Camera perspective
The camera perspective is the location of the camera on an object in the sense of a viewing angle . This is not to be confused with the setting sizes, which are exclusively defined according to the image size section. However, some camera perspectives often correlate with a certain minimum or maximum distance to an object.
The camera perspective defines both the viewer's point of view and the area of the film set that is captured on the film. The choice of a camera perspective can therefore be based on both dramaturgical and technical considerations. The scriptwriter can record a camera perspective in the script in order to achieve the desired effect on the audience. In pre-production , this information can be used to create storyboards that help implement these perspectives during filming .
Often, however , film studios also require so-called master scripts that do not contain such instructions and therefore have a more theatrical character. In this case, the camera perspectives are worked out later by the director and cameraman .
There are roughly four different perspectives:
bottom view
Lower view (also known as low-angle shot ) is the name of a camera position that records objects from a low vertical position.
A soffit can be used to
- arouse awe or excitement towards the object in the viewer,
- to increase the size and height of the object,
- To separate actors spatially,
- To distort composition lines and create a forced perspective ,
- remove the horizon from the picture or
- to make an unwanted foreground disappear.
In order to establish a relationship between two actors, sub-views from the above are used. Reasons are also used to demonstrate dominance of an actor by means of a point-of-view setting.
Bottom views are also often used in re- shoots , as it allows a background to be partially or completely hidden and, for example, scenes outdoors can be re-shot without having to rebuild the film set.
If a view from below is filmed with a wide-angle lens , the impression of a caricature can easily be created.
Low angle view
In film technology, a frog perspective isan extreme view from below. The camera is at a very low point of view to the object and captures it vertically.
Equivalent to the top shot listed below, there are repeatedly settings in films that can be described as a special form of the bottom view. The object is captured from below in the 90 ° range, so the camera is theoretically in and below the floor. Viewed from this perspective, a person would have to stand on a pane of glass, for example, so that the camera can look precisely at the soles of their shoes. However, this effect is rare and is generally not seen as much more of a gimmick, as the dramaturgical expressiveness is rather limited. In individual cases, however, it can create a threatening atmosphere or a danger from above, reinforced by targeted lighting effects.
Normal vision
With normal view , the camera is at the same height as the object being filmed, with an actor usually at eye level. Normal vision generally tries to imitate natural perspective perception .
However, this also means that a normal view can still be reflected as a view from below or from above. This applies, for example, to tall objects: a viewing angle that looks at the Paris Eiffel Tower in a straight line in the middle cannot be described as a normal view if one wants to suggest a natural perception. This also applies to normal supervision : if a reflector figure looks down from an elevated position, supervision is used here. This also happens because of the naturalness of this perspective in this situation - and not necessarily because of the dramaturgical effect of a view from below.
At sight
A top view (or top view or high-angle shot ) is an elevated vertical camera perspective that looks down on the object.
Supervision can be used to
- familiarize the audience with an actor's surroundings by spreading them out like a map,
- to establish a scene with many actors (e.g. a soccer game, a battle and the like),
- to depict the inferiority or powerlessness of an actor (and possibly his situation). See also: Loser's Point .
Supervision is less suitable for mapping fast actions (such as in a race) over the long term, as the feeling of speed is lost with distance . The perspective shows the view of the superior, the stronger. People who are photographed from this perspective tend to appear lonely, poor, and humiliated.
Bird's eye view
This is extreme supervision, i. H. the camera is at a high position and looks down at the object from above at a very oblique angle. In most cases, film technology only speaks of a bird's eye view when the image section at least completely depicts the relevant object and is accordingly placed at a certain minimum distance. One looks at the object from top to bottom.
Top shot
The top shot is a special form of supervision in which the action is captured from above (approx. 90 ° angle to the object). In a person, the top of the head and shoulders can be seen from this position. The top shot as a cinematic stylistic device is intended to suggest collectivity , unimportance and subservience.
Oblique view
With oblique view (also called tilted camera or Dutch Angle ) the vertical axis of the camera is at an angle to the vertical axis of the object, the image on the screen is therefore inclined and loses its balance. This camera perspective is often chosen for dramaturgical reasons to express confusion, otherness, violence and instability of a situation or an actor. Since 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 suddenly falls over a calm situation.
In the advertising industry, oblique views are often used to give fast- cut single images a stronger dynamic and thus to represent normal processes more powerfully.
An oblique view is usually filmed with a bottom view. In combination with other perspectives, camera movements and trips, a surreal impression can arise.
literature
- Joseph V. Mascelli: The Five C's of Cinematography . Silman-James Press, Los Angeles CA 1998, ISBN 1-879505-41-X (English).
- Werner Kamp, Manfred Rüsel: From dealing with film. Volk-und-Wissen-Verlag, Berlin 1998, ISBN 3-06-102824-2 , (Edition literature and cultural history) .