Camera Basics for Animation

Part 1

The following document covers a small number of basic methods, approaches and general “have a think
about” aspects of setting up a shot camera for an animation scene.

This section (Part 1) covers:

• Camera Placement
• Camera Angle
• Shot Type

Part 2 will cover:

• Cutting
• The Moving Camera
• Transitions

CAMERA PLACEMENT
At a high level, the following four considerations should be applied to where a shot camera is placed in
relation to the main subject/character – as each will impact the story-telling/feel in a different way:

• Where is the camera positioned = Whose point of view is being expressed (compare being
outside a window looking in to a kitchen, to viewing a dinner table with a family)
• What is the size of the shot = How far are we from the subject (physical distance translates to
emotional distance for the viewer – compare a shot of someone struggling in the distance on a
hill-top, to an extreme close-up of the eyes watering in the wind)
• What is our angle of view = What is our relationship to the subject (are we looking up to or down
to the subject? Or are we on the same eye level?)
• The camera cutting between shots, compared to the camera moving = Are we making the viewer
compare views/build up the full picture, or are we following the action/closing-in/revealing
something?
THE 180-DEGREE RULE

The purpose of the 180-degree rule is to establish a spatial relationship between two characters and/or
objects on-screen – for continuity purposes (i.e. “don’t confuse the viewer”).
Keep in mind that this is a rule by name alone – and if it’s either clear to the viewer, or it fits the story you
want to tell, then breaking the 180-rule can be effective in certain circumstances, for example:

Here the 180-rule is broken intentionally – we’re switching from front-to-back-to-front – and the
characters (facing different directions) are swapping left-to-right-to-left – but it’s to (intentionally) create
a disturbing sense of confusion and unease in this scene.

THE TRIANGLE SYSTEM

When the 180-rule is in use another convention, the triangle system of camera placement, can be
considered.

This proposes that all the basic shots for any subject(s) can be completed from three points within the
180-degree working space. Any three points giving a triangle of variable shape, size and shot type define
the placement of the camera shots. Any shot can be joined to any other shot in the triangle setup.
CAMERA ANGLES

The camera angle refers to the angle made when comparing the height of the subject to the height of the
camera itself.

Eye-level/neutral views tend to be stable, and are necessary in order to contrast to the more dynamic
angles.

You might want to change a camera angle to follow a subject, reveal something to the viewer, change the
point of view or develop a mood or feeling.

It’s generally claimed that the low-angle view of a subject places the subject in a dominant position while
high-angle views place the subject in a diminutive position – but as for the 180-rule, this is not a true rule,
and can depend on the narrative/setting.
 Low camera angle – he’s dominant/scary

High camera angle – we’re dominant/he vulnerable

High camera angle – but…not so sure we’re dominant in this setting given the other elements in the shot

Viewers identify with the camera, so when the camera angle changes in a tracking shot for example the
viewer experiences the sensation of movement as well. This can make the images feel less 2D and more
real (“image transference”) – so it’s possible to consider changing the viewing angle (even slightly) purely
for this effect.

SHOT TYPES

The following are the commonly used character shots, each with their own pros and cons:

• The close-up and extreme close-up allows us to make full use of the eyes – communicating with
the viewer through tears, winks, stares etc. Typically, close-ups must be accompanied with
other medium or long shots in order to give the viewer a full understanding of the story (who is
this/what is going on/where are we).
• The medium shot is now quite a familiar thing with their wide use in soap operas - typically
because of the ease with which you can cut between subjects during dialogue.
• Use of the full shot can make additional medium or close up shots unnecessary – and can
encompass a number of characters in one go. You’ll gain on body language (pose-power), but
you’ll lose out on expression definition.

In addition to the above character shots, some other regularly seen shot types are:
• The Aerial Shot – used to establish a very wide geographic location from the beginning.

• The Establishing Shot – popular in TV, it typically sets the scene in terms of city, street or
building.

• Over The Shoulder Shot – as the name suggests, we see the shoulder of a character in the
foreground from the rear. Good for dialogue scenes.

• The Master Shot – a shot that has all the main subjects/characters in view. Can double as an
establishing shot in some circumstances.
 • Point of View – the camera (i.e. viewer) can see the same viewpoint as one of the characters.

By considering beforehand the position, shot type and angle of the camera used for our animation, we
can greatly enhance the overall story-telling and emotion of a scene.