Different types of shots in film.

Wide shots.

Wide shots and extreme wide shots (also known as “long shots” and “extreme long shots”) are commonly used as establishing shots. They cover a broad area, such as the endless desert in the 1962 classic Lawrence of Arabia or the endless traffic jam in 2016’s La La Land. Figures, if included at all, appear small in the frame. These shots tell the audience where and when the action takes place. They’re useful for portraying subjects in motion, as they capture the entirety of the subject as well as the landscape. These types of shots can do thematic work as well, conveying the power of nature (or society, if the shot contains buildings) compared to the individual.

Master shots.

These shots that capture all of the action happening in a scene are usually set up as wide shots. Because they record everything, these are crucial shots for basic coverage. Editors can let a scene breathe by cutting to the master shot during pauses in action or dialogue.

Two-shots.

A shot with two subjects is known as a two-shot. By capturing the subjects’ interaction, their distance from one another, and their body language, a two-shot can tell the viewer a lot about their relationship. “We try to keep the two-shots for the majority of a scene and then use the single or the tight shot for a killer line or important detail,” Ruckus Skye says.

Medium shots.

A medium shot captures the subject in more detail, whether it’s a medium-long shot (3/4 shot) or a medium close-up (from the shoulders up). A traditional medium shot shows the subject from the waist up — the important part of the subject and some background. A medium close-up captures the subject from the shoulders up, giving more frame space to the subject’s facial expressions.

Cowboy shots.

In the 1930s, American filmmakers started using a style of medium shot known as a cowboy shot, which portrayed gunslingers from hat to mid-thigh to include their holsters. Modern films use cowboy shots to show a subject’s body language and some background while still capturing their facial expressions. In Wonder Woman, for example, a cowboy shot captures Diana as she crosses the battlefield, punching away bullets and smiling at her sense of her own power.

Over-the-shoulder shots.

In this shot, the back of one subject is in the foreground while the camera looks past them and focuses on the other subject, who’s speaking or reacting to the first. “That’s an example of a subjective shot,” says director and producer Neal Holman. “You’re over the shoulder of one specific character trying to get their viewpoint into the scene.”

Reaction shots.

The crucial visual isn’t always on the person talking. Reaction shots are hugely important for character and story development. “Some of my favorite acting moments are when actors are listening,” Ruckus Skye says.

Close-up shots.

In close-ups, the subject’s face fills the frame. Italian director Sergio Leone became famous in the 1960s for extreme close-ups in his “spaghetti westerns.” Known now as Italian shots, these filled the frame with just the eyes or mouth of the subject, heightening the tension in the moments preceding violence.

Close-up shots allow for intense expression of emotion. “The closer you get, the more the viewer is going to identify with the character,” says writer and filmmaker David Andrew Stoler. “If you really want them to feel something in an extreme way, then you should get super close.”

Push-ins.

One classic camera move is to slowly push closer to an actor during a scene. “If you want the viewer to empathize with or understand the depth of a character, you can slowly push in on that character — make them bigger in the frame,” Stoler says. “That aligns the viewer with that character.”

Push-outs.

By contrast, a push-out highlights a character’s isolation. “You’re increasing the world around them and the distance between the viewer and the subject,” Stoler says. These types of moving shots usually require a dolly, jib, or Steadicam.

Cut-ins/insert shots.

These close-up shots capture small details like a subject’s hands or feet. If a character looks at a text on their phone, the director might want to capture a close-up of the phone screen. The cutaway, the opposite of the cut-in, jumps from the subject to something else, like from the startled expression on an actor’s face to a barking dog or from a ball crossing the goal line to fans cheering in the stands. Gathering shots like these can be useful for editing together multiple takes of the same scene.

Point-of-view shots.

In a point-of-view or POV shot, the camera is metaphorically inside the subject’s head, seeing the world through their eyes. Representing the perspective of a character, the camera can move in every way the subject can move. These shots can be intense — and potentially nauseating — for the audience (think of the POV captured by GoPro-mounted helmets). But they can also make for impactful storytelling as they capture the immediacy of lived experiences. POV shots can become useful when creating sequence shots.

Dutch angle shots.

In a Dutch angle shot, the filmmaker sets up the camera so that it tilts diagonally, giving the entire scene a disorienting, off-kilter look that suggests that something has gone wrong. Director Terry Gilliam makes frequent use of Dutch angles in his darkly witty 1990s films The Fisher King, 12 Monkeys, and Fear and Loathing in Las Vegas to convey his characters’ unbalanced mental states.

Cut-ins/insert shots.

These close-up shots capture small details like a subject’s hands or feet. If a character looks at a text on their phone, the director might want to capture a close-up of the phone screen. The cutaway, the opposite of the cut-in, jumps from the subject to something else, like from the startled expression on an actor’s face to a barking dog or from a ball crossing the goal line to fans cheering in the stands. Gathering shots like these can be useful for editing together multiple takes of the same scene.

Point-of-view shots.

In a point-of-view or POV shot, the camera is metaphorically inside the subject’s head, seeing the world through their eyes. Representing the perspective of a character, the camera can move in every way the subject can move. These shots can be intense — and potentially nauseating — for the audience (think of the POV captured by GoPro-mounted helmets). But they can also make for impactful storytelling as they capture the immediacy of lived experiences. POV shots can become useful when creating sequence shots.

Dutch angle shots.

In a Dutch angle shot, the filmmaker sets up the camera so that it tilts diagonally, giving the entire scene a disorienting, off-kilter look that suggests that something has gone wrong. Director Terry Gilliam makes frequent use of Dutch angles in his darkly witty 1990s films The Fisher King, 12 Monkeys, and Fear and Loathing in Las Vegas to convey his characters’ unbalanced mental states.

The angle from which you shoot and the camera’s distance from the ground should always be conscious choices. Shooting upward or downward on a subject can subtly cue the audience into a character’s mental state or level of power compared to other characters in a scene.

Bird’s-eye view.

Looking down from above, this aerial shot may suggest the smallness of the subjects below or the vastness of their environment.

Eye-level shots.

Eye level is the angle of everyday life. This nonjudgmental camera angle doesn’t have the same storytelling effect as shooting from above or below a subject. The Skyes avoid eye level in their work. “There’s no perspective,” Lane Skye says. “When you’re above a character looking down, they feel smaller,” Ruckus Skye adds. “They’re maybe not as confident or powerful. And if you look at any superhero, you’re always looking up at them. That’s a cliché, but you can do that on smaller levels and it’s more subconscious.”

Low angle shots.

Any shot that looks up at a character is a low angle shot, whether the camera is positioned just a few inches below the character’s eyeline or if it’s down by their feet. Because low angle shots give the impression that a character is towering over the audience, directors use them to convey a sense of power and authority. This type of shot helps the viewer connect and relate to powerful and invulnerable characters, so they’re often used in action films or superhero films. In the classic Western Stagecgyran_4ach, John Wayne’s heroic character is introduced with a low angle shot that makes him look large and in charge.

High angle shots.

In a high angle shot, the camera is positioned above an actor and looks down at them. This perspective makes characters look small, vulnerable, or lost in their environment. High angle shots are often used in horrors, thrillers, or suspense films because they convey danger or shock. Early in Titanic, James Cameron uses a high angle shot of Rose looking down at the ocean to symbolize her powerlessness in a world where so many of her life’s decisions are being made for her. Likewise, in the Harry Potter franchise, Dobby the house elf is almost always filmed in a high angle shot. This both reinforces his short stature and his diminutive role as a lowly servant.