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When going to the theater or a play, a person in the audience is most always getting a “master shot” version of the production. At times, establishing shots can be meant to provide roughly the same amount of comprehensive information, but they’re really meant more to provide deeper looks into tone and story development, and can focus on extraneous elements like landscape, time of day, or the mood of the film. If there is no second example for the shot how are we to know if this is really a reusable shot, or when it is appropriate?
Even when the clock is ticking and the light is fading, the techniques in this book can rescue your film, and make every shot look like it cost a fortune. No mention is made in this book of cinematographers responsible for the films Kentworthy so vigorously dissects. It’s a single take that plays through part of a scene, or the entirety of a scene, whose goal is to reveal all the relevant action in one continuous shot. Jordan (DiCaprio) navigates the chaos of his world with ease, which supports both strong character development and the theme of The Wolf of Wall Street.Another aspect for directors and DPs to consider when shooting a master shot are any elements that might be needed for VFX or graphics in post.
A master shot answers the questions of who, what, and where, which makes it an effective way to start a scene. Like any way of working, it’s always best to be clear about it with your key collaborators up front, so that the pros can be maximised, the cons can be minimised, and everyone does their best work most efficiently.However, in cinema, we have the ability to change the perspective and provide additional shots and angles. But while that’s the only function of an establishing shot, master shots also capture the action within that setting from beginning to end.
Volume 1 is comprehensive and useful enough, but relies far too heavily on practicality and 'quick tips' than lasting value. It’s not the right approach for every project; it depends on the director, how well they’re able to visualise the edit, and how much flexibility they want the editor to have. Most low-budget movies look low-budget because the director is forced to compromise at the last minute. Great for ideas on staging lots of different shots and also has a usefull birdseye layout of the scene so You can see where best to place the camera and actors. You might be itching to get those dramatic close-ups , but focusing on your master shots first and foremost will be a huge asset to your production.
It's rare that I actually pull from the book, but they're good to get the mind working creatively about shooting angels. You’ll want to start framing your master shot by putting the principal characters in prominent spots on-screen. A key prop that should have been in the background was forgotten because it wasn’t relevant to the first small piece; now you can’t put it in because you’ll break continuity. That way, you’re still organized and clear with your intention that this is one continuous master shot, but you can get more specific so that your cast and crew understand the complexities of the shot.
Master shots are complemented by other camera angles that cover specific detail within the scene, including establishing shots, low shots, close-ups, and medium shots. Carefully crafted master shots can build tension by showing the audience lurking danger or a building threat that the main character remains unaware of. Not everything has to be in the frame at all times: You don’t necessarily have to keep every character, extra, and prop in your shot, either. Tap the shooting mode icon above the Shutter button to show more shooting functions, and select “MasterShots”.However much you might plan these things, inevitably in the heat of filming you get tunnel vision about the shot in front of you and everything else fades away. Though, in reality, since 35 mm film rolls can only film for about ten minutes, the film is actually comprised of eleven takes with hidden cuts. The majority of this scene is shown in a master shot that orbits around Orson Welles’ character, Charles Foster Kane, as the other characters move in and out of the frame. Close-up and medium shots capture action closely for the audience to see and understand, but these shots don’t show the space and environment the characters are in. In fact, sometimes not showing something can be interpreted as more violent/scary/cruel because the audience’s imagination has to figure out for themselves what is happening based on the audio of the scene.
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