recuperacion sena

1. RECUPERACION SENA

2. Extreme Wide Shot
 the view is so far from the subject that he isn't even
visible. The point of this shot is to show the subject's
surroundings.

3. Very Wide Shot
 much closer to the subject than an extreme wide shot,
but still much further away than a wide shot. The subject
is visible here but only just (in this case it's a boy leaning
against the fence). The emphasis is very much on placing
him in his environment.

4. Wide Shot
 the subject takes up the full frame. In this case, the boy's feet
are almost at the bottom of frame and his head is almost at the
top. Obviously the subject doesn't take up the whole width and
height of the frame, since this is as close as we can get without
losing any part of him. The small amount of room above and
below the subject can be thought of as safety room — you
don't want to be cutting the top of the head off. It would also
look uncomfortable if his feet and head were exactly at the top
and bottom of frame.

5. Mid shot
 in film, a medium shot is a camera shot from a medium
distance. The dividing line between "long shot" and
"medium shot" is fuzzy, as is the line between "medium
shot" and "close-up". In some standard texts and
professional references

6. Medium Close Up
 A medium close up is between a medium shot and a close
up. It shows the face very clearly, without getting too
close. It is just a “softer” version of the close up, used
more in films than in television.

7. Close Up
 In film, television, still photography and the comic strip
medium a close-up tightly frames a person or an object.
Close-ups are one of the standard shots used regularly
with medium shots and long shots. Close-ups display the
most detail, but they do not include the broader scene.
Moving in to a close-up or away from a close-up is a
common type of zooming

8. extreme close up
 When you look at objects around you, you actually see
them in tunnel vision, focusing on just one detail at a
time. As you are reading this, you are probably unaware
of the surroundings of this text. To simulate this on
television, you need extreme close-up shots.

9. Cut-In
 This shot shows a part of the subject, or another object, in
detail. It can be used purely for editing (to insert between
similar shots), or to indicate an important element of the
story. Examples of a cut-in would be a person’s hand or a
coin on the ground.

10. Cutaway
 shot that's usually of something other than the current
action. It could be a different subject (eg. this cat when
the main subject is its owner), a close up of a different
part of the subject (eg. the subject's hands), or just
about anything else.

11. Two Shot
 There are a few variations on this one, but the basic idea
is to have a comfortable shot of two people. Often used
in interviews, or when two presenters are hosting a show.

12. Over the Shoulder Shot
 This shot is framed from behind a person who is
looking at the subject. The person facing the
subject should usually occupy about 1/3 of the
frame.
 This shot helps to establish the position of each
person, and get the feel of looking at one person
from the other's point of view.
 It's common to cut between these shots during a
conversation, alternating the view between the
different speakers.

13. Noddy Shot
 Common in interviews, this is a shot of the person
listening and reacting to the subject. In fact, when
shooting interviews with one camera, the usual routine is
to shoot the subject (using OSS and one-shots) for the
entire interview, then shoot some noddies of the
interviewer once the interview is finished. The noddies
are edited into the interview later

14. Point-of-View Shot
This shot shows a view from the subject's perspective. It is
usually edited in such a way that it is obvious whose POV it
is (see the example below).

15. Establishing shot
 in filmmaking and television production sets up, or
establishes the context for a scene by showing the
relationship between its important figures and
objects. It is generally a long- or extreme-long shot at
the beginning of a scene indicating where, and sometimes
when, the remainder of the scene takes place

16. Angle of shot
 The direction and height from which the camera takes the
scene. The convention is that in 'factual' programmes
subjects should be shot from eye-level only. In a high angle
the camera looks down at a character, making the viewer
feel more powerful than him or her, or suggesting an air of
detachment. A low angle shot places camera below the
character, exaggerating his or her importance. An overhead
shot is one made from a position directly above the action.

17. selective focus
 The trick is to use the selective focus technique - one of the
standard techniques used by professional photographers