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Why Your Camera Frame Matters More Than You Think

Size DOES matter when it comes to your camera frame

Here's how to get framed in a good way. (Not the "getting tangled up in something illegal and being blamed for something that you didn't do" kind of framing.)


We're talking about camera frames here, not getting tangled up in something you didn't do. When you're in film, TV, or video production, frame refers to the camera shot. Specifically for you the speaker, that's how much of you and your surroundings that the viewer will end up seeing. For film, TV, and longer-form video, that's the typical 16:9 ratio or landscape view. For short videos on social media, it's flipped to 9:16 or the portrait view.


Up close and personal, the frame determines how much of your body will be shown. Typically, it’s somewhere between a close-up (head and shoulders) and a waist up shot.


 
When you know your frame, you'll know how big - or how little - your movements, gestures, and even expressions can (or should) be.
 

Smiling woman in red floral dress holding white frame against yellow background. Text: "Know Your Frame! Don't Wander All Over the Place."
Sorry, but the visiting habits of a magical Hogwarts portrait don't work too well in the real world.

Here's how it works. Imagine that you’re a magical portrait hanging at Hogwarts. You’re an animated picture that can move within your frame, which is defined by a top, bottom, and left and right sides. Because you’re magical, you can move beyond the boundaries of your frame and visit other portraits, but in doing so, you’ll totally disappear from view in your own frame. You may still be heard, but you won’t be seen. That may be OK if the action is on something else is going on in your frame, but the act of you slipping off the side of your frame will have the viewer wondering where you went. Better instead to just cut from your shot to another focused on a different action. 


Let’s talk about how to best work within your frame, what to keep in mind while you’re moving around in it, and how to use the camera to give a 3D feel within 2D media.



How do you decide on the size of your frame? Experiment! Try different sized frames for your videos. What works best for casual short videos? For long form? Fit the frame to your message, however you think it’ll be best received.

Working within your frame

So how do you know how much space you have to work with? If you’re working with a professional production company, there’ll be a videographer or director of photography to set up the shot. Their job, aside from lighting, is to position you nicely within the frame of the video. Typically, you’ll be centered in the shot, depending on how much of the background is involved in the video.


If you’re self-taping, then you can use the flip screen of your camera to see how much of you and your surroundings are seen on camera. Get a feel for the space. As you watch yourself, move your arms up and around you to judge how much movement you can allow yourself before you’d disappear from view.


How much of yourself should be shown on camera? That depends on your subject matter and what you’ll be doing, your artistic preference for the shot, and your own comfort level about being on camera. The “talking head” shot shows head and shoulders. Many more people are comfortable shooting from the chest up or from the waist up. If you’re demonstrating a product that requires whole body movement, you may choose to have your entire self in frame.


A professional videographer may alternate between closeups and full body shots to add interest and dimension to the video. They may shoot your scene multiple times at different angles and then cut and edit their videos into a single production. Alternatively, the video may just be filmed once in a wide shot and later edited into closer-up frames.


Woman holding magnifying glass enlarging her eye. Text: "Small appears HUGE on camera." Gray background, focus on eye detail.
Forget Mr. DeMille ... are YOU ready for your closeup?!

Small is LARGE on camera

The number one rule when appearing on camera is to keep your movements small, especially if it’s a tight shot like from shoulders on up. The bigger the frame, the more freedom you have to move and gesture. That’s why it’s important to know your frame or, if you’re self-taping, deciding ahead of time how large your frame will be.


Why small movements? Because the camera will act as a magnifying glass. Remember that viewers may watch your video on screens of any size. A lot of movement on a cell phone screen can be engaging, but on a large monitor, it’ll be quite distracting and potentially quite annoying. In closeup shots on a large screen, you’ll literally be larger than life.


If you’re using a professional production company, they will show you where to stand. If you’re following a script that calls for walking from place A to place B, they’ll tape colored marks on the floor to show you where you’re supposed to “land and stand” at different points in the script. Otherwise, stay planted squarely on both feet and minimize any natural swaying you may have while you speak.


Are you a big hand talker? If wild gestures are part of your animated style, practice taking them down a notch or two. While they may bring your story alive when you’re telling it to a physical audience, they’ll be much too distracting in a close-up video. Simple gestures that accentuate your points work well; movements like pointing, shrugging, or holding a hand up to count or to indicate “stop” are natural and part of our body language. If you can’t keep your gestures small enough, though, keep your hands below frame so they’re not seen. The movement of your shoulders and arms will be enough without viewers having to see your hands flying all over the place.


If you’re a very bouncy, energetic type of person, would you be better off sitting? Not necessarily. If you choose to stand, do so squarely but comfortably on both feet. Don’t shift your weight around; the camera will catch and amplify the movement. That’s not to say you should stand stiff as a board – that physicality just announces that you’re uncomfortable or possibly about to say something dishonest or true. Adopt a comfortable stance and stay put. You may want to practice it on your camera phone beforehand so that your body language reflects your message. 


If you choose to sit, be sure not to slouch! If you’re leaning too far back or to one side in a close-up frame, it’ll give the impression that you’re detached from your message and your viewers. Unless you mean to convey a “devil may care,” very casual attitude, use a backless stool. It’ll make you sit up straighter and offer a clean background, too (no views of the back of a chair). Just don’t use a swivel stool. You’ll be tempted to swivel, especially if you’re nervous, and you’ll give the impression that you’re lacking in confidence. It just may make your viewers a little dizzy, too. Not a good move.



Working 3-Dimensionally Within a 2D Frame

You can create excitement, intimacy, suspense, and an assortment of other responses by the way you move and relate to the camera – all while staying within your frame. These movements are tiny, but they’ll seem much more deliberate on camera....


  • Angle your body to make a point.

  • Take a teeny tiny step forward or lean in a bit to demonstrate sincerity or the need to really talk directly to the viewer.

  • Cock your head slightly to one side to indicate a thought or new idea.

  • Move your arm or hand slightly toward the camera to offer up a point (but don’t get too close or your arm or hand will look outsized and a bit aggressive).

  • Lean back a little from the camera and then return to your normal posture to show assessment or a dash of confidence.

  • Hands on the hips and a nod of your head forward says “in the know.”


Experiment! But just remember that a little goes a long way.



Working with a professional video production team

If you’re working with a professional production team, tell them what you’re trying to convey in your video and they’ll work with you to get the framed shots that support it. They may have suggestions to enhance your delivery, too, or techniques to add interesting angles. If you plan on moving from place to place in your video, know that they’ll need time to set up the lighting, sound, and camera angles for each shot. And be sure that they show you exactly where to walk and stop at each station (with tape on the floor).


And if you're on your own? Making videos yourself with your mobile phone? Trial and error is the answer - you'll figure out the right framing for yourself soon enough, just by looking back at what you've recorded and how it compares to other videos you like.


And if you'd like some feedback, maybe some advice ... well, you know where to find me. Always happy to help!


 

Extended through February 3!


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Want to learn more? Let's talk!



I'm Laura Doman, a voice & TV/film actor and video communications coach. As an actor, I create memorable characters that tell my client's stories well, from the friendly CEO to your sassy best gal pal dispensing real-world advice. As a coach, I help you become more comfortable and charismatic on camera in videos, presentations, and online appearances.


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