Shot/Shot Reverse with different styles

Gohanto

Gohanto

Veteran
Hello,

I'm currently working out a dialog scene between two characters that I'm shooting with into basically standard shot/shot-reverse. However, does anyone know any good example of when the two shots have different styles to them? For example, one character is shot through camera on tripod, while the other is shot from a handheld camera?

It seems like not many movie do this, but I wasn't sure why (as it seems like a simply and subtle way to say things about characters). So does anyone have good examples of this being done or possibly an explanation of why it's not done very often?

Thanks.
 
Not exactly what you're talking about, but there is a scene in the Ocean's Eleven remake where Clooney and Roberts are having a discussion while seated in resturant. The angle used for the shot-shot was slightly skewed one from the other. It always caught my eye, but never gave much thought to it before.
 
One technique is to vary the framing, angle, and closeness of the shots. For instance, if one character A is shot CU centered, but not OTS, and character B is shot CU OTS on thirds, it might indicate that A is intimidating B, since B's framing is crowded by the OTS, but A has a clear frame.

I've seen variations of this, such as A is more important so has a close CU than B, etc.

There is certainly no need to have the two shots basically identical in framing, focal length, etc. If there is a subtle way to tell the story through the shot, go for it. It shows a lot of forethought and attention to detail.
 
I should clarify....If you shoot one person from a mount, tripod, dolly etc. and one person hand held it would be very distracting in my opinion. To shoot people from different angles they do that all the time. One maybe on a "dirty two" and another at an up angle.
 
any lack of unity is going to be a distraction. cross cutting between locked down shots and destablized shots will result in a discontinuity of form. which can be right in certain circumstances. you might be able find an example of this in Natural Born Killers, but I can't point to anything specific.
 
Agreed, albeit since the distraction represents a Point Of View on a reverse shot, the viewer senses the emotional feeling of the subject viewing the object - possibly involving angles, stability, distraction, reverse pans, dollys, or even physiology (heart beat, breathing, head movement, etc). So the so-called "distraction" might even be used to provide POV continuity. Let's say the subject has a noticable tic or tell, maybe an intermitent knee bend, sideways neck tilt, submissive downward glance, etc - tracking these gestures with the handheld provides continuity to the viewer by transmitting these feelings to the viewer.

Regards, Michael
 
Other than camera work, often the characters are lit differently. Gohanto I know you've already seen Hollywood Camera Work so I am not going to go over what you already know.
 
I would agree with moonlitnite, that what you can attempt is for the viewer to sense the emotional feeling. A good example of this is the recent film, "Children of Men." Look at the early dialogue between Michael Cain and Clive, some of it is shot reverse, as Medium shots, but other parts cut between a single MS of Clive, and a dirty two. All is handheld, and whats more you really feel the dialogue, and don't notice the camera.
Good luck
 
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