refers to a single image, the smallest compositional unit of a film's structure, captured by the camera - in other words, a frame is what we see. Framing controls how we feel about the emotional tone, character dynamics, and spatial context on screen.

Pan's Labyrinth, 2006

the depth of composition of a shot, (1) a foreground, (2) a middle-ground, and (3) a background; depth of field specifically refers to the area, range of distance between planes in which the elements captured in a camera image appear in sharp or acceptable focus.

Frankenstein, 2025

a style or technique of cinematography and staging with great depth of field that uses lighting, relatively wide-angle lenses and small lens apertures to simultaneously render in sharp focus both close and distant planes instead of a singular focal point.

Pacific Rim, 2013

the basic building block or unit of film narrative; refers to a single, constant take made by a motion picture camera uninterrupted by editing, interruptions or cuts, it can also refer to a single film frame. Shots focus the audience and provide perspective

The Devil's Backbone, 2001

usually a long (wide-angle or full) shot at the beginning of a scene (or a sequence) that is intended to show things from a distance (often an aerial shot). Establishing shots inform the audience with an overview to help identify and orient the locale or time for the scene and action that follows.

Scary Stories to Tell in the Dark, 2019

a camera view of an object or character from a considerable distance so that it appears relatively small in the frame. Long shots provide physical context and can invoke feelings of vulnerability, loneliness or insignificance.

The Shape of Water, 2017

refers to a conventional camera shot filmed from a medium distance; it usually refers to a human figure from the waist up, to clearly see body language. Because they mimic natural human perspective, medium shots ground the audience.

The Shape of Water, 2017

a shot taken from a close distance in which the scale of the object is magnified, appears relatively large and fills the entire frame. Close-ups build intimacy, focus attention and amplify psychological intensity through discomfort.

The Shape of Water, 2017

even closer than a close-up, an extreme closeup invades personal space by focusing on individual parts of a whole. Because of the abstract nature of the extreme close-up it is generally used to create tension and amplify emotion.

The Shape of Water, 2017

a medium or close-up camera shot of two people framed from the chest up. Two shots instantly establish emotional connection between characters and their power dynamic.

Blade II, 2002

a very commonly used medium shot, mostly with alternating shot/reverse/shot editing, in which the camera records the action from behind the shoulder and/or head of one of the characters. The OTS draws audience into the action of the scene by providing a perspective similar to the characters.

Crimson Peak, 2015

a shot taken with a lens that is able to take in a wider field or range of view to capture more of the scene's elements or objects. Wide angle shots create a greater depth-of-field by all objects in focus and in perspective framing characters in relation to their surroundings.

Pan's Labyrinth, 2006

the point of view (POV) or perspective (including relative height or direction) chosen from which to photograph a subject. Various camera angles, compositions, or positions include: front, behind, side, top, high (looking down), low (looking up), straight-on or eye-level (standard or neutral angle), tilted (canted or oblique), or subjective, etc.

A shot taken from normal height; the character's eye level. 90-95% of shots in a film are eye level shots because it is the most natural angle.

Blakkklansman, 2018

a shot in which the subject or scene is filmed from above and the camera points down on the action, often to make the subject(s) small, weak and vulnerable; contrast to low-angle shot. 

He Got Game, 1998

an exaggeration of a high angle shot, sometimes called an aerial shot because it is typically angled above the subject. 

He Got Game, 1998

a shot in which the subject is filmed directly from below and the camera tilts up at the action or character, to make the subject appear larger than life, more formidable, taller and more menacing; contrast to a high-angle shot. 

Malcom X, 1992

an exaggeration of a low angle shot typically angled from the ground looking up almost perpendicularly. 

Malcom X, 1992

a shot frame at an angle achieved by tilting the camera of its horizontal axis resulting in a frame that isn’t level dramatically affecting the emotional content of the scene. (DUTCH ANGLE/DUTCH TILT/OBLIQUE ANGLE)

Do The Right Thing, 1998

a subjective shot made from the perspective of one of the characters to show the audience the scene as it would look through the character's eyes; also known as first-person point-of-view shot or subjective camera.

Oldboy, 2013

involves both the stationary movement of a camera (on a tripod for instance) and the literal movement of the camera with the action (on a dolly for instance). Various Camera movements include: pans, tilts, zooms, dollying, tracking, booms, and the handheld steadicam.

Inside Man, 2026

the abbreviation for panorama shot; refers to the horizontal scan, movement, rotation or turning of the camera in one direction (to the right or left) around a fixed vertical axis while filming creating the impression of a fast-moving horizontal blurring of images across the screen.

Miracle at St. Anna, 2008

a camera tilted up or down on a diagonal along a vertical axis; a vertical camera movement from a fixed position often used to suggest an imbalance, or strangeness, or to emphasize size, power or menace.

Miracle at St. Anna, 2008

a single shot taken with a lens that has a variable focal length, thereby permitting the cinematographer to change the distance between the camera and the object being filmed, in one continuous movement; the movement towards a subject to magnify it is known as zoom in or forward zoom, or reversed or decreased to reduce its size is known as zoom out/back or backward zoom.

Miracle at St. Anna, 2008

refers to a moving shot taken from a camera that is mounted on a simple tripod, or on a hydraulically powered wheeled camera platform (sometimes referred to as a truck or dolly), pushed on rails (special tracks or dolly tracks) and moved smoothly and noiselessly during filming while the camera is running.

Mo Better Blues, 1990

a traveling or moveable counter-balanced pole, arm, or telescoped extension device upon which a microphone, light or camera can be suspended overhead above a scene and outside the frame during filming (by a boom operator or boom man).

Summer of Sam, 1999

refers to what is put into the shot; it refers to the sum total of all the factors or elements placed before the camera and within the frame of the film including the arrangement and composition of settings, decor, props, actors, costumes, makeup, lighting, performances, and character movements.

Seven Samurai, 1954

the flooding of a scene with light minimizing shadows and dark tones and therefore low contrast; producing images that encourage an optimistic, upbeat reaction and making actors appear youthful and soft.

Rashomon, 1950

the absence of bright lighting emphasizing darker tones, shadows, blacks and therefore high contrast; producing a mysterious and dramatic mood and making actors appear villainous and enigmatic. 

High and Low, 1963

the natural light already present in a scene, before any additional lighting is added; usually referring to natural light, either outdoors or coming through windows or normal room lights.

Throne of Blood, 1957

Bottom/Side Lighting: direct lighting from below or the side, which often makes the subject appear dangerous or evil. Front/Back Lighting: soft lighting on the actor’s face gives the appearance of innocence or goodness, a halo effect; or from behind leaving the actor’s features hidden in mysterious shadow, a silhouette effect.

Kagemusha, 1980

used to reduce the contrast of a scene to match the amount of detail typically seen by eye in average lighting and considered normal.

Ran, 1985

refers to the difference between light and shadow, or between maximum and minimum amounts of light, in a particular film image. Chiaroscuro refers to a notable, contrasting use of light and shade in scenes; often achieved by using a spotlight; this lighting technique had its roots in German Expressionistic cinematography

Stray Dog, 1949

the properties or places, used for filming; location, or exterior lot, is often utilized to increase the authenticity and realism of the film's appearance. To control elements, an artificially constructed time/place or set may be built in an interior locale.

Maadadayo, 1993

the placement furniture, pictures, and decorative items and other props on set to ensure continuity and necessary room for filming equipment; cameras, tracks, dollies, lighting, microphones, etc.

Ikiru, 1952

refers to identifying a film's character or persona with a particular color; changes in color often represent transformations, shifts, merges, or changes in persona.

Dodes'ka-den, 1970

refers to the garments or clothing worn by actors/performers in a film including make-up; researched, designed, and selected by the designer to be appropriate to the film's time period, the characters, their location, and their occupations.

The Hidden Fortress, 1958

the arrangement and positioning of actors within the frame; because of the movement of actors and cameras, often simultaneously, character blocking can be seen as choreography.

The Bad Sleep Well, 1960