We have introduced the concept, definition, and functionality as well as limitations of fixed shots in a basic and common-sense manner. Now, we will analyze and discuss potential issues that may arise during the shooting of fixed shots, matters cameramen need to be mindful of, and general requirements.
(I) Pay attention to capturing dynamic elements to enhance the internal vitality of the frame.
Fixed shots are prone to being stiff and lifeless, often appearing flat and lacking energy. Therefore, when shooting fixed shots, it is important to capture active elements and incorporate dynamic factors, achieving a balance between stillness and motion. For example, Meihai Xing from Nanning mentioned that when filming a pond of spring water, one could include a few ducks swimming around, creating ripples and movement that bring the "dead water" to life. Additionally, incorporating human activity into fixed shots is an effective way to enliven static images. For instance, when capturing the scene of rolling wheat fields during harvest in the countryside, one could include a child herding cattle through the fields. We know that if a TV fixed shot lacks internal movement, it becomes no different from a photograph, easily giving viewers the impression of looking at a still image. When shooting fixed shots, we should avoid the effect of "stiff photos" and try to use any "live" or "dynamic" elements within the frame to make the fixed shot come alive.
(II) Pay attention to scheduling and representation in longitudinal space and depth direction.
If a fixed shot does not consider the selection and arrangement of foreground, background, and three-dimensional supporting elements, nor the height of people or objects along the vertical axis, the result can be a lack of subject matter and spatial sense. This requires us to purposefully extract line, shape, and color elements in the depth direction when choosing shooting directions, angles, and distances. Additionally, we should utilize the rhythm, intervals, and changes in light and shadow to create a sense of depth and "light space." For example, when filming a convoy traveling along a road, we can use diagonal composition by using the lines of the road and points of the cars to form an angle with the frame, extending into the depth direction. Another example is when an interviewee has to stand close to a wall for an interview. If conditions permit, we can add a news light from an oblique side to cast shadows on the wall, creating a sense of depth and space, avoiding the unappealing appearance of the interviewee seemingly "pasted" onto the white wall. Since fixed shots eliminate horizontal and vertical movements of the frame and background, insufficient scheduling and representation in the depth direction can make the fixed shot appear like a stagnant "sticker," failing to reflect the artistic beauty of TV images and making it difficult to complete the task of representing three-dimensional reality in a two-dimensional plane. Therefore, we should focus on selecting, extracting, and uncovering compositional elements in the depth direction to compensate for deficiencies in the horizontal and vertical dimensions.
(III) The shooting and editing of fixed shots should pay attention to the internal continuity of the lens.
This requirement is raised because connecting fixed shots involves many aspects and imposes high demands on the lenses. The "jump" commonly referred to when connecting images is a common mistake made by beginners. For example, if two fixed shots with little difference in framing but noticeable changes in the subject's actions are connected, the visual experience would be that the person being interviewed appears to "jump" abnormally, making the viewing experience very unpleasant. This requires considering post-editing connection issues during shooting. In the aforementioned situation, the relationship between different shots should be adjusted, such as connecting wide-angle fixed shots with close-up fixed shots, or medium shots with extreme close-ups, so the audience won't feel the "jump" during viewing. Experienced cameramen always shoot fixed shots from different angles and distances, paying attention to capturing various shots of the same subject from different positions and distances. This makes post-editing easier and increases the utilization rate of the shots. If the connecting relationship between lenses is not considered during shooting and each lens is treated independently, it can cause problems like incorrect axis relationships and difficulty in editing during post-production, sometimes even irreparable issues. Unlike moving shots where adjustments can be made continuously during the process, fixed shots can only be connected through the segmented images within their own frames and the transitional relationship between them. If the content connections and transitional relationships are disrupted, it can create many obstacles for viewers. For example, if a medium shot of the party involved is taken from an oblique side, then the camera crosses over the relationship line between the party and the journalist to take another medium shot from the other side of the axis, and these two fixed shots are connected, it might seem to show the party talking while the journalist listens. However, in reality, the viewer will be confused: how did the interviewer suddenly "turn into" the journalist? Issues like this "axis crossing" problem causing confusion in the fixed shots are important factors affecting post-editing. Of course, this is just a simple example. There are many different situations and things to note when connecting fixed shots, requiring cameramen to think and summarize more in practice and handle and express flexibly based on certain experience, rather than thinking everything is fine after handing it over to the editor. In fact, editing work begins with the cameraman. Especially when shooting fixed shots, attention must be paid to the continuity between lenses and the rationality during editing.
(IV) The composition of fixed shots must pay attention to artistry and visibility.
Nowadays, many people working in videography seem to have a bias, which is to move the camera as soon as they pick it up, resulting in shots that are all about pushing, pulling, panning, and tracking. However, once asked to shoot some fixed shots, they often exhibit various problems such as unclear framing, poor composition, messy frames, etc., indicating weak basic skills. It can be said that this aspect is a hidden danger hindering the perfection and maturity of our television art, and also a breakthrough point to change the current decline in videography skills. How well fixed shots are captured often reflects the basic quality and true level of a videographer. It is a comprehensive test of the videographer's composition techniques, modeling ability, aesthetic taste, and artistic expression. Relatively speaking, due to the motion and variability of moving shots, some composition issues can be somewhat concealed or the audience's attention diverted and scattered by external movements in the frame. But fixed shots don't allow that. Due to the stillness of the frame and the relative stability of the background, combined with the stability of the viewer's perspective, small composition flaws can be "magnified" in the eyes of the audience, potentially significantly interfering with the viewer's experience. Therefore, videographers must train hard from the beginning, especially focusing on shooting good fixed shots. From multiple levels such as visual image creation, light and color tone expression, and refinement of main and supporting elements, they should strengthen training and creativity to produce excellent fixed shots with exquisite composition, clear and accurate framing, prominent subjects, and condensed and focused information.
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