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<title>Camera coverage</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Camera coverage</span></span>

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<p><b>Camera coverage</b>, or <b>coverage</b>, is the amount and kind of <a href="Footage" title="Footage">footage</a> shot used to capture a scene in <a href="Filmmaking" title="Filmmaking">filmmaking</a> and <a href="Video_production" title="Video production">video production</a>. The <a href="Film_editor" class="mw-redirect" title="Film editor">film editor</a> uses coverage in <a href="Post-production" title="Post-production">post-production</a> to assemble the <a href="Final_cut_(film_editing)" class="mw-redirect" title="Final cut (film editing)">final cut</a>.

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<div class="mw-heading mw-heading2"><h2 id="Coverage_in_cinematography">Coverage in cinematography</h2></div>

<p>The coverage technique involves shooting from more positions than will be used in the final film, allowing the director to choose shots during the editing process. This avoids the need to bring back cast and crew for later <a href="Pick-up_(filmmaking)" title="Pick-up (filmmaking)">pickups</a> and reshoots if the director is unsatisfied with the results from the camera positions that were originally planned.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-0" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Even meticulously preplanned, <a href="Storyboard" title="Storyboard">storyboarded</a>, and rehearsed films may find a need for coverage.<sup id="cite_ref-FOOTNOTELoBrutto201234_2-0" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201234-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Coverage also allows the editor to take control of a performance, adjusting the timing so that the audience's needs (rather than those of the director or actor) are met.<sup id="cite_ref-FOOTNOTERosenberg201869_3-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg201869-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>

</p><p>There are generally four types of cinematography:<sup id="cite_ref-FOOTNOTEBrown201666–71_4-0" class="reference"><a href="#cite_note-FOOTNOTEBrown201666–71-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

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<ul><li><b>The master scene method</b>: The scene is shot from beginning to end, usually but not always using a <a href="Long_shot" class="mw-redirect" title="Long shot">wide shot</a>, to create the "master shot". In complex scenes, "mini-master shots" may be created instead. Coverage is then used to create other shots of the scene.</li>

<li><b>Overlapping method</b>: Also called the "triple-take method", the camera shoots initial action in the scene (usually a wide shot), and then the action is paused or repeated to allow a different camera angle and lighting set-up. This is similar to coverage, but without a master shot. Infrequently used, this type of cinematography is useful where an action cannot be repeated (such as when an item is destroyed at the end of the scene).</li>

<li><b>In-One Method</b>: Also called the "developing master", "oner", or (in <a href="French_language" title="French language">French</a>) <i>plan-scene</i> or <i>plan-sequence</i>, this is similar to the master scene method, but is planned and shot without the intention of using coverage.</li>

<li><b>Freeform</b>: Also called "documentary style", even when the story is fiction, the camera is hand-held and the image shows the shakiness of an unstabilized hand-held camera.</li></ul>

<p>Coverage is part of the master scene method,<sup id="cite_ref-FOOTNOTEBrown201666_5-0" class="reference"><a href="#cite_note-FOOTNOTEBrown201666-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> and may be used in the freeform method.<sup id="cite_ref-FOOTNOTEBrown201671_6-0" class="reference"><a href="#cite_note-FOOTNOTEBrown201671-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>The amount and kind of coverage is generally determined by the director in consultation with the cinematographer during the <a href="Pre-production" title="Pre-production">pre-production</a> stage.<sup id="cite_ref-FOOTNOTELoBrutto201217_7-0" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201217-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Coverage provides the director and editor with the ability to change the <a href="Pace_(narrative)" title="Pace (narrative)">pacing</a> of the scene, to refocus the scene on different images, or even to use different takes. Coverage also allows the editor to get around mistakes in cinematography,<sup id="cite_ref-FOOTNOTEAscherPincus2007325_8-0" class="reference"><a href="#cite_note-FOOTNOTEAscherPincus2007325-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> the lack of clean frames, or <a href="Continuity_editing" title="Continuity editing">continuity errors</a>.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-1" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> More coverage is needed when filming explosions or stunts, as these are extremely difficult to replicate exactly. A single actor's performance which is particularly difficult, or a scene which has a large number of characters, will usually require more coverage than a two-person scene with simple dialogue.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-2" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>In the <a href="Classical_Hollywood_cinema" title="Classical Hollywood cinema">Golden Age of Hollywood</a>, a coherent style of acting, direction, editing, cinematography, <a href="Theatrical_realism" class="mw-redirect" title="Theatrical realism">theatrical realism</a>, sound, and <a href="Production_design" class="mw-redirect" title="Production design">production design</a>, collectively known as the "Hollywood style", dictated coverage. Directors and cinematographers were explicitly taught to capture a master shot, medium shots, close-ups, and <a href="Cutaway_(filmmaking)" title="Cutaway (filmmaking)">cutaways</a> from several different angles. This gave the director and editor, as well as producers and studio executives, the maximum amount of freedom in cutting the film.<sup id="cite_ref-FOOTNOTELoBrutto201217_7-1" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201217-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Since the demise of the <a href="Studio_system" title="Studio system">studio system</a>, coverage has taken on less importance in terms of crafting a scene due to the emphasis on the <a href="Auteur" title="Auteur">auteur</a> theory of filmmaking.<sup id="cite_ref-FOOTNOTELoBrutto201217–18_9-0" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201217–18-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Veteran feature film editor John Rosenberg has argued, however, that moving away from the "Hollywood style" and studio system has led to lower-quality cinematography. In his opinion, coverage is too limited, takes end without clearing a frame, <a href="Composition_(visual_arts)" title="Composition (visual arts)">composition</a> is poorly thought through, lighting is poor, and shots setting up the scene are sparse.<sup id="cite_ref-FOOTNOTERosenberg201891–92_10-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg201891–92-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup>

</p><p>Editors use coverage to overcome problems with visualization and storytelling. A good editor has a strong aesthetic sense, a complete understanding of the technical aspects of filmmaking, and a solid ability to tell a story. An editor uses these skills to diagnose problems with a scene, and correct them using coverage.<sup id="cite_ref-FOOTNOTERosenberg2018104_14-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg2018104-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>

</p><p>In feature film production, coverage is delivered every day to the editor in the form of "<a href="Dailies" title="Dailies">dailies</a>" (also known as "rushes"). These are all the shots from the prior day which the director saw fit to print.<sup id="cite_ref-FOOTNOTERosenberg201891_15-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg201891-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Not all coverage has to be used in the final cut.<sup id="cite_ref-FOOTNOTELoBrutto201269_16-0" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201269-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading3"><h3 id="Coverage_in_the_master_scene_method">Coverage in the master scene method</h3></div>

<p>In the master scene method, the script and the master shot are the "road map" which the editor uses to craft the scene.<sup id="cite_ref-FOOTNOTERosenberg201892_17-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg201892-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> The master shot is filmed first, since coverage must match what occurs in the master.<sup id="cite_ref-FOOTNOTEBrown201666_5-1" class="reference"><a href="#cite_note-FOOTNOTEBrown201666-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Coverage consists of all the other shots—<a href="Close-up" title="Close-up">close-ups</a>, <a href="Medium_shot" title="Medium shot">medium shots</a>, <a href="Point-of-view_shot" title="Point-of-view shot">point-of-view shots</a>, <a href="Shot_reverse_shot" class="mw-redirect" title="Shot reverse shot">shot reverse shots</a>, and others—required by the director to tell the story. All of these shots must obey the <a href="180-degree_rule" title="180-degree rule">180-degree rule</a>.<sup id="cite_ref-FOOTNOTEBrown201667_18-0" class="reference"><a href="#cite_note-FOOTNOTEBrown201667-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> "Call" (the shot of the first actor, item, space) and "answer" (shots of the next actor, item, or space) shots use the same lens size and focus distance, so that things in the shot retain a consistent distance from the camera.<sup id="cite_ref-FOOTNOTEBrown201668_19-0" class="reference"><a href="#cite_note-FOOTNOTEBrown201668-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup>

</p><p>The director and editor generally understand that the master shot will be chopped into pieces and other shots inserted in order to create the final cut.<sup id="cite_ref-FOOTNOTERosenberg201892_17-1" class="reference"><a href="#cite_note-FOOTNOTERosenberg201892-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Coverage also involves shooting enough extra film to allow the editor to find cutting points. At those points where the director intends to insert coverage, the dialogue or action needs to stop and the cinematographer needs to hold the shot for a second or two. This gives the editor the ability to choose where to end the scene. If the insert comes before the beginning of dialogue or action, the cinematographer should begin filming a second or two early (creating what is known as a "clean frame") for the editor to work with.<sup id="cite_ref-FOOTNOTEBrown201668_19-1" class="reference"><a href="#cite_note-FOOTNOTEBrown201668-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup>

</p><p>Coverage may also include the filming of <a href="Film_transition" title="Film transition">transition shots</a> to introduce or help exit a scene.<sup id="cite_ref-FOOTNOTEBrown201668_19-2" class="reference"><a href="#cite_note-FOOTNOTEBrown201668-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading3"><h3 id="Coverage_in_the_freeform_method">Coverage in the freeform method</h3></div>

<p>In the freeform method, the cinematographer almost always keeps the camera focused on the individual who is speaking, or the primary action. Even if the scene is shot multiple times, this leaves almost no variation in each take.<sup id="cite_ref-FOOTNOTEBrown201671_6-1" class="reference"><a href="#cite_note-FOOTNOTEBrown201671-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>When applied to the freeform method, coverage takes the form of a dialogue pass, reaction pass, and freeform pass. In the dialogue pass, the camera remains focused on whoever is talking or where the action is. In the reaction pass, the camera focuses only on the person listening or reacting to the speaker, or on those watching the action. In the freeform pass, the cinematographer chooses what to focus on: the speaker, the reactor, a wide shot, a close-up, or whatever seems appropriate. These three passes give the editor flexibility in building up the scene.<sup id="cite_ref-FOOTNOTEBrown201671_6-2" class="reference"><a href="#cite_note-FOOTNOTEBrown201671-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Coverage_shots">Coverage shots</h2></div>

<p>Coverage shots are needed because the <a href="Long_take" title="Long take">long take</a> master shot looks static and stagey to modern audiences.<sup id="cite_ref-FOOTNOTERosenberg201892_17-2" class="reference"><a href="#cite_note-FOOTNOTERosenberg201892-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>

</p><p>The <a href="Establishing_shot" title="Establishing shot">establishing shot</a> is one kind of coverage shot. It helps to place the viewer in a physical context, and avoid a claustrophobic feel to the film.<sup id="cite_ref-FOOTNOTERosenberg201892_17-3" class="reference"><a href="#cite_note-FOOTNOTERosenberg201892-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>

</p><p>Cutaway shots are considered part of coverage. These are images other than the principal action or dialogue. "A cutaway can be a reaction shot, what a character is seeing, a piece of the environment, or an object."<sup id="cite_ref-FOOTNOTELoBrutto201218_1-3" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Cutaway shots can be used when coverage is lacking, but they can also be integral elements of coverage designed to implement the visualization of the scene.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-4" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>The cut-in/cut-out shot is another useful coverage shot. After the master shot is taken, a medium shot from the same angle is photographed. The editor can cut back and forth between the two shots. The cut-in or cut-out helps to cover the edit when dialogue is edited out ("compressed"), can be used by the director or editor to choose the best performance by an actor, and can even serve as a form of <a href="Match_cut" title="Match cut">match cut</a> that serves to place action in context.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-5" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>While coverage is generally thought of in terms of shots and angles, coverage may also include the use of different <a href="Focal_length" title="Focal length">focal lengths</a>.<sup id="cite_ref-FOOTNOTELoBrutto201218_1-6" class="reference"><a href="#cite_note-FOOTNOTELoBrutto201218-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Example">Example</h2></div>

<p>Editor <a href="Conrad_Buff_IV" title="Conrad Buff IV">Conrad Buff</a> has discussed the use of coverage in a critical scene in the 2004 motion picture <i><a href="King_Arthur_(2004_film)" title="King Arthur (2004 film)">King Arthur</a></i>. The scene involved a battle between two large armies on a frozen lake. During the battle, the ice breaks up and one of the armies falls into the frigid water. A lack of time and other issues left the director just two days to film what should have taken seven to ten production days. The first day was spent filming panorama shots of the approaching armies. The second day was spent filming the battle.<sup id="cite_ref-FOOTNOTERosenberg2018105–106_21-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg2018105–106-21"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p><p>Buff discovered that although principal shots of the main actors had been filmed, little other coverage was included. Close-ups of the main actors, shots of ranks of archers firing arrows, volleys of arrows in flight, medium and close-up shots of men in battle, soldiers dying in battle, and even the ice breaking apart were missing. None of the shots in the dailies were in narrative order. Buff was able to piece together a <a href="Rough_cut" title="Rough cut">rough cut</a> using what limited coverage he had. Buff then indicated to the director shots that were missing: Needed close-ups, <a href="Point-of-view_shot" title="Point-of-view shot">point-of-view shots</a>, reaction shots, and more. Luckily, the main unit was able to schedule time to film the close-ups and reaction shots against a <a href="Chroma_key" title="Chroma key">greenscreen</a>. The <a href="Second_unit" title="Second unit">second unit</a> filmed medium shots on a soundstage with a water tank, using <a href="Extra_(acting)" title="Extra (acting)">extras</a> and <a href="Stunt_performer" title="Stunt performer">stunt performers</a> to capture battle scene and ice break-up elements. The <a href="Visual_effects" title="Visual effects">visual effects</a> team then spent extra time and money transforming these shots into acceptable coverage.<sup id="cite_ref-FOOTNOTERosenberg2018105–106_21-1" class="reference"><a href="#cite_note-FOOTNOTERosenberg2018105–106-21"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<dl><dt>Notes</dt></dl>

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<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">According to <a href="David_Mamet" title="David Mamet">David Mamet</a>, the director's job is to break the script down into a list of shots.<sup id="cite_ref-FOOTNOTEMamet19915_11-0" class="reference"><a href="#cite_note-FOOTNOTEMamet19915-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Directors tend to focus on shooting these shots, eliciting performances from their actors, and creating interesting visuals. Few directors are trained to shoot coverage.<sup id="cite_ref-FOOTNOTERosenberg2018106_12-0" class="reference"><a href="#cite_note-FOOTNOTERosenberg2018106-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup></span>

</li>

</ol></div></div>

<dl><dt>Citations</dt></dl>

<li id="cite_note-FOOTNOTELoBrutto201218-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTELoBrutto201218_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201218_1-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFLoBrutto2012">LoBrutto 2012</a>, p. 18.</span>

</li>

<li id="cite_note-FOOTNOTELoBrutto201234-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELoBrutto201234_2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLoBrutto2012">LoBrutto 2012</a>, p. 34.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg201869-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERosenberg201869_3-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, p. 69.</span>

</li>

<li id="cite_note-FOOTNOTEBrown201666–71-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBrown201666–71_4-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBrown2016">Brown 2016</a>, pp. 66–71.</span>

</li>

<li id="cite_note-FOOTNOTEBrown201666-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEBrown201666_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBrown201666_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBrown2016">Brown 2016</a>, p. 66.</span>

</li>

<li id="cite_note-FOOTNOTEBrown201671-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEBrown201671_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBrown201671_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBrown201671_6-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBrown2016">Brown 2016</a>, p. 71.</span>

</li>

<li id="cite_note-FOOTNOTELoBrutto201217-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTELoBrutto201217_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTELoBrutto201217_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFLoBrutto2012">LoBrutto 2012</a>, p. 17.</span>

</li>

<li id="cite_note-FOOTNOTEAscherPincus2007325-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAscherPincus2007325_8-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAscherPincus2007">Ascher & Pincus 2007</a>, p. 325.</span>

</li>

<li id="cite_note-FOOTNOTELoBrutto201217–18-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELoBrutto201217–18_9-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLoBrutto2012">LoBrutto 2012</a>, pp. 17–18.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg201891–92-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERosenberg201891–92_10-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, pp. 91–92.</span>

</li>

<li id="cite_note-FOOTNOTEMamet19915-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMamet19915_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMamet1991">Mamet 1991</a>, p. 5.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg2018106-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERosenberg2018106_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, p. 106.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg2018104-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERosenberg2018104_14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, p. 104.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg201891-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERosenberg201891_15-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, p. 91.</span>

</li>

<li id="cite_note-FOOTNOTELoBrutto201269-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELoBrutto201269_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLoBrutto2012">LoBrutto 2012</a>, p. 69.</span>

</li>

<li id="cite_note-FOOTNOTERosenberg201892-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTERosenberg201892_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTERosenberg201892_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTERosenberg201892_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTERosenberg201892_17-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, p. 92.</span>

</li>

<li id="cite_note-FOOTNOTEBrown201667-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBrown201667_18-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBrown2016">Brown 2016</a>, p. 67.</span>

</li>

<li id="cite_note-FOOTNOTEBrown201668-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEBrown201668_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBrown201668_19-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEBrown201668_19-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBrown2016">Brown 2016</a>, p. 68.</span>

</li>

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</style><cite id="CITEREFSchumach,_Murray1960" class="citation news cs1">Schumach, Murray (August 28, 1960). <a rel="nofollow" class="external text" href="https://timesmachine.nytimes.com/timesmachine/1960/08/28/99952075.html?pageNumber=445">"HOLLYWOOD USAGE Experts Analyze the Pros and Cons Of Time-Tested 'Master' Scene"</a>. <i><a href="The_New_York_Times" title="The New York Times">The New York Times</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231110055304/https://timesmachine.nytimes.com/timesmachine/1960/08/28/99952075.html?pageNumber=445">Archived</a> from the original on November 10, 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">April 6,</span> 2021</span>.</cite></span>

</li>

<li id="cite_note-FOOTNOTERosenberg2018105–106-21"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTERosenberg2018105–106_21-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTERosenberg2018105–106_21-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRosenberg2018">Rosenberg 2018</a>, pp. 105–106.</span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><cite id="CITEREFAscherPincus2007" class="citation book cs1">Ascher, Steven; Pincus, Edward (2007). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/filmmakershandbo00asch_0"><i>The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age</i></a></span>. New York: Plume. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780452286788</bdi>.</cite></li>

<li><cite id="CITEREFBrown2016" class="citation book cs1">Brown, Blair (2016). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=GiQlDwAAQBAJ"><i>Cinematography: Theory and Practice: Imagemaking for Cinematographers and Directors</i></a>. New York: Routledge. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781138940925</bdi>.</cite></li>

<li><cite id="CITEREFLoBrutto2012" class="citation book cs1">LoBrutto, Vincent (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=0QRrCgAAQBAJ"><i>The Art of Motion Picture Editing: An Essential Guide to Methods, Principles, Processes, and Terminology</i></a>. New York: Allworth Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781581158816</bdi>.</cite></li>

<li><cite id="CITEREFMamet1991" class="citation book cs1">Mamet, David (1991). <a rel="nofollow" class="external text" href="https://archive.org/details/ondirectingfilm00mame"><i>On Directing Film</i></a>. New York: Viking. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780670830336</bdi>.</cite></li>

<li><cite id="CITEREFRosenberg2018" class="citation book cs1">Rosenberg, John (2018). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=oliyEnpQibUC"><i>The Healthy Edit: Creative Editing Techniques for Perfecting Your Movie</i></a>. New York: Rutledge. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781138233799</bdi>.</cite></li></ul>

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</style><div id="Filmmaking283" style="font-size:114%;margin:0 4em"><a href="Filmmaking" title="Filmmaking">Filmmaking</a></div></th></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%"><a href="Filmmaking#Development" title="Filmmaking">Development</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Film_treatment" title="Film treatment">Film treatment</a></li>

<li><a href="Film_producer" title="Film producer">Producer</a>

<ul><li><a href="Scriptment" title="Scriptment">scriptment</a></li></ul></li>

<li><a href="Step_outline" title="Step outline">Step outline</a></li>

<li><a href="Screenplay" title="Screenplay">Screenplay</a>

<ul><li><a href="Screenwriting" title="Screenwriting">process</a></li>

<li><a href="Spec_script" title="Spec script">spec script</a></li>

<li><a href="Film_adaptation" title="Film adaptation">film adaptation</a></li>

<li><a href="Option_(filmmaking)" title="Option (filmmaking)">Option</a></li></ul></li>

<li><a href="Film_budgeting" title="Film budgeting">Film budgeting</a></li>

<li><a href="Film_finance" title="Film finance">Film finance</a>

<ul><li><a href="Pitch_(filmmaking)" title="Pitch (filmmaking)">pitch</a></li></ul></li>

<li><a href="Greenlight" title="Greenlight">Greenlight</a></li>

<li><a href="Working_title" title="Working title">Working title</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%"><a href="Pre-production" title="Pre-production">Pre-production</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Script_breakdown" title="Script breakdown">Script breakdown</a>

<ul><li><a href="Breaking_down_the_script" class="mw-redirect" title="Breaking down the script">process</a></li></ul></li>

<li><a href="Shooting_script" title="Shooting script">Shooting script</a></li>

<li><a href="Storyboard" title="Storyboard">Storyboard</a></li>

<li><a href="Casting_(performing_arts)" title="Casting (performing arts)">Casting</a>

<ul><li><a href="Scenography" title="Scenography">Scenography</a></li>

<li><a href="Rehearsal" title="Rehearsal">Rehearsal</a></li></ul></li>

<li><a href="Production_board" title="Production board">Production board</a></li>

<li><a href="Production_schedule" title="Production schedule">Production schedule</a></li>

<li><a href="Shooting_schedule" title="Shooting schedule">Shooting schedule</a>

<ul><li><a href="One_liner_schedule" title="One liner schedule">one-liner</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%"><a href="Filmmaking" title="Filmmaking">Production</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Cinematic_techniques" title="Cinematic techniques">Cinematic techniques</a></li>

<li><a href="Principal_photography" title="Principal photography">Principal photography</a>

<ul><li><a href="Cinematography" title="Cinematography">Cinematography</a></li>

<li><a href="Videography" title="Videography">Videography</a></li></ul></li>

<li><a href="Daily_call_sheet" title="Daily call sheet">Daily call sheet</a></li>

<li><a href="Dailies" title="Dailies">Dailies (rushes)</a></li>

<li><a href="Sound_stage" title="Sound stage">Sound stage</a></li></ul>

</div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th id="Daily_reports13" scope="row" class="navbox-group" style="width:1%">Daily reports</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Film_inventory_report" title="Film inventory report">Film inventory</a></li>

<li><a href="Production_report" title="Production report">Production</a></li>

<li><a href="Daily_production_report" title="Daily production report">Daily production</a></li>

<li><a href="Daily_progress_report" title="Daily progress report">Progress</a></li>

<li><a href="Sound_report" title="Sound report">Sound</a></li>

<li><a href="Daily_editor_log" class="mw-redirect" title="Daily editor log">Editor log</a></li>

<li><a href="Costume_designer" title="Costume designer">Costume designer</a></li>

<li><a href="Make-up_artist" title="Make-up artist">Make-up artist</a></li></ul>

</div></td></tr></tbody></table><div>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%"><a href="Post-production" title="Post-production">Post-production</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Film_editing" title="Film editing">Film editing</a></li>

<li><a href="Re-recording_(filmmaking)" title="Re-recording (filmmaking)">Re-recording</a></li>

<li><a href="Sync_sound" title="Sync sound">Sync sound</a></li>

<li><a href="Soundtrack" title="Soundtrack">Soundtrack</a></li>

<li><a href="Timecode" title="Timecode">Timecode</a></li>

<li><a href="Film_score" title="Film score">Music</a></li>

<li><a href="Special_effect" title="Special effect">Special effects</a>

<ul><li><a href="Sound_effect" title="Sound effect">sound</a></li>

<li><a href="Visual_effects" title="Visual effects">visual</a></li></ul></li>

<li><a href="Negative_cost" title="Negative cost">Negative cost</a></li>

<li><a href="Digital_intermediate" title="Digital intermediate">Digital intermediate</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%"><a href="Film_distribution" title="Film distribution">Distribution</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Film_distributor" title="Film distributor">Film distributor</a>

<li><a href="Art_release" title="Art release">Film release</a>

<li><a href="Limited_theatrical_release" title="Limited theatrical release">limited</a></li>

<li><a href="Delayed_release_(film)" class="mw-redirect" title="Delayed release (film)">delayed</a></li></ul></li>

<li><a href="Roadshow_theatrical_release" title="Roadshow theatrical release">Roadshow</a></li>

<li><a href="Digital_distribution" title="Digital distribution">Digital distribution</a></li>

<li><a href="Streaming_media" title="Streaming media">Streaming media</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Box_office" title="Box office">Box office</a></li>

<li><a href="Guerrilla_filmmaking" title="Guerrilla filmmaking">Guerrilla filmmaking</a></li>

<li><a href="Development_hell" title="Development hell">Development hell</a></li>

<li><a href="Filmography" title="Filmography">Filmography</a></li>

<li><a href="Film_industry" title="Film industry">Film industry</a></li>

<li><a href="Film_rights" title="Film rights">Film rights</a></li>

<li><a href="Turnaround_(filmmaking)" title="Turnaround (filmmaking)">Turnaround</a></li>

<li><a href="First-dollar_gross" title="First-dollar gross">First-dollar gross</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2" style="text-align: center;"><div><b><span class="nowrap"><span class="noviewer" typeof="mw:File"><span></span></span> </span><a href="Portal%3AFilm" title="Portal:Film">Film portal</a></b></div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Cinematic_techniques90" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Cinematic_techniques90" style="font-size:114%;margin:0 4em"><a href="Cinematic_techniques" title="Cinematic techniques">Cinematic techniques</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:5.0em"><a href="Stage_lighting" title="Stage lighting">Lighting</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Background_light" title="Background light">Background</a></li>

<li><a href="Cameo_lighting" title="Cameo lighting">Cameo</a></li>

<li><a href="Stage_lighting_instrument#Floodlights" title="Stage lighting instrument">Flood</a></li>

<li><a href="Lens_flare" title="Lens flare">Lens flare</a></li>

<li><a href="Rembrandt_lighting" title="Rembrandt lighting">Rembrandt</a></li>

<li><a href="Stage_lighting" title="Stage lighting">Stage</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:5.0em"><a href="Sound" title="Sound">Sound</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Cinematic_techniques#Diegetic_sound" title="Cinematic techniques">Diegetic</a></li>

<li><a href="Cinematic_techniques#Non-diegetic_sound" title="Cinematic techniques">Non-diegetic</a>

<ul><li><a href="Narrative" title="Narrative">Narration</a></li>

<li><a href="Film_score" title="Film score">Film score</a></li>

<li><a href="Sound_effect" title="Sound effect">Sound effects</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:5.0em"><a href="Shot_(filmmaking)" title="Shot (filmmaking)">Shooting</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Field size</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="American_shot" title="American shot">American</a></li>

<li><a href="Medium_shot" title="Medium shot">Medium</a></li>

<li><a href="Close-up" title="Close-up">Close-up</a></li>

<li><a href="Italian_shot" class="mw-redirect" title="Italian shot">Italian</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Camera placement</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Perspective_(graphical)" title="Perspective (graphical)">Perspective</a></li>

<li><a href="Over-the-shoulder_shot" title="Over-the-shoulder shot">Over-the-shoulder</a></li>

<li><a href="Point_of_view_shot" class="mw-redirect" title="Point of view shot">Point-of-view <span style="font-size: 85%;">(POV)</span></a></li>

<li><a href="Shot/reverse_shot" title="Shot/reverse shot">Reverse</a></li>

<li><a href="Trunk_shot" title="Trunk shot">Trunk</a></li>

<li><a href="Single-camera_setup" title="Single-camera setup">Single</a> / <a href="Multiple-camera_setup" title="Multiple-camera setup">multiple-camera setup</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;"><a href="Camera_angle" title="Camera angle">Camera angle</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Aerial_shot" class="mw-redirect" title="Aerial shot">Aerial</a></li>

<li><a href="High-angle_shot" title="High-angle shot">High-angle</a></li>

<li><a href="Crane_shot" title="Crane shot">Crane shot</a></li>

<li><a href="Low-angle_shot" title="Low-angle shot">Low-angle</a></li>

<li><a href="Dutch_angle" title="Dutch angle">Dutch angle</a></li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Camera movement</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Unchained_camera_technique" title="Unchained camera technique">Unchained camera technique</a></li>

<li><a href="Tilt_(camera)" title="Tilt (camera)">Tilting</a></li>

<li><a href="Panning_(camera)" title="Panning (camera)">Panning</a>

<li><a href="Shaky_camera" title="Shaky camera">Shaky</a></li>

<li><a href="Tracking_shot" title="Tracking shot">Tracking</a></li>

<li><a href="Camera_dolly" title="Camera dolly">Dolly</a></li>

<li><a href="Steadicam" title="Steadicam">Steadicam</a></li>

<li><a href="SnorriCam" title="SnorriCam">SnorriCam</a></li>

<li><a href="Follow_shot" title="Follow shot">Follow</a></li>

<li><a href="Dolly_zoom" title="Dolly zoom">Dolly zoom</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Lens effects</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Focus_(optics)" title="Focus (optics)">Focus</a>

<ul><li><a href="Racking_focus" class="mw-redirect" title="Racking focus">Racking</a></li>

<li><a href="Depth_of_field" title="Depth of field">Depth of field</a></li>

<li><a href="Shallow_focus" title="Shallow focus">Shallow</a></li>

<li><a href="Zooming_(filmmaking)" title="Zooming (filmmaking)">Zooming</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;font-weight:normal;">Other techniques</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Establishing_shot" title="Establishing shot">Establishing shot</a></li>

<li><a href="Master_shot" title="Master shot">Master shot</a></li>

<li><a href="Freeze-frame_shot" title="Freeze-frame shot">Freeze-frame shot</a></li>

<li><a href="Insert_(filmmaking)" title="Insert (filmmaking)">Insert</a></li></ul>

</div></td></tr></tbody></table><div></div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="padding:0"><div style="padding:0 0.25em">

<ul></ul></div><table class="nowraplinks mw-collapsible expanded navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="col" class="navbox-title" colspan="2" style="text-align: center;"><div id="Special_effects104" style="font-size:114%;margin:0 4em"><a href="Special_effect" title="Special effect">Special effects</a></div></th></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:5.0em"><a href="Practical_effect" title="Practical effect">Practical</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="padding:0"><div style="padding:0 0.25em">

<li><a href="Aerial_rigging" title="Aerial rigging">Aerial rigging</a> (<a href="Wire-flying" class="mw-redirect" title="Wire-flying">wire-flying</a>)</li>

<li><a href="Air_bladder_effect" title="Air bladder effect">Air bladder effect</a></li>

<li><a href="Animatronics" title="Animatronics">Animatronics</a></li>

<li><a href="Bullet_hit_squib" title="Bullet hit squib">Bullet hit squib</a></li>

<li><a href="Costumed_character" class="mw-redirect" title="Costumed character">Costumed character</a></li>

<li><a href="Creature_suit" title="Creature suit">Creature suit</a></li>

<li><a href="Dead-character_costume" title="Dead-character costume">Dead-character costume</a></li>

<li><a href="Kitbashing" title="Kitbashing">Kitbashing</a></li>

<li><a href="Miniature_effect" title="Miniature effect">Miniature effect</a> (<a href="Hanging_miniature" title="Hanging miniature">hanging</a>)</li>

<li><a href="Prosthetic_makeup" title="Prosthetic makeup">Prosthetic makeup</a></li>

<li><a href="Puppetry" title="Puppetry">Puppetry</a></li>

<li><a href="Pyrotechnics" title="Pyrotechnics">Pyrotechnics</a></li>

<li><a href="Rubber_mask" title="Rubber mask">Rubber mask</a></li>

<li><a href="Matte_painting" title="Matte painting">Matte painting</a></li>

<li><a href="Sugar_glass" title="Sugar glass">Sugar glass</a></li>

<li><a href="Theatrical_blood" title="Theatrical blood">Theatrical blood</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:5.0em"><a href="In-camera_effect" title="In-camera effect">In-camera</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bipack" title="Bipack">Bipacks</a></li>

<li><a href="Bullet_time" title="Bullet time">Bullet time</a></li>

<li><a href="Dolly_zoom" title="Dolly zoom">Dolly zoom</a></li>

<li><a href="Forced_perspective" title="Forced perspective">Forced perspective</a></li>

<li><a href="Front_projection" class="mw-redirect" title="Front projection">Front projection</a></li>

<li><a href="Infrared_photography" title="Infrared photography">Infrared photography</a></li>

<li><a href="Lens_flare" title="Lens flare">Lens flares</a></li>

<li><a href="Lighting_effects" class="mw-redirect" title="Lighting effects">Lighting effects</a></li>

<li><a href="Multiple_exposure" title="Multiple exposure">Multiple exposure</a></li>

<li><a href="Photographic_filter" title="Photographic filter">Filtration</a></li>

<li><a href="Rear_projection" title="Rear projection">Rear projection</a></li>

<li><a href="Reverse_motion" title="Reverse motion">Reverse motion</a></li>

<li><a href="Sch%C3%BCfftan_process" title="Schüfftan process">Schüfftan process</a></li>

<li><a href="Shutter_(photography)" title="Shutter (photography)">Shutter effects</a></li>

<li><a href="Tilted_plane_focus" title="Tilted plane focus">Tilted plane focus</a></li>

<li><a href="Time-lapse" class="mw-redirect" title="Time-lapse">Time-lapse</a>

<ul><li><a href="Fast_motion" class="mw-redirect" title="Fast motion">Fast motion</a></li>

<li><a href="Slow_motion" title="Slow motion">Slow motion</a></li>

<li><a href="Speed_ramping" class="mw-redirect" title="Speed ramping">Speed ramping</a></li></ul></li>

<li><a href="Stop_motion" title="Stop motion">Stop motion</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="text-align: center;;width:5.0em"><a href="Visual_effects" title="Visual effects">Visual</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bullet_time" title="Bullet time">Bullet time</a></li>

<li><a href="Chroma_key" title="Chroma key">Chroma key</a></li>

<li><a href="Compositing" title="Compositing">Compositing</a> (<a href="Digital_compositing" title="Digital compositing">digital</a>)</li>

<li><a href="Computer-generated_imagery" title="Computer-generated imagery">Computer-generated imagery</a></li>

<li><a href="Go_motion" title="Go motion">Go motion</a></li>

<li><a href="Introvision" title="Introvision">Introvision</a></li>

<li><a href="Match_moving" title="Match moving">Match moving</a></li>

<li><a href="Optical_printer" title="Optical printer">Optical printing</a></li>

<li><a href="Smallgantics" class="mw-redirect" title="Smallgantics">Smallgantics</a></li>

<li><a href="Split_screen_(filmmaking)" class="mw-redirect" title="Split screen (filmmaking)">Split screen</a></li>

<li><a href="Stop_motion" title="Stop motion">Stop motion</a></li></ul>

</div></td></tr></tbody></table><div>

</div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2024-08-27" href="https://en.wikipedia.org/wiki/?title=Camera_coverage&oldid=1242489527">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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