Mylesiah_Ch9

In Chapter 9, the importance of Shoot Coverage was being discussed. The one that stood out to me was full shot. In the cinematography world, it's useful for seeing where a character is and their surroundings. It gives the audience and a lot of information about the characters surroundings. 

This article, What is a Full Shot in Film? Types of Shots in Film Explained best explains what a full shot is and its importance.

Mylesiah_Ch8

 Throughout the chapter, we learn a new term called "a Conscious Camera." The author breaks down what it means and how to avoid creating a conscious camera so that the audience is not aware that you are using a camera to film. There are two ways we can avoid this by emotional and physical changes. For example, if a person is walking down a hallway, this is a great opportunity for the cameraman to move the camera to follow them.

The article I choose Guide to Camera Moves: 13 Types of Camera Movement - 2025 - MasterClass, provided great examples on how a camera operates. One that I learned was Truck Shot. Truck Shot is, "a type of tracking shot in which the entire camera moves left or right along a track."

Mylesiah_Ch7

 Chapter 7 provided great tips of how to keep the audience engaged in your storytelling. The author stated, "Keeping the audience's attention for a ten-minute short film is extremely challenging, but keeping them focused for a two-hour feature film is nearly impossible!" I found that statement to be true because some people's attention span is low. One technique that I think is the most important (from the Six Essential Techniques) is Words. Whenever I am watching a film as the audience, seeing words that may have a foreshadowing meaning to it keeps me engaged and keeps me curious.

Outside of the book, this article 10 Proven Tips to Captivate Your Audience Through Powerful Storytelling | WAHStory also has a variety of ways to engage with your audience. One example would be Creating Relatable Characters. Having the audience relate to a character can be a good thing. They will most likely be able to see themselves with that character and create a connection.

Riplee_Ch9

 In chapter 9 it talks about "Shooting Coverage" if you thought there were a lot of cameras movements there is way more types of shots in film. Each one with their own reasoning and purpose but they can bring a film together perfectly when used properly. I like to think of them almost as personalities, each with their own emotions and moods they bring to the single shot you are capturing or even the entire film you are making.

https://youtu.be/RjK509LkCFM

In the video above one thing I like that it mentions is the mention of audience. It goes to show that even the littlest thing such as camera shots and angles can effect an audience emotions and how involved they are in the film. With a angle or shot that doesn't look to right or doesn't fit in takes the audience out of the film and makes them remember their just watching a film and takes them out of the immersion of the world.

Hannah_Ch9

Upon reading chapter 9, I'm reflecting on the key differences between clean and dirty single shots. I didn't even know that a single shot including a partial shoulder or back of the head had a name. The author describes the dirty single shot as similar to a clean single, focusing primarily on one person, but with a piece of some other person or object. This person/object will generally be interacting with the subject who is the main part of the single shot. Sandler also mentions that dirty singles differ from singles because of the connection established within the shot between the two subjects, while single shots are perfect for isolating a subject. 

Camera Angles: Over The Shoulder or Single Shot?

This article brings in another shot discussed by Sandler, the over-the-shoulder shot. This shot is a variation of the single shot. They serve as an effective way to portray a conversation between two people. Obviously, a piece of the shoulder is a very common interference that makes a clean single a dirty one. So, how are these two shots different? The over-the-shoulder shot essentially includes a more entire version of the person who's back is to the camera. A great way to think about these three shots in relation to each other, is seeing the dirty single as a mix of the clean single and over-the-shoulder shots. 

Dakota_Chapter9

 One big idea from this chapter is the concept of emotional distance, basically, how the size of a shot affects how connected the audience feels to a character. The closer the camera gets, the stronger that emotional connection becomes. It’s kind of like visual psychology in a sense. As filmmakers, we’re not just trying to show what’s happening, we’re trying to make people feel something. For example, a wide shot of someone standing alone can make them seem isolated or lonely, but that same wide shot with another person nearby instantly changes the mood, showing support or comfort. It’s wild how much emotion can be communicated just through how close or far the camera is. Every shot choice says something, even before a single line is spoken.

https://youtu.be/8fVhcACnNlk?si=vUyOZ3kf4FbV0VTm

The idea of emotional distance really connects with this video. Every shot in that video does more than just make things look good, but it actually affects how close or connected the viewer feels to the speaker. A wide shot can make someone seem distant or alone, while a close-up pulls the viewer in and makes the moment feel more personal. It’s cool how even in a small church setup, simple camera choices can totally change how people feel and engage with what’s happening. This will be useful as I start pastoring a church plant in February!

Brock_Chapter9

 One key idea from this chapter is the concept of emotional distance. The relationship between shot size and the audiences emotional connection with a character is a huge factor in film. In this chapter it talks about how the closer the camera is to the person, the stronger the audience's emotional engagement becomes.  To expand on this, the emotional distance functions almost as a visual psychology in a way. Us as film makers want to covey the information we are wanting to get across, but we also want to control how the viewer feels. For example, a wide shot may make a character seem isolated if there is no one around him/her. In contrast to this, you could have a wideshot with a person on the main subjects left, conveying they have someone close to them for support. 

Reflecting on this idea, it becomes easy to understand that mastering emotional distance requires technical skill as well as a film making experience. It is a tool that once understood, can easily be utilized to give the viewer the feeling you want. Understanding emotional distance can transform your film making experience and create a bigger connection between the viewer and film.

youtube.com/watch?time_continue=2&v=n8bfPXDfMz8&embeds_referring_euri=https%3A%2F%2Fchatgpt.com%2F&source_ve_path=MjM4NTE

In this video you see how different shot sizes are used intentionally to influence how the audience feels a connection to characters