A close-up or closeup in filmmaking, television production, still photography, and the comic strip medium is a type of shot that tightly frames a person or object.[1] Close-ups are one of the standard shots used regularly with medium and long shots (cinematic techniques). Close-ups display the most detail, but they do not include the broader scene. Moving toward or away from a close-up is a common type of zooming. A close up is taken from head to neck, giving the viewer a detailed view of the subject's face.
Most early filmmakers, such as Thomas Edison, Auguste and Louis Lumière and Georges Méliès, tended not to use close-ups and preferred to frame their subjects in long shots, similar to the stage. Film historians disagree as to the filmmaker who first used a close-up. One of the best claims is for George Albert Smith in Hove, who used medium close-ups in films as early as 1898 and by 1900 was incorporating extreme close-ups in films such as As Seen Through a Telescope and Grandma's Reading Glass. In 1901, James Williamson, also working in Hove, made perhaps the most extreme close-up of all in The Big Swallow in which his character approaches the camera and appears to swallow it. D. W. Griffith, who pioneered screen cinematographic techniques and narrative format, is associated with popularizing the close up with the success of his films. For example, one of Griffith's short films, The Lonedale Operator (1911), makes significant use of a close-up of a wrench that a character pretends is a gun. Lillian Gish remarked on Griffith's pioneering use of the close-up:
The people in the front office got very upset. They came down and said: "The public doesn't pay for the head or the arms or the shoulders of the actor. They want the whole body. Let's give them their money's worth." Griffith stood very close to them and said: "Can you see my feet?" When they said no, he replied: "That's what I'm doing. I am using what the eyes can see."[2]
Practical applicationedit
Close-ups are used in many ways and for many reasons. They are often employed as cutaways from a more distant shot to show detail, such as characters' emotions or some intricate activity with their hands. Close cuts to characters' faces are used far more often in television than in movies[citation needed] and are especially common in soap operas[citation needed]. For a director, deliberately avoiding close-ups may create in the audience an emotional distance from the subject matter[citation needed].
Close-ups are used for distinguishing main characters. Major characters are often given a close-up when they are introduced as a way of indicating their importance. Leading characters will have multiple close-ups. At the close of Sunset Boulevard (1959), the main character, a faded star under the delusion that she is making a triumphant return to acting, declaims melodramatically, "All right, Mr. DeMille, I'm ready for my close-up."
Close-up shots do not show the subject in the broad context of its surroundings. Low-budget films may use close-ups to avoid the expense of set construction. If overused, close-ups may leave viewers uncertain as to what they are seeing. Close-ups are rarely done with wide-angle lenses because perspective causes objects closer to the lens to be unnaturally enlarged. That may convey a sense of confusion, intoxication, or another unusual mental state.[citation needed]
Close-up typesedit
There are various degrees of close-up depending on how tight (zoomed in) the shot is. The terminology varies between countries and even different companies, but in general, these are:
Medium Close Up ("MCU" on camera scripts): Halfway between a mid shot and a close-up. Usually covers the subject's head and shoulders.
Close Up ("CU"): A certain feature, such as someone's head, takes up the whole frame.
Extreme Close Up ("ECU" or "XCU"): The shot is so tight that only a detail of the subject, such as someone's eyes, can be seen.[3]
Lean-In: when the juxtaposition of shots in a sequence, usually in a scene of dialogue, starts with medium or long shots, for example, and ends with close-ups.
Lean-Out: the opposite of a lean-in, moving from close-ups out to longer shots.
Lean: when a lean-in is followed by a lean-out.
When the close-up is used in the shooting, the subject should not be put in exactly the middle of the frame. Instead, it should be located in the frame according to the law of the golden section.
^Brown, Blain (2012). Cinematography: Theory and Practice, Image Making for Cinematographers and Directors. Burlington, Massachusetts: Focal Press. p. 21. ISBN9781136047381. Retrieved August 11, 2023.
^Lekich, John (October 24, 1986). "First Lady of the Silent Screen". The Globe and Mail.
^Ask The Cameraman: Shot Sizes: The Extreme Close-Up June 10, 2011, at the Wayback Machine
Sourcesedit
Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York: McGraw-Hill. ISBN0-07-331027-1.
External linksedit
Media related to Close-up shots at Wikimedia Commons
February 16, 2024
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For other uses see Close up disambiguation This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Close up news newspapers books scholar JSTOR May 2016 Learn how and when to remove this template message A close up or closeup in filmmaking television production still photography and the comic strip medium is a type of shot that tightly frames a person or object 1 Close ups are one of the standard shots used regularly with medium and long shots cinematic techniques Close ups display the most detail but they do not include the broader scene Moving toward or away from a close up is a common type of zooming A close up is taken from head to neck giving the viewer a detailed view of the subject s face Mexican actress Dolores del Rio in a closeup publicity photograph of 1961A close up of Cornus florida Contents 1 History 2 Practical application 3 Close up types 4 Example of close up 4 1 Close ups 5 See also 6 References 7 Sources 8 External linksHistory editMost early filmmakers such as Thomas Edison Auguste and Louis Lumiere and Georges Melies tended not to use close ups and preferred to frame their subjects in long shots similar to the stage Film historians disagree as to the filmmaker who first used a close up One of the best claims is for George Albert Smith in Hove who used medium close ups in films as early as 1898 and by 1900 was incorporating extreme close ups in films such as As Seen Through a Telescope and Grandma s Reading Glass In 1901 James Williamson also working in Hove made perhaps the most extreme close up of all in The Big Swallow in which his character approaches the camera and appears to swallow it D W Griffith who pioneered screen cinematographic techniques and narrative format is associated with popularizing the close up with the success of his films For example one of Griffith s short films The Lonedale Operator 1911 makes significant use of a close up of a wrench that a character pretends is a gun Lillian Gish remarked on Griffith s pioneering use of the close up The people in the front office got very upset They came down and said The public doesn t pay for the head or the arms or the shoulders of the actor They want the whole body Let s give them their money s worth Griffith stood very close to them and said Can you see my feet When they said no he replied That s what I m doing I am using what the eyes can see 2 Practical application editClose ups are used in many ways and for many reasons They are often employed as cutaways from a more distant shot to show detail such as characters emotions or some intricate activity with their hands Close cuts to characters faces are used far more often in television than in movies citation needed and are especially common in soap operas citation needed For a director deliberately avoiding close ups may create in the audience an emotional distance from the subject matter citation needed Close ups are used for distinguishing main characters Major characters are often given a close up when they are introduced as a way of indicating their importance Leading characters will have multiple close ups At the close of Sunset Boulevard 1959 the main character a faded star under the delusion that she is making a triumphant return to acting declaims melodramatically All right Mr DeMille I m ready for my close up Close up shots do not show the subject in the broad context of its surroundings Low budget films may use close ups to avoid the expense of set construction If overused close ups may leave viewers uncertain as to what they are seeing Close ups are rarely done with wide angle lenses because perspective causes objects closer to the lens to be unnaturally enlarged That may convey a sense of confusion intoxication or another unusual mental state citation needed Close up types editThere are various degrees of close up depending on how tight zoomed in the shot is The terminology varies between countries and even different companies but in general these are Medium Close Up MCU on camera scripts Halfway between a mid shot and a close up Usually covers the subject s head and shoulders Close Up CU A certain feature such as someone s head takes up the whole frame Extreme Close Up ECU or XCU The shot is so tight that only a detail of the subject such as someone s eyes can be seen 3 Lean In when the juxtaposition of shots in a sequence usually in a scene of dialogue starts with medium or long shots for example and ends with close ups Lean Out the opposite of a lean in moving from close ups out to longer shots Lean when a lean in is followed by a lean out When the close up is used in the shooting the subject should not be put in exactly the middle of the frame Instead it should be located in the frame according to the law of the golden section Example of close up edit nbsp nbsp Clickable image of the Luncheon of the Boating Party 1881 by Pierre Auguste Renoir The Phillips Collection Washington D C Place your mouse cursor over a person in the painting to see their name click to link to an article about them view discuss Close ups edit Luncheon of the Boating Party 1881 Details of the Women nbsp Aline Charigot nbsp Angele Legault nbsp Louise Alphonsine Fournaise nbsp Ellen Andree nbsp Jeanne Samary Luncheon of the Boating Party 1881 Details of the Men nbsp Alphonse Fournaise Jr nbsp Pierre Lestringuez nbsp Paul Lhote nbsp Jules Laforgue nbsp Antonio Maggiolo nbsp Gustave Caillebotte nbsp Charles Ephrussi nbsp Raoul BarbierSee also editMacro photography Micrograph Shot filmmaking References edit Brown Blain 2012 Cinematography Theory and Practice Image Making for Cinematographers and Directors Burlington Massachusetts Focal Press p 21 ISBN 9781136047381 Retrieved August 11 2023 Lekich John October 24 1986 First Lady of the Silent Screen The Globe and Mail Ask The Cameraman Shot Sizes The Extreme Close Up Archived June 10 2011 at the Wayback MachineSources editBordwell David Thompson Kristin 2006 Film Art An Introduction New York McGraw Hill ISBN 0 07 331027 1 External links edit nbsp Media related to Close up shots at Wikimedia Commons Retrieved from https en wikipedia org w index php title Close up amp oldid 1194721652, wikipedia, wiki, book, books, library,
