Medium Shot

In film, a medium shot is a camera angle shot from a medium distance. The dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up". In some standard texts and professional references, a full-length view of a human subject is called a medium shot; in this terminology, a shot of the person from the knees up or the waist up is a close-up shot. In other texts, these partial views are called medium shots. (For example, in Europe a medium shot is framed from the waist up). It is mainly used for a scene when you can see what kind of expressions they are using.

There is no evident reason for this variation. It is not a distinction caused by, for example, a difference between TV and film language or 1930s and 1980s language.

Medium shots are relatively good in showing facial expressions but work well to show body language.

The Doctor from Doctor Who is usually included in these shots. The TARDIS is also hidden somewhere in the background, or else it is not considered a Medium Shot.

Other articles related to "shot, medium, medium shot":

Cinematic Techniques
... Aerial shot A shot taken from a plane, helicopter or a person on top of a building ... Not necessarily a moving shot ... Bridging shot A shot used to cover a jump in time or place or other discontinuity ...
Shot (filmmaking) - Categories of Shots - By Field Size
... The term shot is often incorrectly applied to the field size of an image which at times is also incorrectly referred to as framing ... A long shot A full shot (figure shot, complete view, medium long shot) A medium shot A close-up The field size (along with the specific amount of ... The four basic kinds of field sizes (see gallery above) are the long shot (often used as an establishing shot), the full shot (also figure shot, complete view, or medium long shot), the medium ...

Famous quotes containing the words shot and/or medium:

    I’d rather you shot at tin cans in the back yard, but I know you’ll go after birds. Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.... Mockingbirds don’t do one thing but make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corncribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.
    Harper Lee (b. 1926)

    As a medium of exchange,... worrying regulates intimacy, and it is often an appropriate response to ordinary demands that begin to feel excessive. But from a modernized Freudian view, worrying—as a reflex response to demand—never puts the self or the objects of its interest into question, and that is precisely its function in psychic life. It domesticates self-doubt.
    Adam Phillips, British child psychoanalyst. “Worrying and Its Discontents,” in On Kissing, Tickling, and Being Bored, p. 58, Harvard University Press (1993)