seem tricky, especially when trying to simplify it to a single shot type. When can mean what period in history, how long before or after an important story event, or it can mean at what point in the overall story arc. The quintessential when shot is the extreme-long shot (ELS or XLS), which illustrates the subject traversing such a vast space that there is a sense of how much time it will take. This could be a car traversing an endless stretch of highway, camels crossing the desert, or a ship in a huge swath of ocean.
A Long Way To Go: The framing here emphasizes how tiny the camel caravan is compared to the huge
desert they must traverse. Adding to the travelers’ burden is the further information that the sun is setting
and they’re nowhere near any destination.
The idea here is of a where shot so vast that the connection between space and time becomes apparent and it answers the when instead. I know it’s very Einsteinian, but trust me, it works. This can be a great shot to help indicate not only the scope of the task at hand, but also to symbolically indicate where in the overall story arc your characters are.
Of course the when question can be answered in different ways too. Sometimes a CU of a particular object, such as futuristic computer panel, or an antiquated telephone can signal the time period, or even the most obvious and explicit of all: a shot of a clock.
The Full Shot (FS or LS) contains the whole human body. It’s considered bad framing to cut off someone’s feet. The position and stature of someone’s feet communicates a lot of information. (Are they standing firm? Teetering on one side? Shuffling?) Simultaneously, this shot identifies where the subject is located.
The Medium Shot (MS) should comfortably include the pelvis, but not the knees. A lot about posture and physical movement (like walking or dancing) can be determined from the pelvis. Cutting a shot off at the waist is an awkward middle ground between an MS and an MCU; we’re further away, so facial expression is harder to see, but without that essential pelvic movement, there’s no additional value. Because of this, the MS is typically used to show what someone is doing.
The Medium Close-up (MCU) includes the whole upper carriage like a traditional bust. The way someone holds their shoulders and back conveys a lot of information about their character. An MCU is far enough away to give the subject a respectable amount of space, but close enough to see their face.
The Close-up (CU) should be significantly tighter than the MCU, typically including the collar, but not much of the shoulders. The emphasis here should be on the facial expression, not on body movement. Because the CU is all about the subject’s face, it encapsulates their identify, which is why it’s the perfect shot to answer who.
The Extreme Close-up (ECU or XCU) [not pictured] could be a very tight framing around a character’s eyes, mouth, or some other individual detail. As described above, generally the ECU is a way to get “inside the character’s head.” This is just as true for interviwees as it is for superheros or ingénues.
junarae 