{"id":65757,"date":"2015-11-04T12:00:00","date_gmt":"2015-11-04T18:00:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=65757"},"modified":"2015-11-08T21:28:47","modified_gmt":"2015-11-09T03:28:47","slug":"how-to-frame-a-wide-shot-like-a-master-cinematographer","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/how-to-frame-a-wide-shot-like-a-master-cinematographer\/","title":{"rendered":"How to Frame a Wide Shot Like a Master Cinematographer"},"content":{"rendered":"

Learn how to frame a Wide\u00a0Shot the Robert Richardson way. Break down the work of an eight-time Oscar nominee by learning the difference between a Wide\u00a0Shot and Extreme Wide\u00a0Shot.<\/h2>\n

Top Image\u00a0via The Weinstein Company<\/em><\/p>\n

Robert Richardson<\/a> is one of the winningest cinematographers in Academy Awards\u00a0history, having won three cinematography Oscars for JFK<\/em><\/a>, The Aviator<\/em><\/a>, and Hugo<\/em><\/a>. He has had several long time collaborations with directors<\/a> like Martin Scorsese<\/a>, Quentin Tarantino<\/a>, and Oliver Stone<\/a>.<\/p>\n

The\u00a0wide shot <\/span>is one\u00a0of\u00a0the standard camera angles<\/a>\u00a0used to frame a character. In this breakdown, we examine Richardson\u2019s various uses of the wide\u00a0shot in the films he lensed.<\/p>\n

\n

Wide Shot (AKA: Long Shot, Full Shot)<\/h3>\n

\"How
\n<\/a>Image:\u00a0Django Unchained<\/em><\/a>\u00a0Wide Shot via The Weinstein Company and Columbia Pictures<\/em><\/p>\n

The wide shot frames a character from head to toe<\/strong>. It is also referred to as a long shot or a full shot<\/strong>. These shots are used to show the audience the context and space of a scene. They should feature scale, distance, and location<\/strong>.<\/p>\n

The image above is one of the many great examples of a wide shot<\/strong> from Django Unchained<\/em><\/a>. It prominently features Django from head to toe<\/strong>, while establishing him as the hero of the film. Make note of the background, and how perfectly balanced the shot it<\/strong>.<\/p>\n

Django stands tall in the center of the frame. Behind him is a magnificent and massive tree. By adding the three women on the left,\u00a0they fill in the dead space while adding depth to the shot<\/strong>. The same goes for the men and wagon on the right side. Also, notice how the tree leaves all perfectly train your eyes on Django as they sweep to the left. I absolutely love this shot.\u00a0<\/em><\/p>\n

\"How
\nImage:\u00a0The Aviator<\/a>\u00a0Wide Shot\u00a0<\/em>via Miramax and Warner Bros.<\/em><\/p>\n

The wide shot does not always have to prominently feature a character, they can also be used to show objects<\/strong> like this airplane from The Aviator<\/em><\/a>. We are given the scale of the plane and the location, we are up in the sky. There is still depth in the shot<\/strong>, as we see a second plane flying in the\u00a0rear during the dogfight sequence.<\/p>\n

\"How
\n<\/a>Image:\u00a0K<\/em>ill Bill: Vol. 1<\/a>\u00a0Wide Shot via Miramax<\/em><\/p>\n

Richardson is also a master with silhouettes<\/strong>, often using them as wide shots<\/strong> throughout his films. In the above wonderful image from Kill Bill: Vol. 1<\/em><\/a>, we are transported to this amazing room during the fight scene with the Crazy 88s. This, and the training montage in\u00a0Kill Bill: Vol.\u00a02<\/em><\/a>, are absolutely stunning.<\/p>\n

The characters all stand against a brightly lit background, which draws all your attention to their movements. The goal is to feature the martial arts. By taking away characters faces an costumes, you are intently focused on the action<\/strong>. The result is a stunning look which went on to define the franchise.<\/p>\n

\"How
\n<\/a>Image:\u00a0Kill Bill: Vol.\u00a02<\/em><\/a>\u00a0Wide Shot via Miramax<\/em><\/p>\n

Richardson also uses silhouettes to showcase secrecy<\/strong>, like in this below shot from Shutter Island<\/em><\/a>. Notice how ominous the entire scene feels. We can’t see either character’s face. They are also perfectly centered between two columns and surrounded by a chainlink fence. This is a great way to create tension with the audience. This wide shot<\/strong> just makes you uncomfortable.<\/p>\n

\"How
\n<\/a>Image:\u00a0Shutter Island<\/a>\u00a0Wide Shot via Paramount Pictures.\u00a0<\/em><\/p>\n

In this final wide shot from Hugo<\/em><\/a>, take a look at how much is going on. There is an absolutely incredible amount of detail surrounding Georges M\u00e9li\u00e8s, but with the center framing and the stage light draws all attention to him<\/strong>. Take note of the massive amount of props and characters in frame.<\/p>\n

There are four stage lights on either side of his feet, as well as two lights in the balcony framing his shoulders. There are two statues in the background, both backlit. Then there is the massive audience there for the show. All that detail, yet you are still focused on\u00a0M\u00e9li\u00e8s. That’s how powerful a wide shot can be with the right framing and lighting.\u00a0<\/strong><\/p>\n

\"How
\nImage:\u00a0Hugo<\/a>\u00a0Wide Shot\u00a0<\/em>via Paramount Pictures<\/em><\/p>\n

\n

Extreme Wide Shot (Extreme Long Shot)<\/h3>\n

\"How
\n<\/a>Image:\u00a0Inglourious Basterds<\/a> Extreme Wide shot\u00a0via The Weinstein Company and Universal Pictures<\/em><\/p>\n

The<\/span>\u00a0extreme wide shot<\/span>\u00a0is a shot taken from a long distance. This shot\u00a0is often also\u00a0used as an\u00a0<\/span>establishing shot<\/span>. It typically<\/span>\u00a0features\u00a0landscapes or massive building exteriors. <\/span><\/p>\n

An extreme wide shot showcases\u00a0the surroundings of a character<\/strong>. Like the wide shot, it prominently features\u00a0<\/span>scale<\/span>,\u00a0<\/span>distance<\/span>, and\u00a0<\/span>location<\/span>. If the character is visible in the shot,\u00a0they are often minuscule in size. They are not the focus of the shot, yet they are there to complement it.\u00a0<\/span><\/p>\n

In the above image from\u00a0Inglourious Basterds<\/a>,\u00a0<\/em>we are shown the entire home property. This plays into the story, as it shows that there is really nowhere to hide<\/strong>. The shot also uses cows and laundry to fill in the dead space by the trees. It helps balance out the house on the left hand side of the frame.<\/p>\n

In the below image from\u00a0Django Unchained<\/a><\/em><\/em>, we are shown\u00a0the standard extreme wide shot of westerns<\/strong>. The vast open landscape shows how far they have to travel, and the mountains represent the obstacles ahead.<\/p>\n

\"How
\n<\/a>Image:\u00a0Django Unchained<\/em><\/a>\u00a0Extreme Wide Shot via The Weinstein Company and Columbia Pictures<\/em><\/p>\n

\n

Wide Shots:\u00a0Split the Difference<\/h3>\n

Now that you know the standard rules, you should know that you can also break them. You can frame shots that are in between a standard wide shot and standard extreme wide shot<\/strong>. The best part of cinematography is using your surrounding to capture the best possible shot.<\/p>\n

In this final image from Hugo<\/em>, we see a young Hugo standing center frame<\/strong>, but he is overpowered in the frame by the tunnel. He is lit from behind, and we can barely make out his face. A perfect example of splitting the difference between wide and extreme wide.<\/p>\n

\"How
\n<\/a>Image:\u00a0Hugo<\/a>\u00a0Wide Shot\u00a0<\/em>via Paramount Pictures<\/em><\/p>\n

\n

Interested in more breakdowns like these?<\/strong> Let us know in the comments below.<\/p>\n","protected":false},"excerpt":{"rendered":"

Learn how to frame a Wide Shot the Robert Richardson way. Break down the work of an eight-time Oscar nominee by learning the difference between a Wide \u2026<\/p>\n","protected":false},"author":57,"featured_media":66371,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4519,3843,79,583],"tags":[1093,4746,536,4411,1799,4360],"class_list":["post-class-post-65757","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-cinematography-2","post-class-category-filmmaking-2","post-class-category-inspiration","post-class-category-video-production-2","post-class-tag-cinematography","post-class-tag-extreme-wide-shot","post-class-tag-filmmaking","post-class-tag-robert-richardson","post-class-tag-shots","post-class-tag-wide-shot"],"acf":[],"yoast_head":"\nHow 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