For Today


Use your computer or campus computer, go to our Website under “Schedule of Work” open the document “3D Video Recipe”. Look at Plan, Shot Types, Headroom, Rule of Third and Myths, and Shot Sequences (five shot Sequence).

Now, with your phone and a partner, each make a five shot image sequence of your partner doing an activity with their hands. Use the following information below to create your five shot sequence (from ) Start with a simple story board to plan your shots labeling the type of shots. Also think about the “rule of thirds” or “Dynamic Symmetry” with your composition! Email me the pictures in order and be back in the room 40 Minuets before the end of class. Bring your story board to hand in.


Shooting sequences start with identifying specific actions — discrete events that unfold visually and can be captured by a camera. The key to spotting actions is to get specific. Rather than “cooking dinner,” think “dicing a potato.” Rather than “delivering mail,” think “putting a particular letter in a particular mailbox.”

Variety is another key consideration. Good sequences result from a diverse mix of angles, distances from the subject and compositions (how subjects are positioned in a shot). It’s especially important to use variety in back-to-back shots.

The five-shot sequence. This sequence, popularized by video journalist Michael Rosenblum, also relies on wide, medium and close-up shots, while introducing the idea of perspective. In a five-shot sequence, the first shot is a close-up of a subject’s hands — a pianist, for example, tickling the ivories. The second shot is a close-up of the subject’s face. For the third shot, move back from the action and capture a medium shot of the subject. Next, move to an “over-the-shoulder” shot (Fourth). Standing just behind the subject, shoot downward toward the action — hands on the keyboard, for example — showing what’s happening from a point-of-view.

For the final shot, think of the most creative composition possible. You might use an unusual angle, shooting from the ground or high above the subject’s head, or you might move far away and capture an extreme wide-angle shot. You could capture the pianist from the other end of the room or stage, for example.


One common pitfall comes from challenges in ensuring continuity. When sequencing shot angles, variety is a key variable. Too much variation can disorient the viewer, and too little can result in jump cuts — two shots so similar that the subject appears to move, or jump, unnaturally between them.

A few guidelines:

  • In terms of ensuring enough minimum variation, a good rule of thumb is to vary back-to-back shots by at least a 30-degree angle.
  • To ensure there isn’t too much variation, it’s helpful to imagine an imaginary line that runs through a subject from left to right and to keep the camera on one side of that line. This is known as the “line of action.” It’s also called the 180-degree rule.
  • Do not neglect the importance of reactions. This usually manifests as a lack of shots of subjects’ faces. Actions are important, but reactions are often even more interesting — and informative.