In filmmaking and video production, a shot is a series of frames, that runs for an uninterrupted period of time. Film shots are an essential aspect of a movie where angles, transitions and cuts are used to further express emotion, ideas and movement. The term "shot" can refer to two different parts of the filmmaking process:
The term "shot" is derived from the early days of film production when cameras were hand-cranked, and operated similarly to the hand-cranked machine guns of the time. That is, a cameraman would "shoot" film the way someone would "shoot" bullets from a machine gun.
Shots can be categorized in a number of ways.
The field size explains how much of the subject and its surrounding area is visible within the camera's field of view, and is determined by two factors: the distance of the subject from the camera ("camera-subject distance") and the focal length of the lens. Note that the shorter a lens's focal length, the wider its angle of view (the 'angle' in wide-angle lens, for instance, which is "how much you see"), so the same idea can also be expressed as that the lens's angle of view plus camera-subject distance is the camera's field of view.
The same field size can be achieved at varied camera-subject distances by using a lens with a compensating focal length, and at varied focal lengths by choosing a compensating camera-subject distance. Field size differs from framing in that within professional environments where prime lenses are dominant, the latter applies only to camera placement (including camera angle), not focal length.
However, maintaining an identical field size at varying camera-subject distances and focal lengths must be handled with caution as it applies different amounts of perspective distortion to the image: wide-angle lenses expand a perspective, while long focus lenses compress a perspective (the famous dolly zoom, taken with a variable focal length lens, is a vivid, intuitive demonstration of this effect). Thus, it's more common in photography and cinematography to determine an image's field size by only changing two out of the two factors.
The field size (along with the specific amount of perspective distortion) greatly affects the narrative power of a shot. There are a number of standardized field sizes, the names of which are commonly derived from varying camera-subject distances while not changing the lens. The four basic kinds of field sizes (marked with an asterisk* in the gallery below) are:
Three less often used field sizes (see gallery below) are:
There are other variants, such as the medium close up (between medium and close up), and terms for moving in (such as "lean-in") and moving out (such as "lean-out").
"Shots" referring to camera placement and angle rather than field size include:
The length of shots is an important consideration that can greatly affect a film. The purpose of editing any given scene is to create a representation of the way the scene might be perceived by the "story teller." Shots with a longer duration can make a scene seem more relaxed and slower paced whereas shots with a shorter duration can make a scene seem urgent and faster paced.
The average shot length (ASL) of a film is one of its cinemetrical measures. For example, The Mist has a length of 117 minutes and consists of 1292 shots, so the ASL is 5.4 seconds, while Russian Ark is a single 96-minute long take, so an ASL of 96 minutes or about 5,760 seconds, a factor of 1,000 difference.
Shots with extremely long durations are difficult to do because any error in the shot would force the filmmaker to restart from scratch, and are thus only occasionally used. Films famous for their long cuts include Francis Ford Coppola's The Godfather in which the entire first scene is a long take featuring Bonasera describing the assault on his daughter, and Alfred Hitchcock's Rope, which only cuts at the end of each reel, and does so surreptitiously so that it seems as if the whole film is one take. Orson Welles's Touch of Evil opens with a long tracking crane shot, as does Robert Altman's The Player.
In addition to Russian Ark, which was made in 2002 using digital recording technology, other films known for their extremely long takes include Stanley Kubrick's 2001: A Space Odyssey and the works of Andrei Tarkovsky starting with Solaris. Béla Tarr is also known for using very long takes consistently in his films. Joss Whedon's feature film Serenity introduces the main characters with a long take.