These days it feels like everyone is trying to make the most cinematic video ever. And it's really nice to make something that looks cinematic, but there is something way more important. You know, before I started YouTube, I ran my video agency for years.
And during that time I saw every side of the process, and after seeing every side of it through filmmaking and now through YouTube, I realized that it's not just about bigger and more cinematic, but there's something way deeper that makes stories work. And it starts with simple shots and using them the right way. So today I'll break down the only nine shots you really need to tell almost any story with.
And at the end of the video, I will also give you a couple of extra shots. You can play with to really make your videos more creative. So let's start with the foundation.
The first shot, the wide shot. So it's really hard to tell a story without any wide shots, because most of the times a wide shot is how you show where we are. You know, before jumping into close ups or movement, you want to give people a moment to understand the world they're in.
Unless, of course, your story wants that to be a surprise later. A wide shot also helps you to show scale. When someone looks small in a big landscape that can really feel like an adventure, but it can also feel like loneliness.
Like in this scene, for example, it feels like freedom because we're going somewhere and it's playful, but here it feels more like I'm alone, So it's the same kind of shot, but it's a different feeling. So whether you're setting the scene or you're creating a feeling, a wide shot is usually a really solid way to pull people into your story. The medium shots that's usually framed from the waist up.
So it's kind of what you're looking at now. And it's wide enough to still feel the environment, but it's close enough to see what someone’s actually doing. And because you still see the body and the face, it's a great balance between emotion and context.
In this shot, for example, where I'm working on the computer, you can still see a bit of the room around me, but also what I'm focused on. And here you get a bit of my expression, but you also see the action and quite some space around me actually. So it works really well, right after a wide shot, when you want to move in a little closer and show the character more clearly without going straight to a close up.
So yeah, the medium shot is kind of the sweet spot between not too close and not too far. So it's just right when you want people to connect both with the character and what's happening around them, or what he or she is doing. Of course, we have to talk about the close up shot, because that's where we really focus in on something.
It could be a face or, any object or anything you really want the viewer to pay attention to. So it's also great for showing raw emotion. Like in this example shot.
I'm thinking, I'm not too happy. And you notice that, or here where I'm reacting a little bit surprised and you immediately feel more connected when you're that close to someone's face. But close ups are also perfect for showing important actions, like when you're clicking on a mouse.
And it's a really important part of the story. It could be really powerful to show this in a close up show. You really know that it's it's a moment that matters to the story.
And the closer you go the more tension or the more focus you can create. So when you see a closeup of someone's scared face, you automatically lean in as a viewer because you feel something is about to happen. So yeah, close ups are really about guiding the viewer's attention to something.
And most of the times they really tell us this right here matters. an over the shoulder shot is actually exactly what it sounds like. So it’s the camera placed behind the character so that we can see over their shoulder what they're looking at.
It's used a lot for, when people are having conversations because it feels really natural. It feels like you're standing in the room with them. But it's also very useful when someone's focused on something like you're working on a computer, writing or looking on a map or whatever.
So that the audience sees what the character also sees and how or what he's interacting with. So in this example, you see me looking at a computer screen and it feels like I'm really working on it. You can also choose how tight to frame it.
So if you move closer to the shoulder, You push more focus onto the object that the character's looking at, and it becomes less about the character and more about what they're doing. So it's a pretty simple shot, but it's a really effective way, I think, to make feel everything more immersive, because you're not just showing the object, you're showing it kind of through the character's eyes. So the next shot is used to REALLY show something through the eyes of the character.
So what you're seeing as the audience is exactly what the character is seeing, and it's really great when you want the viewer to really feel what it's like to be in that moment, like seeing through someone's eyes or being right in their place. So in this example, it's my view. I'm looking at the phone and it feels like you're the one holding the phone and if you want to make that feeling really clear, it helps to also show the character looking straight into the camera, because that way we understand both sides.
So like this, the camera becomes the phone because I'm looking straight into the lens. , t feels like you're seeing me from the phone's perspective. And the other way around, as well.
And the other way around and the other way around. So, yeah. Point of view shots, they're pretty simple.
But when you use them well, they can really make your viewer feel like they're really inside the moment. by the way, if you also want a simple overview of all of these shots that I'm talking about and how to shoot them, including how to shoot them solo, I've created something for that to help you, but I'll get back to that at the end of this video. Let's first continue with the next shot.
A tracking shot is when the camera follows the subject while they move. So it can really give a feeling of movement. Like the story is progressing somewhere and you, as the viewer is staying with the character and not just watching them from a distance.
So that can be really dynamic. For example, in this scene where I'm running somewhere. But it can also be really slow and calm, and it doesn't have to be running.
You often see these kind of shots when someone is going on a journey or when something is about to happen, like they're chasing something or moving towards a place or a decision and it doesn't have to be fancy, like you don't need a gimbal. You could even just hold your camera steady while you're walking yourself. And it can give that same feeling.
So yeah, tracking shots, they're really a great way to make your story feel alive and give your viewer a sense of movement or change. So in this shot, the camera doesn't move, but the subject does. So you let the character walk into the frame, through it, while keeping the shot completely still.
And it's a really simple way to show some progression without really needing to track or follow the subject. So it's a lot easier to make, and it can feel really calm, like the character is just moving from one moment to the next. But it can also feel like he's drifting through the scene.
For example, in this scene, I'm walking past the camera and it feels pretty quiet, Or in this shot where I'm stepping into the frame, not really sure where the hell I am, and the movement just really gives some meaning to it. But the camera doesn't have to do anything, it's just staying there. So I think it's a really great way to show the natural movement without having to overcomplicate the shot.
Push and push out shots. So this is when the camera slowly moves in or out on the subject. push in is great when you want to build some sort of emotional pressure or show something important that's about to happen.
Like this moment, I'm really nervous just before taking action and moving the camera closer makes it feel really more intense. But to pull out does exactly the opposite. It can create space.
like here, after I click upload on my first YouTube video, we were really close before we saw all these close shots, but now we're pulling back. And that really gives that feeling of release and we’re releasing the tension like the tension is over or the moment is behind us. this is also something you can create with the gimbal, but also you can just put the camera on a tripod And then later in the edit, zoom out or zoom in in the edit.
So yeah, push ins and push outs are really great for your storytelling. I think. the walk away shot.
It's just a name that I came up with. But this is a shot where the character walks away from the camera or leaving the frame, or just disappears into the distance. And I think it's a really simple way to show closure, like the character is done with this place or the scene is done, or the character is ready to leave something behind.
So let me give you an example, because in this shot, I'm walking through the desert. All the time, we've seen all these shots of me walking through the desert, but now I'm walking out of frame and that is exactly where the scene ends. And because I'm putting this shot in there, it feels like the scene ends there.
Or here, I'm running away and I’m not running fully out of frame. But the focus is clearly on the fact that I'm moving on, that I'm going somewhere. it naturally feels like the moment is over.
And we as a viewer, if you're watching it, it also feels like you are being left behind too. So yeah, I, I usually shoot this a bit wider so you can really feel the space and the distance as the character is walking out of it. so, I think it's a quiet way to end a scene, but it's also a really powerful one because it gives the viewer a moments to breathe and to reflect.
So if you want a clear overview of all these 9 shots and some extra tips on how to actually film this, even if you're working solo, I've put together a free guide that you can download. There's a one page visual overview, and then each shot has its own page with simple how to tips and examples. And I've also added a few extra creative shots in there to experiment with.
So let me tell you about my two favorite ones. This is when the camera is placed higher or lower than the subject. And even with that small shift, it can really change how the whole scene feels.
A high angle looking down on the character can make the character really feel smaller or more vulnerable or unsure. Like in this example. I'm talking to the camera and I'm being really honest at this moment, so I just felt like this angle made sense for that because I want to be vulnerable and a low angle does the opposite.
It looks up at the character, which can make the character feel more powerful or more confident, or sometimes even a little bit intimidating. For example, in this scene I was feeling confident and I'm getting in frame and the low angle just really helps, underlining that I feel confident And of course, like any of these shots, you don't have to follow any strict rules because sometimes I just use a higher or lower angle because it just feels more interesting, or just because I want to give a new perspective to the scene. But if you really want to shift how your viewer feels about the character, playing with these angles is really one of the simplest ways to do it.
So this shot is really one of my favorites. And it's got a weird name and it's called Snorricam Shot. This is when they usually mount a camera on your body or in front of your face.
So that means however you're moving, the camera will stay at the same place, so the background will always move very wildy. And this creates a really, really weird immersion like, it's perfect for chaos or confusion. I've got an example in this scene where I'm totally overwhelmed, not sure what to do with how I feel and the Snorri cam just really captures that inner chaos in a really physical way, I think.
And I don't know, it's not something you should use all the time, but for certain moments it really puts the viewer right inside of your head. So those were the nine shots and a couple of creative ones I like to play with when it feels right. And just to be clear, these aren’t rules.
You know, you can use shots however you want, whenever you want. It's it's a creative game. So what matters is, is following your gut and trying things out and figuring out for yourself what fits your story best.
So if you need some guidance, you want the shot list guide. I was talking about the link is in the description, and also please let me know in the comments if this was helpful, or if you would like me to create more of this kind of, stuff. Because this video is a little different from what I've been making so far, but I really enjoyed making it.
So yeah, let me know, please. I hope this helps and I hope it gets you creating. So those were the nine only shots you need.
And seriously, I keep coming back to them because they're so simple. They're flexible, and they're still powerful enough to tell almost any story with.
