Different types of shots in film.

Master shots.

These shots that capture all of the action happening in a scene are usually set up as long shots or wide shots. Because they record everything, these are crucial camera shot types for basic coverage. Editors can let a scene breathe by cutting to the master shot during pauses in action or dialogue.

Two-shots.

A shot with two subjects is known as a two-shot. By capturing the subjects’ interaction, their distance from one another, and their body language, a two-shot can tell the viewer a lot about their relationship. “We try to keep the two-shots for the majority of a scene and then use the single or the tight shot for a killer line or important detail,” Ruckus Skye says.

Medium shots.

Medium long shots typically use standard focal lengths (35-50mm) to provide a natural perspective. Lighting often balances the subject and background.

Cowboy shots.

In the 1930s, American filmmakers started using a style of movie shot known as a cowboy shot, which portrayed gunslingers from hat to mid-thigh to include their holsters. Modern films use cowboy shots to show a subject’s body language and some background while still capturing their facial expressions. In Wonder Woman, for example, a cowboy shot captures Diana as she crosses the battlefield, punching away bullets and smiling at her sense of power.

Over-the-shoulder shots.

Over-the-shoulder camera shots are reverse shots that use a standard to slightly telephoto lenses (50-85mm). Lighting needs to balance both subjects while maintaining depth.

Reaction shots.

The crucial visual isn’t always on the person talking. Reaction shots are close-up shots that are hugely important for character and story development. “Some of my favorite acting moments are when actors are listening,” Ruckus Skye says.

Close-up shots.

Close-up shots, especially extreme close-ups, often employ longer focal lengths (85-135mm) to compress facial features and blur backgrounds. Filmmakers may use wider apertures (f/1.8-f/2.8) for shallow depth of field.

Push-ins.

By contrast, a push-out highlights a character’s isolation. “You’re increasing the world around them and the distance between the viewer and the subject,” Stoler says. These types of moving shots usually require a dolly, jib, or Steadicam.

Cut-ins/insert shots.

These close-up shots capture small details like a subject’s hands or feet. If a character looks at a text on their phone, the director might want to capture close-up camera angles of the phone screen. The cutaway, the opposite of the cut-in, jumps from the subject to something else, like from the startled expression on an actor’s face to a barking dog or from a ball crossing the goal line to fans cheering in the stands. Gathering types of movie shots like these can be useful for editing together multiple takes of the same scene.

Point-of-view shots.

Point-of-view shots can use various focal lengths depending on the desired effect. The filmmaker may employ handheld or stabilized camera movement to mimic natural head motion.

Dutch angle shots.

Dutch angle shots can be achieved with any lens. The key is to tilt the camera off its horizontal axis, typically by 15-45 degrees.

Bird’s-eye view.

Looking down from above, this aerial shot may suggest the smallness of the subjects below or the vastness of their environment.

Eye-level shots.

Eye level is the angle of everyday life. This nonjudgmental camera angle doesn’t have the same storytelling effect as shooting from above or below a subject. The Skyes avoid eye level in their work. “There’s no perspective,” Lane Skye says. “When you’re above a character looking down, they feel smaller,” Ruckus Skye adds. “They’re maybe not as confident or powerful. And if you look at any superhero, you’re always looking up at them. That’s a cliché, but you can do that on smaller levels and it’s more subconscious.”