Some Camera Shots in Sherlock
A shot where the camera is placed on a crane or jib and moved up or down. Think a vertical tracking shot. (x)
the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with another - usually in different locations or places, thus combining the two; this editing method suggests parallel action (that takes place simultaneously); often used to dramatically build tension and suspense in chase scenes, or to compare two different scenes; also known as inter-cutting or parallel editing. (x)
A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. (x) This shot is also overexposed with a reverse focus pull on Molly in the rear.
The clue is in the name. A shot, at the head of the scene, that clearly shows the locale the action is set in. (x)
A transitional device consisting of a gradual change in the intensity of an image or sound, such as from a normally-lit scene to darkness (fade out, fade-to-black) or vice versa, from complete black to full exposure (fade in), or from silence to sound or vice versa; a ‘fade in’ is often at the beginning of a sequence, and a ‘fade out’ at the end of a sequence. (x)
A shot filmed with the camera on the operator’s shoulder (as opposed to on a Steadicam, a dolly, or sticks)
Handheld camera, shaky cam, queasy cam, queasicam, hand-held camera or free camera is a cinematographic technique where stable-image techniques are purposely dispensed with. The camera is held in the hand, or given the appearance of being hand-held, and in many cases shots are limited to what one photographer could have accomplished with one camera. (x)
A transitional editing technique between two sequences, shots or scenes, in which the visible image of one shot or scene is gradually replaced, superimposed or blended (by an overlapping fade out or fade in and dissolve) with the image from another shot or scene; often used to suggest the passage of time and to transform one scene to the next; lap dissolve is shorthand for ‘over’lap dissolve (x)
A type of shot that is taken with the tilt and pan releases on a tightened tripod; it is done so the camera cannot shift its position. (x)
A shot looking up at a character or subject often making them look bigger in the frame. It can make everyone look heroic and/or dominant. (x)
Technical term for when a director cuts from one scene to a totally different one, but has objects in the two scenes “matched,” so that they occupy the same place in the shot’s frame. (x)
A shot that is expensive to shoot, but deemed worth it for its potential to wow, startle and generate interest. In pornography, it means something completely different. (x)
Refers to a film shot that has more light than normal, causing a blinding, washed-out, whitish, glaring effect; deliberately used for flashbacked or dream scenes; aka flared or bleached (x)
In film, a shot that gives us a character’s point of view but that includes part of that character’s shoulder or the side of the head in the shot. (x)
A shot that depicts the point of view of a character so that we see exactly what they see. (x) This is Redbeard’s POV on a Dutch tilt, over-exposed shot.
Watch how Lestrade, out of focus the entire scene, frames the action. Ms. Wenceslas is in focus as she talks to him. Meanwhile Sherlock, also out of focus, is deducing and rolling his eyes. When Ms. Wenceslas turns toward Sherlock he comes in focus, turns away from her, and she fades out. She tosses the focus to Sherlock like a tennis ball.
REAR PROJECTION (aka BACK PROJECTION)
Rear projection (also known as process photography) is part of many in-camera effects cinematic techniques in film production for combining foreground performances with pre-filmed backgrounds. It was widely used for many years in driving scenes, or to show other forms of “distant” background motion. (x)
Rear projection in the taxi scenes was only used in the pilot. In the series they shot the movement for real with the cab on a low-loader.
To put the subject in the short side of the frame looking out the short side. John is positioned in the right of the frame looking right with the long side to his left. Ella is short sided on the left looking left. Traditionally John would be on the left of his frame and Ella on the right of hers.
Having the interview subject look towards the long side creates a feeling of balance and comfort for the viewer. Speaking towards the long side of the frame also allows for thoughts and ideas to be communicated in a way which does not block their transmission to the interviewer, and thus the viewer.
Short sided interviews make the viewer feel tense and awkward — the subject is looking out of frame and they feel very closed off. (x)
refers to an effect resulting from running film through a camera at faster-than-normal speed (shooting faster than 24 frames per second), and then projecting it at standard speed; if a camera runs at 60 frames per second, and captures a one second-long event, a 24-frame playback will slow that event to two and a half seconds long;… this filmic technique is usually employed to fully capture a ‘moment in time’ or to produce a dramatic (or romantic feeling) (x)
We did [the slow motion shot of Cumberbatch] on a bungee 1000 fps on a Phantom camera. -Steve Lawes, Director of Photography (x)
a hand-held camera technique using a stabilizing Steadicam (introduced in the late 70s), developed by inventor Garrett Brown, with a special, mechanical harness that allows the camera operator to take relatively smooth and steady shots, though hand-held, while moving along with the action (x)
the frequency at which film frames are captured (the frame rate) is much lower than that used to view the sequence. When played at normal speed, time appears to be moving faster and thus lapsing. (x)
A shot looking directly down on a scene rather than at an angle. Also known as a Birds-Eye-View shot. (x)
In such a film shot, the camera is literally running on a track and thus smoothly following the action being represented or perhaps thus giving the viewer a survey of a particular setting. (x)
a transitional technique or optical effect/device in which one shot appears to be “pushed off” or “wiped off” the screen by another shot replacing it and moving across the existing image (x)
