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KAREN MC GUINNESS
Customer Success Specialist
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Do you sometimes feel like your vision for a lm is lost in translation? It can be a
frustrating experience, but one that can be avoided (or at least minimised). Before
you move on to more advanced video transitions or animatics, a solid
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understanding of storyboarding fundamentals will take you a long way.
experience better
Armed with
Accept a working knowledge of camera shots, angles, and perspective
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communicate your vision as you intended it. To that end, we've pulled together 16
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camera moves and shot types to give your storyboarding vocabulary a boost.
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By incorporating a variety of di erent camera moves into your shots, you can add a
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deeper sense of visual interest. Combine this with a strategic approach to
messaging and you'll be o to the races. As with deciding how to frame your shots,
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take care when selecting the most appropriate camera move. The e ect that each
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move has can vary signi cantly in how it makes the viewer feel.
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Here are some well-loved camera moves to consider:
Zoom
Probably the most well-known camera move, zooming gives the impression of
moving closer or further away from the subject. It can be used e ectively to
magnify a certain focus point in the frame, but other moves such as a dolly, are a
more natural way to show movement. While a quick zoom can help add a sense of
drama and energy when used correctly, avoid over-using zoom as your default
move.
Also if you're making a storyboard, Boords has pre-built indicators for Zooming (as
well as a bunch of other common camera moves). Just click Insert Camera Movement
in the Image Editor:
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Pan
Panning is when the camera is moved horizontally from one side to another on a
central axis. This is a rotating movement in which the cameraʼs position remains in
place, but the direction that it faces changes. It can be used to follow a moving
character or to t more into a frame, for example, panning across a landscape to
create a sense of place.
Making a storyboard? Show yourself some love and use our pre-built camera shot
indicators.
Tilt
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Tilting is similar
experience better to panning in that the camera is kept in a stationary position, but
unlike panning (which looks from side to side) tilting focuses on upwards &
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downwards movements. Using a tilting motion helps to t more into a single frame.
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A slow upwards tilt can be very e ective in making a subject appear bigger or more
signi cant while a downwards tilt has the opposite e ect. Customers
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Dolly
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A dolly shot is when the entire camera is mounted on a track and is moved towards
or away from a subject. Unlike a zoom shot, the world around Blog
the subject moves
with the camera. A dolly gives the illusion that the viewer is walking towards the
subject and can be a great way of creating a sense of intimacy between them.
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Truck
Similar to dollying, trucking involves moving the entire camera along a xed point,
but the motion goes from side to side, rather than in and out. Itʼs o en used to
follow characters in action. Mounting the camera on a uid motion track will help
to stamp out any jerking camera movements.
To add a truck indicator in Boords, just select Pan right from the Camera
Movements menu in the Image Editor:
Pedestal
A pedestal (AKA Boom up/down or Jib up/down) involves moving the camera
upwards or downwards in relation to a subject. Itʼs di erent from tilting in that the
entire camera ascends or descends, rather than just the angle of the camera. A
pedestal shot can be used to frame a tall or high subject (such as a building) while
keeping the framing at eye level view for the viewer.
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choosing the most tting shot, youʼll need to bear in mind the message that youʼre
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trying to communicate to your audience.
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Here are some of the most common types of shots and how you can go about using
them: Integrations
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Full shot
The full shot is just as the name implies and shows the entire body of the subject
from head to toe. This shot tends to focus more on the characterʼs movement and
gestures, rather than their state of mind.
Medium shot
Also known as the ¾ shot, the medium shot typically shows the subject from the
knees up. It allows the viewer to see the background environment and the
characterʼs gestures, while still being close enough to capture their emotions.
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Close shot
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With a close shot, the subjectʼs head/face takes up the majority of the frame and
therefore, allows their reactions and emotions to dictate the scene. The subject
becomes the prominent focus and helps the audience build a personal connection,
without being distracted by background interferences.
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An extreme close shot is so close that only one speci c detail, such as a personʼs
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eyes or mouth, can be seen. Because of the unnaturally close nature of the shot, it
should be used sparingly, but when used appropriately, an ECS can be incredibly
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e ective at adding drama to a scene. It allows the viewer to see details that may
have otherwise gone unnoticed and can really accentuate the emotions that the
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subject is experiencing.
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Up shot
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An up shot is taken from below the eye-level of the subject and creates the
perception that the viewer is looking at them from a lower perspective. This type of
shot can give the impression that the subject is in some way powerful, heroic or
even dangerous.
Down shot
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A down shot, in contrast to an up shot, is taken from above the eye-level of the
subject and can make the subject seem vulnerable or powerless.
This type of shot is taken from behind the shoulder of another character and
typically frames the subject in a medium or close shot. It is particularly e ective in
group conversation scenes and helps establish which characters are speaking to
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each other.better
experience
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What's the best way to plan your film? With a storyboard of course. And it just so
happens Boords is the best web-based storyboard software going.
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Two shot
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A two shot presents two characters together within the same frame. Itʼs a natural
means of introducing both people and can be used to shed light on their
relationship with one another. Di erent variations of the two shot can be applied to
deliver di erent messages about the characters. For example, when characters are
positioned next to each other, it may give the impression that they have equal
prominence within the scene.
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The point of view shot, also known as the POV shot, depicts an angle that shows
what a character is looking at. This type of shot allows the viewer to take on the
perspective of the character and begin to understand their state of mind on a more
personal level.
While a picture o en speaks a thousand words, being precise with your language
can really make the di erence when it comes to storyboarding. Keep it simple yet
speci c, and youʼll be on track to a brilliant animatic and beyond.
What are some of your favourite shots to work with? Ever had an experience of
ideas getting lost in translation? Tell us about them in the comments.
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