Game Development Reference
In-Depth Information
16.3.1 T
ypes
of
C
amera
d
isTanCe
and
T
heir
n
arraTiVe
Q
ualiTies
We all know familiar shots; we see them again and again, all day long, in the more than 5000 images we see
each day [8]. In fact, we have seen them so often, that many of these camera shots have an iconic feeling to
them. Where would the sweeping historical drama be without the wide, establishing shot showing the armies
gathering? How can we know about the heroine's deeply held secrets without a close-up of her face or eyes?
In Figure 16.7, take note of the narrative apparent in these camera shots that relate to the distance of the
camera from the subject of interest. Notice how each shot has a different emotional tone and impact just by
how far away the camera is. Here is a numbered list, with the name of the type of shot in bold, and one sort
of narrative thread that could be attached to it:
1.
Extreme wide:
“Here is where our story starts/ends.”
2.
Wide:
“Wow, look at all the people around.”
3.
Medium:
“Who is that interesting person?”
4.
Tight, half body:
“I am really interested in them.”
5.
Head shot:
“She is looking at me!”
6.
Close up:
“I think she likes me!”
7.
Extreme close-up:
“I think she loves me.”
16.3.2 T
ypes
of
C
amera
a
ngles
and
T
heir
n
arraTiVe
Q
ualiTies
The angle of the camera, especially as it relates to the eye line or the direction the eyes of the character are
looking, has a great effect on the psychology of the observer. A neutral eye line is parallel to the loor when
the character is looking straight ahead. Sometimes, the character's gaze is “cheated,” and the character looks
a little more toward the camera than toward the person with whom they are conversing during the scene.
Figure 16.8 shows the various major camera angles as they relate to eye line. The following is a numbered
list with the name of the camera angle (or view) as well as a narrative thread:
1.
Eye line:
“I am your equal.”
2.
Low, under chin:
“I am your subordinate.”
3.
High, above eye line:
“I am your superior.”
4.
Worm's eye:
“You are really important/I am really unimportant or I am invisible.”
5.
Bird's eye:
“I know all; you are my prey.”
6.
Dutch tilt:
“I am confused; I am tilting my head to understand.” This shot is also known as Dutch
angle, oblique angle, German angle, canted angle, or Batman angle.
16.3.3 T
ypes
of
C
amera
m
oVes
and
T
heir
n
arraTiVe
Q
ualiTies
The movement of a camera and the dynamic force that movement adds to the meaning of the image are
frequently used in all forms of motion photography. For example, take a look at the 1939 version of
Mice
and Men
produced by the Hal Roach Studios and starring Lon Chaney Jr. as Lenny and Burgess Meredith
as George. There is a camera pullback in the barn as George realizes he has to kill Lenny. He puts the gun
in his belt, turns away from his friend, and walks out the door to do it. The camera acts like someone who
just heard a terrible secret and backs off in horror, widening the scene, as George walks toward the door [9].
In Figures 16.9 and 16.10, the major categories of camera movements are displayed along with icons that
show the camera position and movement required to make the shot. Two numbered lists are provided next
with the name of the type of shot and movement along with the narrative thread.
