Production Processes in Film

1. Camera works

Camera work in film production refers to the techniques and methods used to capture images on

film or digital media. It plays a crucial role in storytelling, helping to convey emotion, establish

the mood, and guide the audience's attention.

The screen business comprises all creative and business related aspects and processes of film,

television and new media content, from concept to production and finally distribution. A value

chain model for the screen business consists of four major phases: development, pre-production,

production, and post-production (Clevé, 2006). Whether it is a live action drama with actors, a

documentary or animation, the production period is generally the most expensive in screen

business. It is during production that the majority of cast and crew are contracted and the

majority of the equipment and resources are utilized. A production can be as short as a day, or

last several years. During each shooting day, a number of activities such as acting, visual effects,

camera and sound recording can be performed in studio or on location. Whilst shooting is taking

place, designated onset crew collect the information associated with each of these activities via

corresponding production forms. For example, the Camera Assistant is responsible for filling in

the camera sheet with details of each shot recorded while the Sound Recordist will complete a

corresponding sound sheet of all dialogue or effects recorded on set. This information is later

gathered and collated by the production offer to generate the daily progress report. The

production office also monitors requirements for the subsequent shooting days and

communicates this information prior to the start of the next shooting day. Traditionally the forms
and reports are primarily paper-based and the production of these documents is a highly manual

process. For the past few years, the film production crew has adopted software tools such as

the key aspects of camera work in film production:

1. Shot Types

 Wide Shot (WS): Captures a broad view of the scene, often establishing the setting or location.
 Long Shot (LS): Shows the full body of the subject from head to toe, with the background visible.
 Medium Shot (MS): Frames the subject from the waist up, focusing more on the subject than
the background.
 Close-Up (CU): Focuses tightly on a subject, such as a person's face, to highlight detail and
emotion.
 Extreme Close-Up (ECU): Shows a very tight framing, often just a part of the subject, like an eye
or a hand, to emphasize specific details.
 Over-the-Shoulder Shot (OTS): Shot from behind a person, over their shoulder, typically to
focus on another subject in the scene.

2. Camera Angles

 Eye-Level: The camera is positioned at the subject’s eye level, creating a neutral perspective.
 High Angle: The camera looks down on the subject, often making them appear vulnerable or
small.
 Low Angle: The camera looks up at the subject, often making them appear powerful or
imposing.
 Dutch Angle: The camera is tilted to one side, creating a sense of unease, tension, or
disorientation.
 Bird’s-Eye View: An overhead shot from a high angle, looking directly down on the subject,
often used to give a sense of scale or context.

3. Camera Movements

 Pan: The camera moves horizontally from left to right or right to left on a fixed axis.
 Tilt: The camera moves vertically up or down while remaining in a fixed position.
 Dolly: The camera moves closer to or further away from the subject, often mounted on tracks.
 Tracking Shot: The camera follows a moving subject, often mounted on a dolly or handheld.
 Crane/Jib Shot: The camera is mounted on a crane or jib, allowing for sweeping, dynamic
movements up and down or across a scene.
 Zoom: The lens is adjusted to increase or decrease the magnification of the subject, creating the
illusion of moving closer to or further from the subject.
 Handheld: The camera is held by the operator, creating a shaky, more immediate or intimate
feel.
  Steadicam: A stabilizing system that allows for smooth handheld shooting, often used for
dynamic or complex camera movements.

4. Focus Techniques

 Deep Focus: Both the foreground and background are in sharp focus, allowing viewers to see
everything in the scene clearly.
 Shallow Focus: Only a specific part of the image is in focus, usually the subject, while the rest is
blurred, drawing attention to the subject.
 Rack Focus: The focus shifts from one subject to another within the same shot, guiding the
viewer’s attention from one part of the scene to another.
 Soft Focus: The image is deliberately blurred or softened to create a dreamlike or nostalgic
effect.

5. Framing and Composition

 Rule of Thirds: The frame is divided into a 3x3 grid, and key elements are placed along these
lines or at their intersections to create a balanced and visually appealing composition.
 Leading Lines: Lines within the frame (such as roads, buildings, or light) are used to direct the
viewer’s eye toward the subject or focal point.
 Headroom: The space above the subject’s head in the frame, which needs to be balanced to
avoid cutting off the head or leaving too much empty space.
 Look Room/Lead Room: The space in front of a subject who is looking or moving, providing a
sense of direction and movement.
 Symmetry: The balanced or mirrored placement of elements within the frame, often creating a
harmonious or formal visual effect.

6. Lighting and Exposure

 Key Lighting: The primary source of light on the subject, determining the overall exposure and
shadow.
 Fill Lighting: Used to soften shadows created by the key light, reducing contrast.
 Backlighting: Positioned behind the subject, creating a silhouette or highlighting the edges of
the subject.
 Natural Lighting: Using sunlight or existing light sources for a more realistic and organic look.
 Low-Key Lighting: Produces high contrast and deep shadows, often used in dramatic or moody
scenes.
 High-Key Lighting: Produces bright, even lighting with minimal shadows, often used in comedies
or light-hearted scenes.

7. Special Techniques

 Time-Lapse: The camera captures images at specific intervals over a long period, showing
changes in a scene at an accelerated pace.
 Slow Motion: The action is filmed at a higher frame rate and played back at a normal speed,
creating a slow-motion effect.
  Fast Motion: The action is filmed at a lower frame rate or played back at a faster speed, creating
a fast-motion effect.
 Split Screen: The screen is divided into sections, showing multiple images or perspectives
simultaneously.
 Point of View (POV): The camera is positioned to show what a character is seeing, immersing
the viewer in their perspective.

These camera work techniques are essential in shaping the visual storytelling of a film, helping
to convey the director’s vision and guide the audience’s emotional and intellectual engagement
with the narrative.

Framing a shot using a Panasonic Lumix GH5 G series camera

Framing a shot using a Panasonic Lumix GH5 G series camera involves a series of steps to
ensure the composition, focus, and exposure are properly set for cinematic storytelling. Below is
a detailed procedure:

1. Set Up the Camera

 Mount the Camera: Place the Lumix GH5 on a tripod or stabilizer to ensure steady shots. For
handheld shots, ensure you have a firm grip to minimize shake.
 Power On: Turn on the camera by switching the power button to the "ON" position.
 Lens Selection: Attach the appropriate lens for your shot. Wide-angle lenses are ideal for
establishing shots, while prime lenses are often used for close-ups due to their superior depth of
field.

2. Configure Camera Settings

 Set Resolution and Frame Rate:

o Go to the camera's menu and select the desired resolution (e.g., 4K, 1080p) and frame
rate (e.g., 24fps for a cinematic look, 60fps for slow motion).
 Adjust Picture Profile:
o Choose a picture profile that suits the look of your film. The "Cinelike-D" profile is
popular for its dynamic range, or use "V-LogL" for maximum flexibility in post-
production.
 Set ISO, Aperture, and Shutter Speed:
o Use the dial to adjust ISO sensitivity based on lighting conditions.
o Adjust the aperture to control depth of field (e.g., a lower f-stop for shallow depth of
field).
o Set the shutter speed to match your frame rate (e.g., 1/50s for 24fps).
 Enable Focus Peaking and Zebras:
o Focus Peaking helps in manual focusing by highlighting in-focus areas.
o Zebras indicate areas of the frame that are overexposed, helping you adjust exposure.
3. Compose the Shot

 Use the Rule of Thirds:

o Turn on the grid display to assist with the Rule of Thirds, positioning your subject along
the intersecting lines for balanced composition.
 Frame the Subject:
o Adjust the zoom or move the camera to frame your subject according to the shot type
(e.g., close-up, medium shot).
o Ensure headroom, lead room, and look room are appropriately set based on the
subject’s positioning and movement.
 Check Background and Foreground:
o Make sure the background complements the subject without distracting from it. Also,
consider including or excluding elements in the foreground for depth.

4. Focus and Depth of Field

 Set Focus Mode:

o Switch to manual focus for precise control, especially in controlled environments like
film sets.
o Use focus peaking to ensure your subject is sharp.
 Adjust Depth of Field:
o Adjust the aperture to achieve the desired depth of field. A lower f-stop number (e.g.,
f/2.8) will create a shallow depth of field, blurring the background, while a higher f-stop
(e.g., f/11) will keep more of the scene in focus.

5. Lighting and Exposure

 Check and Adjust Exposure:

o Use the built-in histogram or zebras to monitor exposure. Ensure the highlights are not
overexposed and the shadows retain detail.
 White Balance:
o Set the white balance according to the lighting conditions (e.g., Daylight, Tungsten,
Custom).
 Adjust Lighting:
o Position your lights to enhance the subject’s features and match the scene’s mood. Use
key lights, fill lights, and backlights as needed.
o Adjust exposure settings (ISO, aperture, and shutter speed) to match the lighting setup.

6. Frame the Shot

 Final Composition Check:

o Double-check your framing in the viewfinder or on the LCD screen. Make sure the
subject is positioned as intended and the composition aligns with your cinematic vision.
 Check for Visual Distractions:
o Look for any unwanted elements within the frame and adjust the composition or
remove the elements from the scene if necessary.
7. Record the Scene

 Final Focus Adjustment:

o Re-check focus before recording, especially if the subject or camera has moved.
 Press Record:
o Start recording by pressing the record button.
 Monitor the Shot:
o Keep an eye on the shot as it’s being recorded, monitoring for any issues like focus drift,
exposure changes, or unwanted movement.

8. Review and Adjust

 Review the Footage:

o Playback the recorded scene to ensure the framing, focus, and exposure are as desired.
 Make Adjustments:
o If necessary, adjust your settings or framing and re-shoot the scene.

By following these steps, you can effectively frame your shots using the Lumix GH5 G series
camera, ensuring that your movie captures the visual storytelling you intend.

Different types of Cameras and their lenses

Cameras and their lenses are fundamental tools in photography and cinematography, with each
type offering unique features tailored to specific shooting requirements. Here’s an overview of
the main types of cameras and lenses used in film and photography:

Types of Cameras
1. DSLR (Digital Single-Lens Reflex) Cameras

 Description: DSLRs use a mirror mechanism to reflect light from the lens up into an optical
viewfinder. When the shutter button is pressed, the mirror flips up, allowing light to hit the
image sensor.
 Uses: Popular for both photography and videography, DSLRs are known for their versatility,
robust build, and wide range of interchangeable lenses.
 Examples: Canon EOS 5D Mark IV, Nikon D850.

2. Mirrorless Cameras

 Description: Unlike DSLRs, mirrorless cameras do not have a mirror mechanism. Instead, light
passes directly from the lens to the image sensor, and the image is displayed on an electronic
viewfinder (EVF) or the LCD screen.
  Uses: Favored for their compact size, fast autofocus, and advanced video capabilities, mirrorless
cameras are increasingly popular in both professional and amateur markets.
 Examples: Sony Alpha a7 III, Panasonic Lumix GH5.

3. Cinema Cameras

 Description: Cinema cameras are specialized for film production, offering advanced video
features, superior dynamic range, and high-resolution recording. They are typically modular,
allowing for extensive customization.
 Uses: Used in professional filmmaking, these cameras are designed for high-end cinematic
production, often with capabilities for 4K or 8K recording.
 Examples: RED Komodo, Blackmagic URSA Mini Pro.

4. Action Cameras

 Description: Small, rugged, and designed for extreme conditions, action cameras are built to
capture high-definition video and stills in challenging environments.
 Uses: Ideal for sports, adventure, and underwater filming due to their durability and portability.
 Examples: GoPro Hero 11, DJI Osmo Action.

5. Point-and-Shoot Cameras

 Description: Compact and user-friendly, point-and-shoot cameras are designed for everyday
photography. They have fixed lenses and automatic settings, making them accessible to
beginners.
 Uses: Ideal for casual photographers who need a simple, portable camera without the
complexity of interchangeable lenses or manual controls.
 Examples: Canon PowerShot G7 X Mark III, Sony RX100 VII.

6. Medium Format Cameras

 Description: Medium format cameras have larger image sensors than DSLRs and mirrorless
cameras, resulting in higher resolution and superior image quality, especially in terms of
dynamic range and detail.
 Uses: Often used in commercial, fashion, and fine art photography, where image quality is
paramount.
 Examples: Hasselblad X1D II 50C, Fujifilm GFX 100S.

Types of Lenses
1. Prime Lenses

 Description: Prime lenses have a fixed focal length (e.g., 50mm, 85mm). They are typically faster
with wider apertures (e.g., f/1.4, f/1.8), allowing more light to enter the lens.
 Uses: Known for sharpness and low-light performance, prime lenses are used in portraits, street
photography, and cinematography for their ability to create a shallow depth of field.
 Examples: Canon EF 50mm f/1.8, Nikon 35mm f/1.4G.
2. Zoom Lenses

 Description: Zoom lenses have variable focal lengths (e.g., 24-70mm, 70-200mm), allowing
photographers to adjust the field of view without changing the lens.
 Uses: Versatile and convenient for a wide range of shooting situations, from landscapes to
sports, zoom lenses are favored for their flexibility.
 Examples: Sigma 24-70mm f/2.8 DG OS HSM Art, Tamron 70-200mm f/2.8 Di VC USD.

3. Wide-Angle Lenses

 Description: Wide-angle lenses have short focal lengths (e.g., 16mm, 24mm), offering a broad
field of view.
 Uses: Ideal for landscape photography, architecture, and interior shots, where capturing a wide
scene is necessary. They are also used in cinematography to create a sense of space and depth.
 Examples: Canon EF 16-35mm f/2.8L III USM, Sony FE 12-24mm f/4 G.

4. Telephoto Lenses

 Description: Telephoto lenses have long focal lengths (e.g., 200mm, 400mm), allowing
photographers to capture distant subjects.
 Uses: Commonly used in wildlife, sports, and portrait photography, where getting close to the
subject is difficult or impractical.
 Examples: Nikon AF-S Nikkor 200-500mm f/5.6E ED VR, Canon EF 400mm f/2.8L IS III USM.

5. Macro Lenses

 Description: Macro lenses are designed for close-up photography, offering high magnification to
capture small subjects with great detail.
 Uses: Used for photographing insects, flowers, and small objects in high detail, often with a 1:1
magnification ratio.
 Examples: Canon EF 100mm f/2.8L Macro IS USM, Nikon AF-S DX Micro-Nikkor 85mm f/3.5G ED
VR.

6. Fisheye Lenses

 Description: Fisheye lenses offer an ultra-wide-angle view with extreme barrel distortion,
creating a circular or hemispherical image.
 Uses: Often used for creative, artistic photography, and in situations where a highly distorted,
wide perspective is desired.
 Examples: Sigma 8mm f/3.5 EX DG Circular Fisheye, Rokinon 12mm f/2.8 Ultra Wide Fisheye.

7. Tilt-Shift Lenses

 Description: Tilt-shift lenses allow the photographer to adjust the plane of focus and
perspective, which can correct distortion or create selective focus effects.
 Uses: Commonly used in architectural photography to correct converging lines or in creating
miniature effect scenes.
  Examples: Canon TS-E 24mm f/3.5L II Tilt-Shift, Nikon PC Nikkor 19mm f/4E ED.

8. Standard Lenses

 Description: Standard lenses typically have a focal length around 50mm, which closely mimics
the human eye's field of view.
 Uses: Versatile for general photography, including portraits, street photography, and everyday
use.
 Examples: Canon EF 50mm f/1.4 USM, Sony FE 50mm f/1.8.

9. Kit Lenses

 Description: Kit lenses are typically zoom lenses that come bundled with a camera body. They
offer a basic range of focal lengths and are often lightweight and compact.
 Uses: Suitable for beginners, kit lenses provide a decent range of focal lengths, typically from
wide-angle to short telephoto, allowing new photographers to experiment with different types
of shots.
 Examples: Canon EF-S 18-55mm f/3.5-5.6 IS STM, Nikon AF-P DX NIKKOR 18-55mm f/3.5-5.6G
VR.

Conclusion

Each type of camera and lens serves specific purposes, and their selection depends on the
creative requirements of the project, the environment, and the desired outcome. Filmmakers and
photographers choose their tools based on factors like the subject matter, shooting conditions,
and the artistic vision they want to achieve.

Discuss. Extensively how to use the Lumix Gh5 camera and it's different types of lenses during a film
shoot

Using the Panasonic Lumix GH5 camera in a film shoot involves understanding the camera's
features, settings, and how to effectively use different lenses to achieve various cinematic effects.
Here's an extensive discussion on how to use the Lumix GH5 and its different types of lenses
during a film shoot:

1. Understanding the Lumix GH5 Camera

Key Features of the Lumix GH5:

 4K/6K Video Recording: The GH5 is capable of recording 4K video at up to 60fps and 6K at
30fps, making it ideal for high-resolution cinematography.
 Micro Four Thirds Sensor: Offers a balance between depth of field control and low-light
performance.
 In-Body Image Stabilization (IBIS): Helps reduce camera shake, enabling smoother handheld
shots.
  V-LogL and HLG Profiles: Provides a wider dynamic range for color grading in post-production.
 High Bitrate and 10-bit 4:2:2 Internal Recording: Ensures high-quality footage with more color
information and detail.

2. Preparing for the Shoot

Setting Up the Camera:

 Power On and Setup: Start by powering on the camera, attaching a suitable lens, and ensuring
the camera’s battery is fully charged.
 Resolution and Frame Rate: Select the appropriate resolution and frame rate depending on the
project’s requirements (e.g., 4K at 24fps for a cinematic look).
 Picture Profile: Choose a picture profile based on your post-production workflow. For maximum
flexibility, use the V-LogL profile if you're planning extensive color grading.
 White Balance: Set the white balance according to the lighting conditions of your shoot (e.g.,
Daylight, Tungsten, or a custom white balance).

3. Using Different Types of Lenses with the Lumix GH5

Prime Lenses:

 Examples: Panasonic Leica 42.5mm f/1.2, Sigma 30mm f/1.4.

 Application: Use prime lenses for scenes requiring a shallow depth of field and superior low-
light performance. Prime lenses are excellent for close-ups and portrait shots due to their
sharpness and ability to isolate the subject from the background.
 Technique: With a wide aperture (e.g., f/1.2), you can create a beautifully blurred background
(bokeh) that draws attention to the subject. Manually adjust focus for precise control, utilizing
the GH5’s focus peaking feature to ensure the subject is sharp.

Zoom Lenses:

 Examples: Panasonic Lumix 12-35mm f/2.8, Panasonic Lumix 35-100mm f/2.8.

 Application: Zoom lenses provide versatility, allowing you to quickly adjust your framing without
changing lenses. This is ideal for dynamic scenes where the focal length needs to change quickly,
such as during action sequences or documentary-style shooting.
 Technique: Use the zoom function to reframe shots quickly during live events or scenes with
varying subject distances. The GH5’s stabilization is particularly useful with zoom lenses, helping
to reduce shake at longer focal lengths.

Wide-Angle Lenses:

 Examples: Panasonic Lumix G Vario 7-14mm f/4, Olympus M.Zuiko 12mm f/2.
 Application: Wide-angle lenses are ideal for establishing shots, landscapes, and scenes requiring
a broad field of view. They are also effective in confined spaces where you want to capture more
of the environment.
 Technique: Position the camera closer to the subject to emphasize foreground elements and
create a sense of depth. Be mindful of distortion at the edges, which can be used creatively but
may require correction in post-production if unintended.
Telephoto Lenses:

 Examples: Panasonic Lumix G Vario 100-300mm f/4-5.6, Olympus M.Zuiko 75-300mm f/4.8-6.7.
 Application: Telephoto lenses are perfect for capturing distant subjects, such as wildlife, sports,
or any scene where you want to compress the background.
 Technique: Use a tripod or the GH5’s image stabilization to maintain sharpness, as longer focal
lengths are more susceptible to camera shake. Telephoto lenses can also be used to create a
shallow depth of field, even at narrower apertures.

Macro Lenses:

 Examples: Panasonic Leica DG Macro-Elmarit 45mm f/2.8.

 Application: Macro lenses are used for close-up shots where you want to capture intricate
details, such as in product photography, nature shots, or any scene requiring extreme close-ups.
 Technique: Use the macro lens to get close to the subject and reveal details that are not visible
to the naked eye. Focus carefully using manual focus or the GH5’s autofocus in macro mode,
ensuring that the tiny depth of field is well managed.

4. Filming Techniques with the Lumix GH5

Manual Focus and Autofocus:

 Manual Focus: The GH5’s manual focus feature, combined with focus peaking, allows precise
control over what part of the frame is in focus. This is crucial for narrative filmmaking, where the
focus needs to shift between subjects.
 Autofocus: While the GH5 has a reliable autofocus system, particularly with Panasonic lenses,
it’s often used in continuous mode during run-and-gun shoots or documentary-style filming.
Customize the autofocus speed to suit the pacing of your scene.

Stabilization:

 In-Body Stabilization (IBIS): Utilize the GH5’s in-body stabilization when shooting handheld to
reduce camera shake, especially with longer lenses. This is particularly effective in scenes where
using a tripod is impractical.
 Gimbals and Tripods: For even smoother shots, especially when tracking subjects, consider
using a gimbal. A tripod is essential for static shots or when you need absolute stability for
longer takes.

Lighting and Exposure:

 Dynamic Range: Take advantage of the GH5’s dynamic range, especially when shooting in V-
LogL, to capture more detail in both shadows and highlights. This will give you more flexibility in
post-production.
 Adjusting ISO: The GH5 handles low light fairly well, but it’s best to keep the ISO as low as
possible to minimize noise. Use external lighting to maintain proper exposure rather than relying
solely on increasing ISO.
Creative Uses of Lenses:

 Lens Flare: Use prime lenses with large apertures and a lack of lens coatings to create
intentional lens flares, adding a stylistic touch to your scene.
 Depth of Field Manipulation: With lenses like the 42.5mm f/1.2, you can create a very shallow
depth of field to focus the viewer’s attention on a specific detail, blurring out the rest of the
scene.

5. Post-Production Considerations

 Color Grading: Footage shot in V-LogL will require color grading to bring out the desired look.
The flat profile gives you greater control over the final image’s contrast and color.
 Lens Corrections: Apply lens corrections in post-production, especially when using wide-angle
lenses, to fix any distortion or vignetting.
 Slow Motion and Time-lapse: Utilize the GH5’s high frame rate capabilities for slow-motion
sequences, or its built-in intervalometer for time-lapse shots, adding variety to your film.

6. Best Practices and Tips

 Lens Cleaning and Maintenance: Regularly clean your lenses to avoid dust and smudges that
can degrade image quality. Use a lens hood to prevent lens flare and protect the lens from
impact.
 Backup Footage: The GH5 offers dual SD card slots for backup or extended recording. Use this
feature to ensure you don’t lose important footage.
 Experiment with Different Lenses: Don’t hesitate to try different lenses to see how they affect
the mood and style of your film. The GH5’s Micro Four Thirds mount allows for a wide range of
lens options, including adapters for vintage lenses.

By mastering the use of the Lumix GH5 and its various lenses, you can achieve a wide range of
cinematic looks and effects, enhancing the storytelling in your film productions.

Analyzing camera techniques used in One of the popular Nollywood films

Nollywood, camera work plays a crucial role in enhancing the narrative, guiding the audience's
emotions, and emphasizing the story's themes. Let's discuss the application of camera work in a
specific Nollywood film, "The Figurine" (2009) directed by Kunle Afolayan, and highlight the
importance of each camera technique used.

Overview of "The Figurine"

"The Figurine" is a psychological thriller that weaves elements of folklore, suspense, and drama.
The story revolves around a mysterious statue, Araromire, which is believed to bring good
fortune for seven years and misfortune for the next seven years to anyone who possesses it. The
film's narrative is complex, dealing with themes of superstition, fate, and human nature.
1. Establishing Shots
Application in "The Figurine":

The film frequently uses establishing shots to set the tone and location of the scenes. For
instance, wide shots of the village and the mysterious forest where the statue is found are used to
introduce the environment and create a sense of isolation and foreboding.

Importance:

 Orientation: Establishing shots provide the audience with a geographical context, helping them
understand where the events are taking place.
 Mood Setting: In "The Figurine," the establishing shots of the ominous forest and the quiet
village contribute to the eerie and suspenseful atmosphere of the film.
 Scale and Scope: These shots often establish the scale of the story, indicating whether the
narrative is intimate or expansive.

2. Close-Ups
Application in "The Figurine":

Close-ups are employed extensively in the film to capture the characters' emotions, especially
during moments of tension or revelation. For example, close-ups of Femi (played by Ramsey
Nouah) are used to convey his anxiety and growing paranoia as the curse of the figurine begins
to take hold.

Importance:

 Emotional Impact: Close-ups allow the audience to connect deeply with the characters'
emotions, enhancing the narrative's psychological tension.
 Focus: They direct the viewer’s attention to specific details or expressions that are crucial to
understanding the character's internal conflicts.
 Character Development: In "The Figurine," close-ups help the audience track the characters'
psychological transformations as they deal with the consequences of their actions.

3. Medium Shots
Application in "The Figurine":

Medium shots are used during dialogue-heavy scenes, particularly when characters are
interacting in small groups. For instance, when Femi and Sola (played by Kunle Afolayan)
discuss the origin of the figurine, medium shots allow the audience to focus on both the
characters and their body language.

Importance:

 Dialogue and Interaction: Medium shots balance the need to show facial expressions and body
language, making them ideal for dialogue scenes.
  Spatial Relationships: They help establish the physical and emotional relationships between
characters, crucial in scenes where interpersonal dynamics are key to the narrative.
 Scene Composition: Medium shots allow the inclusion of background elements that are relevant
to the story, providing context without overwhelming the viewer with too much detail.

4. Low-Angle Shots
Application in "The Figurine":

Low-angle shots are used in the film to make characters or objects appear more powerful or
ominous. For example, when the figurine is first discovered, a low-angle shot emphasizes its
mysterious and potentially dangerous nature.

Importance:

 Power Dynamics: Low-angle shots can make a character or object appear dominant or
threatening, influencing how the audience perceives them.
 Psychological Effect: In "The Figurine," the use of low-angle shots when showing the statue adds
to the supernatural and fearful atmosphere, making the curse feel more real and imposing.
 Narrative Emphasis: These shots can highlight moments of tension or impending danger,
aligning with the film's themes of superstition and fate.

5. High-Angle Shots
Application in "The Figurine":

High-angle shots are occasionally used to depict characters who are vulnerable or in a position of
weakness. For instance, when Femi is struggling with the effects of the curse, a high-angle shot
portrays him as small and powerless.

Importance:

 Vulnerability: High-angle shots make characters appear smaller and more vulnerable,
reinforcing their psychological state.
 Audience Perspective: This angle can create a sense of detachment or superiority in the
audience, as they "look down" on the character, aligning with the narrative when depicting
moments of weakness or despair.
 Visual Contrast: In "The Figurine," the contrast between high and low-angle shots helps to
visually represent the shifting power dynamics and the impact of the curse on the characters.

6. Tracking Shots
Application in "The Figurine":

Tracking shots are used to follow characters as they move through different spaces, creating a
sense of continuity and movement. For example, when Femi is running through the forest, the
camera tracks him closely, enhancing the feeling of panic and urgency.
Importance:

 Dynamic Movement: Tracking shots create a sense of movement and can build tension,
particularly in scenes where characters are in pursuit or fleeing from danger.
 Immersion: They immerse the audience in the character’s journey, making them feel as though
they are moving through the scene with the character.
 Narrative Flow: Tracking shots maintain the flow of action, ensuring that the narrative
momentum is not lost during transitions between locations.

7. Handheld Camera
Application in "The Figurine":

Handheld camera work is used during scenes of high tension or chaos, such as when the
characters are confronted with the supernatural events linked to the figurine. The slight shakiness
of the handheld shots mirrors the characters' emotional instability and fear.

Importance:

 Realism: Handheld shots add a sense of realism and immediacy, making the audience feel as
though they are part of the action.
 Emotional Resonance: The shakiness can heighten feelings of anxiety and unpredictability,
aligning with the film's themes of fear and uncertainty.
 Narrative Intensity: In "The Figurine," the use of handheld camera work during moments of
crisis amplifies the intensity and disorientation experienced by the characters.

8. Static Shots
Application in "The Figurine":

Static shots are used during reflective or tense moments where movement within the frame is
minimal, allowing the audience to focus on the dialogue or the character's expressions. For
example, when Sola reflects on the consequences of their actions, the camera remains still,
emphasizing his introspection.

Importance:

 Focus and Reflection: Static shots encourage the audience to focus on the dialogue or character
expressions without distraction, making them ideal for moments of introspection or decision-
making.
 Pacing: They can slow down the pace of a scene, allowing the audience to absorb important
information or emotion.
 Visual Composition: In "The Figurine," static shots often serve to highlight the symmetry or
symbolism within the frame, contributing to the film's overall aesthetic.
Conclusion

In "The Figurine," camera work is not just a tool for capturing images; it is a narrative device
that enhances the storytelling. Each camera technique, from establishing shots to close-ups and
tracking shots, serves a specific purpose in guiding the audience's emotional journey and
understanding of the plot. The careful application of these techniques ensures that the film's
themes of superstition, fate, and psychological tension are effectively conveyed, making "The
Figurine" a standout example of Nollywood's cinematic potential.