Observação:
Adobe ended the Adobe Story CC service on January 22, 2019. Both Adobe Story CC and the Adobe Story CC (Classic) are discontinued. The Adobe Story CC offline application has also ended. See End of service FAQ for more information.
Available for: Adobe Story Plus
When you add shot information to your original script, it is converted to a shooting script. A shooting script contains information such as shot size, shot numbers, and shot duration.
Observação:
The formatting of your original script changes when you add shot information. Best practice is to save a copy of your script before you start adding shot information to the original script.
Available for: Adobe Story Plus
A shot element provides information about the shot size, camera, and the camera movement for the shot.
A shot size defines how much of the subject is seen in the frame.
Shot size/Camera angle |
Description |
---|---|
BCU (Big close up) |
Extreme close up covering the subject’s face from forehead to chin. |
CA (Cut away) |
A close up of something other than the current action. It could be a shot of a different subject or a different part of the subject. |
Crash In |
The camera crashes into the scene containing the subject. |
Creep in |
The camera ‘creeps in” behind the subject. |
CU (Close up) |
Unless specified otherwise, it is a close up of the subject’s face. |
Cut In |
Close up of a part of the subject in detail. For example, a close up of the subject twiddling thumbs. |
Dirty Shot |
Covers the face of the subject, and the back (head and shoulders) of the person interviewing the subject. |
DTL |
Provides camera operators with carpeted work area that extends beyond the front of the Dolly. |
Dutch angle |
The camera is tilted off to the side such that the horizon is at an angle to the bottom of the frame. |
Ease In |
Gently zoom into the subject. |
ECU (Extreme Close Up) |
Captures the finer details of the subject without capturing the surroundings. The camera captures only a fraction of the subject in the scene. |
Establishing shot |
Provides a context for the scene or the subject. For example, an exterior shot of a building at night, followed by an interior shot of people talking. Such a shot implies that the conversation is taking place at night inside that building. |
EWS (Extreme Wide Shot) |
Establishes the subject’s surroundings. The subject is, most times, barely visible in the shot. The EWS is often used as an establishing shot - the shot used to set the context for the scene. |
Extreme Long Shot |
Provides a context for the subject in the scene. Similar to the Extreme Wide Shot. |
Eye Level |
Places the viewer at an equal footing with the subject onscreen. |
FS (Full Shot) |
Shows in full length the person or object featured in the scene/frame. |
High angle |
The camera is placed above eye level, looking downward. The shot can make the subject look small or weak. |
Long lens shot |
Shot using the long lens to zoom into a subject - commonly used in wild life photography. |
Long Shot |
Places the subject in some relation to the surroundings. |
Low angle |
The camera is placed below eye level, and looks up at the subject. The shot makes the subject look large, strong, or noble. |
MCU |
Shows the subject in close up without getting too close. The shot is somewhere between a mid shot and a close up. |
Medium Shot |
Provides a partial view of the subject, and is sufficient to cover the subject’s expressions and any action around the subject. |
Mid Shot |
Provides a complete view of the subject along with the action in the scene. |
MWS (Medium Wide Shot) |
Captures around 75 per cent of the subject’s body. |
Noddy shot |
Shows the interviewer responding to the guest. |
Oblique/Canted |
The camera is tilted at an angle to the floor. Such shots usually suggest imbalance, transition and instability. The oblique angle is also used to portray the POV of the subject, that is, it portrays the scene as the subject sees it. |
OSS (Over the shoulder shot) |
Close up of the subject viewed at shoulder level of another subject in the shot. |
Overhead shot |
The camera is positioned directly above the subject. |
POV (Point of view) |
Shows what the subject is looking at (represented through the camera).The camera is placed at the eye position of the character. |
Profile shot |
A shot of the subject from the side. |
Push In |
The camera physically moves toward a subject. |
Reverse shot |
The subject and the other actor in the scene are part of the same scene but not covered by the camera in the same frame. One of the actors is “invisible” to the camera during the conversation. |
Slanted |
Similar to the Dutch angle. The camera is held at an angle to the subject. |
The Bird’s Eye view |
Oblique view of the subject from above as though the observer were a bird. |
Two Shot |
Captures two subjects, not be necessarily next to each other, in the same frame. |
VWS (Very Wide Shot) |
Defines the environment in which the subject is placed. The shot is much closer to the object than in EWS, but not as near as in the Wide Shot (WS). |
Weather Shot |
Captures the weather as a subject for the scene. |
WS (Wide Shot) |
Provides a panoramic view of the action in the scene. |
Camera Movement |
Description |
---|---|
Aerial |
Shot with a crane, or with a camera attached to a special helicopter to view large landscapes. |
Arc |
Camera movement that combines trucking and panning. The camera zooms out of the subject, simultaneously making a circular move, an arc, while panning all the while keeping the subject in frame. |
Crab |
A less-common term for tracking or trucking. |
Crane |
A shot taken by a camera on a crane. |
Crash zoom in/Crash zoom out |
Effects produced by fast lens movements, like zooms and pull-outs. |
Defocus |
Camera deviates from accurate focus. |
Dolly zoom/Contra zoom/Dolly out |
The camera is pulled away from a subject when the lens zooms in, or the other way round. During the zoom, there is a continuous perspective distortion, the most noticeable feature being that the background appears to change size relative to the subject. |
Dolly |
Camera is mounted on a wheeled platform that is pushed on rails. |
Dolly In |
As the camera moves toward the subject, more and more of the background disappears "behind" the person in the scene. |
Dutch tilt |
Achieved by tilting the camera so that the horizon is at an angle to the bottom of the frame. Used to portray the psychological uneasiness or tension in the subject being filmed |
Follow |
Camera movement technique used to follow the subject. |
Focus |
Focus camera on one object in a close up shot, causing everything in the background to be out of focus, |
Handheld |
The photographer holds the video camera, and moves around to capture the action. |
JIB |
Boom device with a camera on one end, and a counterweight on the other. Properly balanced using the counterweight, the camera can move through an extended arc |
Pull Focus |
The camera shifts focus alternatively between the person in the foreground and the person in the background. |
Pan |
Camera moves horizontally across the scene. Establishes a time and space for places or characters in the scene. |
Pedestal |
Camera moves vertically with respect to the subject. |
Steadicam |
Stabilizing mount for a motion picture camera allowing for a smooth shot. |
Throw focus |
Starts the shot focused on a foreground object and then “throws focus” onto the subject. |
Tilt |
Camera is stationary, but rotates vertically on its axis. |
Tracking/Trucking |
A tracking shot usually follows the subject as it moves along the screen. |
Whip pan |
Type of pan shot in which the camera moves sideways so quickly that the picture blurs into indistinct streaks. |
Zoom |
Produced by a zoom lens, which can vary focal length across a large range. |
Available for: Adobe Story Plus
Ensure that you have enabled Auto Complete (View > Auto Complete) before you add shot elements in a script. A shot element can be placed anywhere within a scene where you want to provide the camera information.
Shot information is represented in the format Shot size/Camera angle - Camera number - Camera movement.
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A message box appears asking if you want to create a copy of your script. Because a shooting script changes the formatting of your original script, it is recommended that you create a copy. A copy of your script is created in the project folder when you click Continue. If you do not want to create a copy of your script, select Continue Without Saving A Copy.
Available for: Adobe Story Plus
A shot is associated with a scene. The format for a shot number is <scene number>.<shot number>.
Available for: Adobe Story Plus
Adobe Story automatically adds shot numbers to Shot elements in a script. Shot numbers cannot be edited.
The running time of a shot is the time calculated adding previous shot durations. For example, if shot one has a duration of 30 seconds (00:00:30), and shot two has a duration of 20 seconds (00:00:20), the running time as indicated in shot two is 50 seconds (00:00:50).
Observação:
The shot duration of an omitted scene is ignored when calculating the running shot duration.
Available for: Adobe Story Plus
You can add camera shot information in the middle of a scene. Such information helps studio personnel identify and prepare for changes to camera, camera position, or effect at the specified point in the scene.

A. Shot number B. Shot info C. Shot line D. Cut line
Observação:
Adobe Story uses a different template for scripts that contain camera/audio/source information in the middle of a scene. Ensure that you take a backup of your original file before you allow Adobe Story to reformat your document.
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Solid Shot Line
In the script, a cut mark (cut line) appears at the cursor location and extends as a shot line toward the page margin. Shot Information is displayed at the end of the shot line. If you do not want Adobe Story to assign a shot number, deselect Shot Number. Enter information for visual effects (Vision FX), camera number (Camera), camera position/location (Position), and description of the shot in the respective options.
Dashed Shot Line
Similar to solid shot line except that the style of the line is in the form of continuous dash strokes. It can be used at locations in your script where you want to include onscreen graphics.
Shot Development
Use this option when you want to change the camera and shot information in the middle of a dialogue. The options for effects and camera position are disabled when you choose this option. For example, you want the camera to zoom out of the object when the dialogue is being spoken. Enter the camera number and a description of the shot in the respective options.
Available for: Adobe Story Plus
Place videotape (VT) elements at a position in the scene where the source of the content is a videotape.
Available for: Adobe Story Plus
Use this option to provide information on videotape in the standby mode.
You can choose to accept the default options, or add information in the Ident option. In Ident, add videotapes you want to use in the standby mode. For multiple videotapes, use the separators;, +, or &. For example, to indicate videotapes 1 and 4, enter 1+4, 1;4, or 1&4.
Available for: Adobe Story Plus
Use this option to provide information on videotape that must be played.