How to use the over the shoulder shot in film.

Over the shoulder shot definition.

The over the shoulder shot (OTS) is a classic framing technique used to place the audience inside a scene — showing one character’s perspective while observing another. Typically, the camera sits behind one subject, partially showing the back of their shoulder and head, while focusing on another subject in the background.

This approach helps simulate a real-world perspective and gives the audience a sense of emotional or spatial alignment with the foreground character. Camera angles in film, like the over the shoulder shot, are used throughout storytelling to create visual rhythm and connection. You’ll see OTS shots in every genre, from dramatic film to documentary interviews, because they create instant visual context.

Decide what type of over the shoulder shot you need.

Over the shoulder framing isn’t a one-size-fits-all solution. These variations aren’t just stylistic choices — they shape how viewers feel about the characters onscreen. Each framing offers a different sense of proximity, power, or emotional distance, and choosing the right OTS variation helps directors fine-tune how a moment plays. The following are some common OTS variations.

How to set up and film an over the shoulder shot.

Over the shoulder shots are all about perspective and emotional precision during video production. Here’s how to set up the shot and capture it effectively on camera.

• Plan your shot. Decide which character will be in the foreground and how much of their head and shoulders should be visible in the frame. Planning will also help you decide if you can use a two-shot frame.
• Block the scene. Review the script to identify character relationships and key moments. Establish the characters’ positions on the set as they move through the scene.
• Set your angle. As you go through blocking, work with your photography director to review camera placement. For an OTS shot, position the camera just behind the foreground subject and angled slightly to reveal the second subject clearly in the background.
• Establish eye line. Make sure the background subject’s eye line reads naturally, and that both characters are oriented on the same plane to maintain a consistent perspective.
• Balance lighting. Use even lighting on both subjects to keep visual focus and avoid unintended shadows or highlights.
• Choose your depth of field. Use a shallow or medium depth of field depending on how much focus you want on the background subject.
• Shoot multiple takes. Try different framings, lens lengths, or subject positions to give yourself editing options.

Capturing a variety of framings (even small shifts in focus or posture) gives editors more freedom to shape a scene’s emotional rhythm. It also allows directors to pivot in the edit if one angle lands more powerfully than expected.

Don’t forget the reverse over the shoulder shot.

OTS shots are often paired with a reverse shot to create natural visual rhythm in conversation. A reverse shot is the complementary angle to a standard over-the-shoulder shot, typically used in conversation editing. This alternating perspective maintains spatial orientation and keeps viewers engaged in the back-and-forth dialogue taking place between characters.

To shoot effectively, this shot needs two cameras filming simultaneously to capture both characters’ perspectives at the same time. You can use camera movement, such as placing the camera on a dolly or panning, to capture the character’s reactions without having to change the camera setup and maintain a character’s point of view.

Over the shoulder shot mistakes to avoid.

Don’t compromise over the shoulder shots with these common mistakes:

• Mismatched eye lines. Ensure you observe the 180-degree rule to maintain continuity and avoid disorienting the audience.
• Poor lighting. With two subjects, check that the lighting is consistent for both characters to avoid jarring shifts in mood when filming.
• Awkward blocking. Blocking allows filmmakers to simulate how characters move throughout a scene in relation to the camera, and it lets actors anticipate and understand the feel of a shot. Don’t forget to prioritize this step before rolling the camera so your characters can learn how to interact with the scene and effectively support the storytelling.
• Breaking screen direction. Camera angles can be cut incorrectly, making them appear to be facing each other when they shouldn’t, or vice versa. Maintain spatial relationships between characters, which you’ll always do as long as you aren’t intentionally breaking the 180-degree rule.
• Lacking coverage options. Don’t forget to capture coverage options like the reverse shot or a two shot for smooth transitions in the edit.