CAMERA SHOTS & CAMERA ANGLESFor more detailed information regarding shot types click here!!
CAMERA ANGLES
Instead of shooting everything from eye level, with the camera horizontal, try shooting with it pointing up or down. Crouch down below the subject, hold the camera above your head, climb stairs or use a tall tripod or ladder. If your camera has a swivelling screen you can use that to monitor the shot while the camera is in unusual positions. A remote control is also useful to start and stop shooting when the camera is out of reach. You should also shoot from different positions around the subject, not just from directly in front or from the side. If they are moving, try shooting from in front and then from behind then editing the shots together. Eye level Angle
An eye level angle is the one in which the camera is placed at the subject’s height, so if the actor is looking at the lens, he wouldn’t have to look up or down. Eye level shots are incredibly common because they are neutral. They often have no dramatic power whatsoever, thus they are ideal for romantic comedies and news casting. 
Low Angle
Low angles are captured from a camera placed below the actor’s eyes, looking up at them. Low angles make characters look dominant, aggressive, or ominous. These shots are also good for filming people who are looking down at things, so you’re filming their face rather than the top of their head. 
High Angle
In a high angle, the camera is above the subject, looking down. This position makes characters look weak, submissive, or frightened. You can put high and low angle shots together to show that one person (filmed from a low angle) is more powerful than another person (filmed from a high angle). You can be quite subtle about this, rather than using extreme low or high angles. You can also use a high angle shot to give an overview of a scene as an establishing shot.They are also good POVs of an adult looking at a child: 
Dutch Tilt
Also called canted angle, a Dutch tilt has the camera leaning sideways, transforming the horizon into a slope. A Dutch tilt changes horizontal and vertical lines into diagonals and creates a more dynamic composition. Though rare, canted angles can be employed with great artistic effect to disorient and disturb the viewer. 
Point-of-View (POV)
As the name suggests, point-of-view shots are angles in which the camera incorporates a character’s eyes. POVs are usually preceded by a close-up of the character’s eyes. |
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Needless to say, cinematographers will choose different angles for different scenes within the same movie depending of the scene goal or purpose. When analyzing the camera angles used in a movie, it is wise to note how different angles are used in each scene.
Sometimes different angles will be chosen to emphasize different elements in the screen. For example, if an airplane flying overhead is of importance to the story, then filmmakers may choose to use a low-angle shot to show the sky and the plane.
Sometimes different angles will be chosen to emphasize different elements in the screen. For example, if an airplane flying overhead is of importance to the story, then filmmakers may choose to use a low-angle shot to show the sky and the plane.
CAMERA POSITIONS
You can position the camera in different places around the subject as well.
A head-on frontal view makes us feel really engaged with the subject. It’s often used as a subjective shot, where we see the person as if we’re looking through the eyes of another character. (If your shot isn’t meant to be subjective, they should look close to the camera but not directly at it – see eyeline below).
With a three-quarter shot we’re a bit less involved.
In a side view its more as if we’re just watching them as an observer.
A back view can mean several things: we’re seeing them from the view of a watcher; they are ignoring another character; or they are upset and vulnerable and hiding their emotions.
EYELINE:
Actors and presenters need to be careful about where they are looking. A presenter – or an actor in a subjective shot – should look directly at the camera. In a standard interview, they should look at the interviewer (who should be close to the camera) rather than at the lens.
For most drama shots, actors should look close to the lens but never directly at it (this is called ‘spiking’). Changes of gaze should be very subtle. Experienced film actors keep their gaze within a limited circle around the camera lens.
Actors and presenters need to be careful about where they are looking. A presenter – or an actor in a subjective shot – should look directly at the camera. In a standard interview, they should look at the interviewer (who should be close to the camera) rather than at the lens.
For most drama shots, actors should look close to the lens but never directly at it (this is called ‘spiking’). Changes of gaze should be very subtle. Experienced film actors keep their gaze within a limited circle around the camera lens.
Camera movement
The video below discusses camera movement and reasons behind it. Please excuse the host, he is a bit over the top corny, but the video itself has some useful information.
