should be avoided unless panning is needed to show more  of  the  setting  or  to  help  increase  audience  interest in the film. An extreme long shot can be used to give the audience an overall view of the setting before the main action is introduced The use of an ELS is an effective way to capture audience interest from the start. Extreme long shots should normally be taken from a high vantage point, such as from a tall building, a hilltop, or an aircraft. Extreme long shots are used primarily in films and  are  seldom  used  in  video  productions. Long Shots A long shot (LS) shows the entire scene area where the action is to take place. The setting, the actors, and the props are shown with an LS to acquaint the audience with their overall appearance and location within the scene. An LS is used to establish all elements within the scene so the audience knows who and what is involved and where they are located An LS, therefore, tells where. It establishes where the action is taking place. The subject's entrances, exits, and movements within a scene should normally be shown with an LS when  their  locations  in  the  scene  are  significant. Following  actors  from  location  to  location  within  a scene area with closeup shots confuses the viewer about the  location  of  the  subject  within  the  scene. The composition for an LS is usually ‘loose,” giving room for the subject to move about. While this may make  identification  of  actors  somewhat  difficult,  an  LS is usually short and the subjects will be identifiable in closer  shots. Medium  Shots A medium shot (MS) is usually used between a long shot and a closeup shot. After the scene location has been established with an LS, the camera is moved closer to the main subject or a longer focal-length lens is used to bring the main element of the scene into full frame or near full-frame size. A medium shot tends to narrow the center of interest for the audience and answers the question  “what.” In an MS, actors are usually photographed to show them from the waist up. An MS is normally sufficient to show  clearly  the  facial  expressions,  gestures,  or movements of a single actor or a small group of actors. With an MS, movement of the subject can be followed with a pan or other camera movement while still showing enough of the surroundings so the audience does not become disoriented. Motion-media coverage should normally progress from a long shot, to a medium shot, to a close-up, then back to a medium shot. This reestablishes  the  scene  location  or  the  actors  within  the scene. Closeup  Shots The closeup shot (CU) fills a frame with the most important part of a scene. The CU should include only action of primary interest The portion selected of an overall scene, such as a face, a small object, or a small part of the action, may be filmed with a closeup shot. Close-ups give the audience a detailed view of the most important part or action within a scene. Close-ups also help to build audience interest in the film. The CU shot can be used to “move” the audience into the scene, eliminate nonessentials, or isolate a significant incident. As  a  motion-media  cameraperson,  one  of  the strongest storytelling devices you have are close-ups. Closeup  shots  should  be  reserved  for  important  parts  of the story so they deliver impact to the audience. Extreme  Closeup  Shots Very small objects or areas or small portions of large objects can be photographed with an extreme closeup shot (ECU), so their images are magnified on the screen. Small machine parts, such as calibrations on a ruler or a match at the end of a cigarette, can be very effective when shown on a full screen in an ECU. Do not forget, you must change camera angles between  shots  within  a  shot  sequence. CONTINUITY Motion  media  should  present  an  event  in  a continuous, smooth, logical and coherent manner. When this goal is reached, the film has good continuity. Continuity plays a major role in the success or failure of a  project.  Without  good  continuity,  a  motion  video would be nothing more than a jumbled mass of unrelated still-pictures. On the other hand, good continuity in a film encourages the audience to become absorbed in the film. Continuity then is the smooth flow of action or events from one shot or sequence to the next. Continuity is the correlation of details such as props, lighting, sound level, image placement, and direction of movement across  the  screen  between  successive  shots  of  the  same piece of action. The shooting of all motion media should be based on a shooting plan. This plan may be as simple as a few scribbled notes, or it can be an elaborate script. The better  the  shooting  plan,  the  better  your  chances  of success in achieving good continuity. Another way you can learn to create good continuity is to watch and 13-16