How close is too close? Well, it depends. In real life, there are limits to how closely we can approach and perceive an object (unless we use a microscope or similar equipment). In film, however, there are no such boundaries. We can observe on a large screen how the pupils of the character’s eyes shrink in horror or how a mosquito inserts its long proboscis into human skin. As you surely know, there is a term for this particular shot size: extreme close-ups (or ECU). In this article, we’re going to discuss how and when to use them and also witness how their profound power unravels in famous film examples. Fifteen years ago, when I was studying to become a TV journalist, one of our professors told us that close-ups and ECUs are perfect inserts for an interview or a reportage. He suggested using them only as B-roll elements when you need something to cut to. All these years later (alongside a dedicated film education and gathered practical experience), I know for sure: this is not true. Extreme close-ups exert an extreme impact on viewers (pun intended). Therefore, if we choose to use them, we must do so with care and a clear understanding of their role and function in visual storytelling. Let’s dig in! A film still from “Man with a Movie Camera” by Dziga Vertov, 1929 An extreme close-up and its variations As the name suggests, an extreme close-up frames something extremely close, whether it’s a detail of...
Published By: CineD - Friday, 2 August, 2024