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The Ultimate Guide to Close-up Shots in Film — Techniques for how to use close-up shots to tell a story, including lighting, framing, and editing the close up.

The Ultimate Guide to Close-Ups ►►
The Ultimate Guide to Depth of Field ►►
The Ultimate Guide to Shot Sizes ►►
What is Aperture? ►►
StudioBinder Blog ►►

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Chapters:
00:00 - Introduction to Close Up Shots in Film
02:00 - Close Up Definition and Purpose
02:04 - Aspect Ratio
04:25 - Camera Lenses
06:50 - Angles and Staging
09:42 - How Much Face to Show?
11:48 - Editing
15:48 - Wrap Up/Takeaways

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THE ULTIMATE GUIDE TO CLOSE-UP SHOTS IN FILM

Roger Ebert once said that “Movies are like a machine that generates empathy.” One of the most common and direct ways this occurs is through the close up. So much about how we communicate and connect with people is through the face. It makes sense then that the close up shot is one of the most ubiquitous camera shots. In this video, we’re going to examine the myriad of ways how to shoot a close-up, including aspect ratio, lighting, depth of field, and how to edit close-ups in a scene.

One of the decisions made during pre-production is what aspect ratio will be used. More square-shaped images are great for close-up shots because they can isolate a single face. On the other hand, more rectangle-shaped images can give more context around the character or even allow close-ups of two or three characters at a time.

Camera lenses also bring distinct qualities when shooting close-up shots in film. Lenses with a focal length of 50mm and above will tend to flatten the face, while wide-angle lenses (like 28mm and below) will stretch and distort the face. There is also lighting to consider — soft backlighting can give the character a glow, while harsh underlighting creates dramatic shadows.

When we picture a close up shot, it’s probably shot at eye level and level with the ground. But camera angles and staging can easily change the meaning of a close up. Dutch angles are a shorthand for unstable situations, while high and low angle close ups are subtle ways to inform power dynamics.

There are endless possibilities when it comes to how to shoot a close up. And the more you understand the various nuances like lighting, framing, lensing, and editing, you’ll be better equipped to construct the perfect close up shot.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"The Winner Is" - DeVotchKa & Mychael Danna
"War Dance (Instrumental)" - Rhythm Scott
"Last But Not Least (Instrumental)" - Chelsea McGough
"Morning Sunbeams" - Yehezkel Raz
"Battle Dance" - Rhythm Scott
"Arrival" - Mark Korven
"Assembly Line Dreams" - Ostin Drais
"Little Eyes (Instrumental)" - Yehezkel Raz
"Munich, 1972" - John Williams
"Kinotrope" - Luke Melville
"Cosmos" - Theatre Of Delays
"Glass" - Claudio Laucci
"Somewhere" - Daniele Musto
"Wistful (Instrumental)" - Falls
"Double Espresso" - Francesco D'Andrea
"Overture" - Jon Brion
"Mauretania (Instrumental)" - Sam Barsh
"Shake It Baby" - John Lee Hooker
"Darth Vader's Death" - John Williams
"Gabby Gabby's Most Noble Thing" - Randy Newman
"Dojo Tradition (Instrumental)" - In This World
"Conspiracy Theories" - Jean Pol Cornelis
"Silk Drape" - Jason Hill
"A Glowing Light, A Promise" - Makeup and Vanity Set

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