Camera view, angle, movement, shot continued

Low-angle shot - In cinematography, a low-angle shot, is a shot from a camera positioned low on the vertical axis, anywhere below the eyeline, looking up.

Famous examples
* M (1931 film) (directed by Fritz Lang): Inspector Karl Lohmann is shot in low angle in his office, the camera sitting underneath his office desk. Also, two disputing men, one small and the other tall, are shot in low and high angles, respectively.
* Citizen Kane (directed by Orson Welles): there are many examples such as during the scene where Kane fires Leland. In fact, the scene where Leland confronts Travis after his defeat in the election is entirely shot in a low angle view.
* Psycho (directed by Alfred Hitchcock): the house where Norman Bates lives is usually shot from a low angle.
* Star Wars (directed by George Lucas): Darth Vader is often shot at a low angle, for example, the first time we see his character as he is walking down a hallway.
* Touch of Evil (directed by Orson Welles): In this film noir, Hank Quinlan is often shot in low angle to make him look menacing, large, and in-charge.
* The Lady From Shanghai (directed by Orson Welles): examples of low-angle shot are during the scene where George Grisby is confronted by Broome and he shoots him.
* Used while filming World Wrestling Entertainment interviews with André the Giant.
* The Dark Knight (directed by Christopher Nolan): Nolan uses extremely low angle shots to give the Joker a more powerful image in The Dark Knight, especially during the scene where the truck he was driving is flipped over and he gets out and starts shooting at Batman. In this scene, the angle actually goes from a normal medium close up and slowly moves into a low angle shot.
* Full Metal Jacket (directed by Stanley Kubrick): examples of a low angle shot is during the scene where the boot camp Sgt. is yelling at Joker.

Master shot - A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often a long shot and can sometimes perform a double function as an establishing shot. Usually, the master shot is the first shot checked off during the shooting of a scene—it is the foundation of what is called camera coverage, other shots that reveal different aspects of the action, groupings of two or three of the actors at crucial moments, close-ups of individuals, insert shots of various props, and so on.

Historically, the master shot was arguably the most important shot of any given scene. All shots in a given scene were somehow related to what was happening in the master shot. This is one reason why some of the films from the 1930s and 1940s are considered "stagey" by today's standards. By the 1960s and 1970s, the style of film shooting and editing shifted to include radical angles that conveyed more subjectivity and intimacy within the scenes. Today, the master shot is still an extremely important element of film production, but scenes are not built around the master shot in the same way that they were when professional filmmaking was in its infancy.

Matte - Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image (such as actors on a set, or a spaceship) with a background image (a scenic vista, a field of stars and planets). In this case, the matte is the background painting. In film and stage, mattes can be physically huge sections of painted canvas, portraying large scenic expanses of landscapes.

In film, the principle of a matte requires masking certain areas of the film emulsion to selectively control which areas are exposed. However, many complex special-effects scenes have included dozens of discrete image elements, requiring very complex use of mattes, and layering mattes on top of one another.

For an example of a simple matte, we may wish to depict a group of actors in front of a store, with a massive city and sky visible above the store's roof. We would have two images—the actors on the set, and the image of the city—to combine onto a third. This would require two masks/mattes. One would mask everything above the store's roof, and the other would mask everything below it. By using these masks/mattes when copying these images onto the third, we can combine the images without creating ghostly double-exposures. In film, this is an example of a static matte, where the shape of the mask does not change from frame to frame.

Other shots may require mattes that change, to mask the shapes of moving objects, such as human beings or spaceships. These are known as traveling mattes. Traveling mattes enable greater freedom of composition and movement, but they are also more difficult to accomplish. Bluescreen techniques, originally invented by Petro Vlahos, are probably the best-known techniques for creating traveling mattes, although rotoscoping and multiple motion control passes have also been used in the past.

Mattes are a very old technique, going back to the Lumière brothers. A good early American example is seen in The Great Train Robbery (1903) where it is used to place a train outside a window in a ticket office, and later a moving background outside a baggage car on a train 'set'.

Medium shot - In film, a medium shot is a camera 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.

Over the shoulder shot - In film or video, an over the shoulder shot (also over shoulder, OS, OTS, or third-person shot) is a shot of someone or something taken over the shoulder of another person. The back of the shoulder and head of this person is used to frame the image of whatever (or whomever) the camera is pointing toward. This type of shot is very common when two characters are having a discussion and will usually follow an establishing shot which helps the audience place the characters in their setting. It is an example of a camera angle.

Ideas and Reflections:
There are some very interesting shots listed above although it is unlikely that I will be using these in my own film.