These shots are commonly used when capturing worship services. You’ll find a few more creative ideas thrown in for good measure! Consider how your church and team would look when using these 16 shots.
Shot Framing
As you develop your shot list, consider how each shot should be framed. Use the rule of thirds. Keep the eyes of the subject in the top third of the shot. If the subject is looking to the left or right, then they should be framed facing the two-thirds open space — this answers the distracting question “What are they looking at?” for the viewer. Consider framing distance shots with something out of focus in the foreground such as a silhouette or a stand. (Another reason to avoid autofocus!) Avoid awkward details in the background such as stands appearing to stick out of someone’s head, people inappropriately cut off, arms or stands blocking key details such as a person’s face, distracting confidence monitors or exit signs taking up dominant areas of the screen, or a person who is unengaged. Frame motion shots similarly and resolve the motion where the eye would naturally look next.
Primary Shots
- Wide (front, 45-degree) This establishing shot shows the primary people onstage in the context of the room. It is often used as an initial shot or at key transition points. It can also be shot over or through the crowd. Pan, pull, push, mounted, gimble
- Belt to Head (musician) This go-to shot captures the leader’s emotion and a bit of the room atmosphere. This is one of the most common shots used. Pull, push, slide, overhead
- Chest to Head (front, 45-degree, side) This common shot captures the intensity of the moment. Because it gets closer to the leader than the viewer can experience from the seats, it creates a sense of involvement and connection. Pan, pull, push, mounted, gimble
- Extreme Close-up (front, 45-degree, side, Dutch) This short shot emphasizes emotional intensity, especially during instrumentals or spontaneous moments when the congregation may not be singing. It is often followed by a shot including the congregation as they respond or a fuller shot of a different musician. Pan, pull, push, rise, mounted (if manned), gimble
- Toe to Head (front, 45-degree) This establishing shot shows the presenter or musician and may include some of the room or crowd. Pan, pull, push, mounted, gimble
Room Shots
- Through the Crowd This short-to-medium-length variation of an over-the-shoulder shot can focus on a hand or on the stage. It provides a sense of the emotion and feel of being a part of the crowd. Mounted, gimble, track
- Behind the Crowd This establishing shot shows the stage and venue from the back of the auditorium framed by the silhouettes of the crowd. It looks uninviting if many of the seats are empty or if people are not engaged. Pan, pull, push, mounted, gimble, track
- Crowd – wide This establishing reverse shot shows the congregation from the front or the stage’s perspective. It requires house lighting and plenty of people but may feel invasive during intimate moments. It can be static or panned. Mounted, gimble
- Crowd – side This side-shot variation is used to show emotion and to connect the viewer with the sense of being in the room. It’s a good way to show interaction between the leaders and the crowd. It can feel invasive if held too long, especially during intimate moments. Mounted, gimble
Creative Shots
- Side (Line) This common shot shows a singer, a row of musicians, or the audience. It conveys emotion and gives a sense of connection with people. Can be done as a static shot or as a pan, pull, or push. Pan, pull, push, mounted, gimble, track
- Overhead Moving or static shot of the house or stage. Good establishing shot for showing engagement. Pan, pull, push, mounted, cable cam, boom
- Over the Shoulder Talent is in the foreground with additional subject material out of focus in the background. Alternatively, reverse the shot to show the audience’s perspective of the stage. Mounted, gimble, track
- Get Low (Hero) This short worm’s-eye-view shot is taken from the floor to convey emotion or to give a larger-than-life feel. Mounted, gimble
- Dutch Angle This short, extremely angled shot should be used sparingly to show emotion or intensity. It can also be an audience shot, motion, or static. Gimble
- Exterior This short establishing shot is typically used only at the beginning or close of a service. Best with movement. Time of day, season, and weather conditions should match the day of the service. Pan, pull, push, rise, mounted, gimble, drone
- Weave the Musicians This challenging, high-energy motion shot focuses on one musician in the background/foreground then uses a push or pull to refocus on another musician. Pan, pull, push, mounted, gimble (tricky)
Give Us a Call
Your Sweetwater Sales Engineer is an excellent resource as you develop your video-production setup and help your team communicate effectively. Call us at (800) 222-4700 for expert advice or visit Sweetwater.com.
