Don’t use the camera to watch a scene — use it to help play the scene. The camera is not a passive recording device — it’s an active, full partner in creating an emotional experience for the audience. It’s easy, as a beginner, to put the camera in a place where we can see the whole thing. We wind up with an emotional equivalent of a wide shot — where there’s distance between the actors, between the actors and the camera, and between the camera and us. Instead, think of the camera as another actor on set — it’s a “who” not a “what”. As you set up each shot, ask yourself, “Who is the most important emotional element in the scene?” Where is that character’s emotional center? Then put the camera there. The camera in the frame to the left is sitting in for the actress in the background. We’re using the camera to play her scene — to be her eyes — to feel what she’s feeling.
A second thing that new directors do is choose angles because they think the shot will look good. We then string a series of good shots together, and cut between them. The result can be a scene that feels restless or busy, but still not emotionally resonant. Try to commit to the angle that feels right — and hold it longer than you feel comfortable. If the character is feeling isolated — we hold the wider shot that shows us that the room is empty. If the stakes are ratcheting up — we move in closer — so we can’t avoid their expressions. We should be moving the camera (or not moving it) in response to the emotional needs of the scene — not just because we like the look of a particular shot.
Here’s a simple exercise that will help you understand the power of shot selection: Set up a simple scene between two actors. Have them play it — and shoot it from across the room. Then move the camera halfway in — and shoot it again. Finally, move in really close — and shoot it again. Then play the three versions back-to-back. The performances will be identical — but they will feel different because of where we put the camera. Maybe the version from across the room felt documentary. Maybe the medium shot felt more neutral. And maybe the close shot felt more intense. This exercise will give you a feel for how shot selection impacts the emotional experience of a scene. And that’s a good thing.
Sometimes the best place to put the camera is where it can’t see everything. Sometimes the best way to engage your audience is to withhold information from them. Here — the camera is positioned so we can see the actress’ face, but not the actor’s. We’re forced to focus on her emotional response — rather than his actions. The trick of shooting over a shoulder — or letting part of the set get in the way of our view — are conventions that we use to signal how characters feel about each other. So as you’re setting up each shot — ask yourself, “What can I withhold from the audience?” Where can you put the camera so that we have to fill in some of the information with our imaginations?
The more you experiment with shot selection — the more comfortable you’ll get with it. Pretty soon — you’ll start to feel like you know where to put the camera — rather than just guessing. And at that point — you can start to use the camera as a tool to refine the emotional experience of the scene. Try this: Watch your edited scene with the sound off. Can you feel the emotional shift between the characters? Are there places where you can use the camera to make that shift clearer? Don’t go back and ask the actors to do anything differently — just try repositioning the camera. I think you’ll find that it’s a powerful way to create the emotional experience you want.