电影是由连续镜头组成的。这些连续的镜头又是由一个个场景组成的。而单个场景是由一系列镜头组成的。所以了解每一个镜头的特点和它对于我们讲故事的价值在哪里，就显得尤为重要了。

Shot choices help establish the rhythm, tone, and the meaning of the scene. Knowing which shot will be the most aesthetically and dramatically valuable for a given scene should be the highest priority for both a director and a DP.

镜头的选择有助于我们建立影片的节奏、调性和场景。对于导演和摄影指导来说，最重要的是要知道在给定的场景中，哪一个镜头是最具美学价值和戏剧价值的。

Establishing Shot 定场镜头 常用于建立时间和场景（交代地点），人物主体在场景中是否可见不重要。表现环境和主体之间的关系。

Master Shot 主镜头/固定镜头  确定场景的地理位置，展示清楚哪些角色在场景中，以及相互的人物关系是怎样的。

Wide Shot 广角镜头 画面中主体完整（从头到脚），但是不完全填充画面，用以表现环境和主体之间的关系，烘托气氛和营造感受。

Full Shot 全景 画面中主体完整（从头到脚）的填充画面，一般用以表现运动和环境。

Medium Full Shot/Cowboy /American Shot，常见于美国的西部片中，是中景的一种变形。将镜头距离拉到膝盖以上的部分，为了表现佩戴于大腿的枪套和帅气的拔枪动作。

MLS-Medium Long Shot 中远景 又称为 3/4 景别，其介于全景和中景之间，主体从膝盖以上的部分被画面捕捉到。

Medium Shot 中景主体腰部以上的部分被画面捕捉，这是电影的常见镜头之一。它能够让观看者的注意力放在画面主体上，但是同时也能够表现一些环境元素

Medium Close Up Shot 中近景 介于中景和特写之间的景别，一般是从人物主体的胸部或者肩膀开始。

Close up 近景 用人物主体的头部或者脸部来填充画面，使镜头紧紧抓住角色，一般用来重点表现角色的情绪和细微动作。

Extreme Close Up Shot 特写 对人物主体的部分进行特写来填充画面，用于极端情绪的表达。而只针对于眼部的特写镜头有时候也被称为“Italian Shot”。

Choker 项链景别 用人物主体脖子上所带项链往上的部分来填充画面，进一步放大人物的情绪，渲染故事气氛。

（以上部分镜头介绍紫色标注不在今天介绍的范围内）

The most common visual element to open a scene or even an entire film is the “Establishing Shot”. It is typically wide enough to establish the geography. Time of day. Show the scale of subjects in relation to their environment. And is often used to transition between scenes. Which genres like science fiction. Where entirely new world need to be introduced. Establishing shot is crucial. “Blade Runner 2049”opens with a series of establishing shots.

最常见的场景，或者说整个电影的视觉元素是定场镜头。它通常足够宽以实现一定的画面区域。用以显示主题的规模和周边的环境。并且它经常会被用于场景之间的转换。像很多科幻类型的作品，它们常常需要引入一个全新的世界。这个时候，定场镜头就非常重要。比如《银翼杀手2049》就是以这样一系列经典镜头开场的。

We get first impressions of near-future Earth with industrial and futuristic farms outside the city. So remember, an establishing shot is a crucial introductory component of any scene. It can mark a transition to a new location or introduce crucial details about the location world.

我们对未来地球的第一印象就是城市外的工业化和未来主义风格的农场。所以你只要记住，定场镜头是任何场景的一个关键的介绍性组成部分。它可以标志着向一个新地点的过渡，或者介绍关于地点世界的重要细节。

The establishing shot is often followed up with a “Master Shot”. Or simply the “Master ”. Like the establishing shot, a master shot confirms the location and geography of the scene. It also clarifies which characters are in the scene and where they are in relationship to each other. 

定场镜头之后通常会有一个“主镜头”（固定镜头）。它就像定场镜头一样，主镜头确定了场景的地理位置。它还可以展示清楚哪些角色在场景中，以及相互的人物关系是怎样的。

Here we see a master from “The Godfather:Part 2” framing the Corleone family around the dinner table. The majority of this scene is played in the master to emphasize the family’s close-knit relationship. Until Michael drops some devastating news. But it also helps make Michael split from the family visual. From this.. to this. And we feel the emptiness around him that much more. Remember , the master captures the scene playing out in its entirely providing the editor with something to cut out to, if necessary.

这里我们看到了《教父2》里的一个主镜头，它展示的是考利昂家族围在餐桌旁。这个场景的大部分都是在用主镜头强调家庭的紧密关系。直到迈克尔透露了一些毁灭性的消息。但这也有助于迈克尔从家庭形象中分离出来。从这个. .到这个。我们就更能感受到他周围的空虚。所以，主镜头会捕捉到场景的全部内容，并为故事的表达提供一些必要的剪切帮助。

Moving on ,”Wide Shot”(WS)

The wide shot positions subjects far from the camera to visually represent their relationship to their environment. This is distinct from the establishing shot, which is about location. The wide shot is principally concerned with the scale of the subject. It can be used when you need to make subject appear lost. Lonely or overwhelmed. Or comment on a subject’s relationship to their environment. In this wide shot from “Phantom Thread”we can see the characters Alma and Reynolds dwarfed by a messy ballroom. Paul Thomas Anderson could have ended the scene with close-up to capture their character’s emotions. But by ending with a wide shot here. Wen can consider Alma and Reynolds together, yet isolated from the world around them. Use it when you need to establish the special relationships of the subjects. Make statements using distance, depth or size.

广角镜头的拍摄位置使拍摄对象远离摄像机，从而在视觉上表现出他们与环境的关系。这是不同的定场镜头，它是关于位置的。广角镜头主要与拍摄对象的尺度有关。当你需要使主体看起来有点“迷失”感的时候你可以使用它。比如孤独或者不知所措这种。或者是你需要表现故事主体与环境的关系。在这《魅影缝匠》这部电影的的广角镜头中，我们可以看到Alma和Reynolds在凌乱的舞厅中显得矮小。保罗·托马斯·安德森(Paul Thomas Anderson)本可以用特写镜头来结束这个场景，用以捕捉角色细腻的情感。但是他反而以一个广角镜头拍摄结束。这样的画面可以表现出两位主人公彼此相依但却又与世隔绝之感。所以，当需要讲述与故事主体的特殊关系时，你就可以使用镜头的距离、深度或大小来帮助你更好的表现它们。

Our next subject “Full Shot”(FS) 

When a subjects entire body reaches from the top to the bottom edges of the frame, the shot is defined as full. With a full shot it’s not necessary to put the subject in the center of the frame, but notice how often this is the case. The example is effective. Because it is tight enough to tell a story with the character’s face, but wide enough to further the story by observing her entire body, posture, and wardrobe. So remember, a full is composed head to toe, and you can use them when you need to make statements about a subject’s physicality and present a character in all their glory.

当拍摄对象的整个身体从框架的顶部到底部边缘时，就被定义为“全景镜头”。在一个完整的镜头里，我们没有必要把拍摄主体放在画面的中心。现在这个例子很好。因为它足够紧凑，可以用人物的脸来讲述故事，但又足够宽广，可以通过观察她的整个身体、姿势和服装来进一步推进故事。所以，当你需要陈述一个主体的身体特征并呈现一个人物的所有亮点时，你可以使用全景镜头。

Moving on, “Medium Full Shot”(MFS)/Cowboy

The medium full shot is arranged from the top of the subject’s head to just below their waist. It is sometimes referred to as a Cowboy Shot based on the height of gun holsters. Here we can see complementary angles from “The Favorite” composed in medium fulls. The cowboy angle on the character Lady Sarah is particularly strong and confrontational. This isn’t a western and features no holsters, but it’s hard not to think of cowboys when firearms are deployed like this. Use it when you need to present a subject as confident, dangerous or confrontational. Especially when weapons might be drawn.

中远景镜头是从拍摄对象的头部到腰部以下。它有时被称为牛仔景别。在这里，我们可以看到从电影《宠儿》的互补角度组成的这个中远景镜头。对Sarah女士这个角色的牛仔视角尤其可以表现出强烈感和对抗性。这不是一部西部片，也没有枪套，但当这样设置镜头的时候，很难让观众不联想起牛仔。所以，当你需要表现出自信、危险或对抗性时，就可以使用中远景的镜头。特别是在可能会动用武器的时候。

Next subject “Medium Close Up Shot”(MCU)

When a shot frames a subject from mid-chest to just above their head, it is referred to as a medium close-up. Medium close-ups are about reducing distraction and prioritizing story and character details. When you need to get intimate with a subject without losing their physicality. Here the villainous Thanos snaps his fingers during the climatic moments of “Avengers:Endgame”. With this shot size we have room for the infinity gauntlet. And Thanos’s look of cruel satisfaction is thinking , he is one. But when he fails, this medium close-up shot is designed to also capture his reaction. Remember, a medium close-up is roughly head to chest. Are you ready for it?

当一个镜头从拍摄对象的胸部到头部上方时，这被称为中近景特写镜头。中近景特效镜头的作用减少注意力分散和优先考虑故事和人物细节。比如，邪恶的灭霸在《复仇者联盟:终局之战》里时刻打响指的部分。有了这样的镜头，我们就可以更好的展示灭霸的手套了。通过灭霸残忍而满足的表情我们可以感受到它唯我独尊的心态。但当他失败时，这个中近景特写镜头也很好的捕捉到了他的反应。

“Close up”(CU)

Of course, the most powerful visual weapon for highlighting a change in emotion or dramatic beat on screen. Close-ups are most often arranged at eye level better to dig into the windows of the soul. In this shot size we have a front-row seat for a character’s thoughts and feelings. The close-up is about empathy and illustrates how dramatically effective it can be in a time of decision or anxiety. 

近景镜头是可以在屏幕上表现情感变化或戏剧性的节奏的最有力的视觉表现。近景镜头通常被安排在与眼睛平齐的位置，以便更好地深入心灵之窗。在这个镜头中，我们可以直接看到角色的想法和感受。这个特写是关于同理心的，它说明了同理心在做决定或焦虑的时候是多么有效。

Our final category “Extreme Close Up Shot”(ECU)

An extremely close up shot frames a subject to isolate a specific area. This could be lips, ears or nose. But eyes are typically the focus. Like here in “Kill Bill”. As the Bride is swarmed by Crazy 88, we cut back and forth between their entry points and her frantic eyes. But when the function of a specific prop or an intimate detail is necessary filmmakers will often rely on the insert shot. Inserts are most commonly used to highlight and isolate something crucial to the narrative. So remember, an extreme close-up or an insert shot is one of the greatest tools for emphasis. It is the most intimate, dramatic and potentially startling of all shot sizes.

特写镜头是极近距离拍摄主体，并且使被拍摄对象隔离在特定区域内。它可能是嘴唇，耳朵或鼻子。但眼睛通常是被特写最多的部分。就像《杀死比尔》里那样。当Bride被疯狂的一群人包围时，我们可以看到在他们的闯入点和她疯狂的眼睛之间来回切换。但是，当需要特定道具的功能或细节时，电影制作人通常会依赖插入镜头。插入最常用于突出和隔离对叙述至关重要的内容。所以，近距离特写或插入镜头是强大的镜头工具之一。它是所有镜头中最亲密，最具戏剧性的。