Shot size framing a person head-to-toe, occupying 60–80% of frame height. Focal length 25–35mm (Super35) or 40–55mm (full-frame); camera positioned at chest height.
Technical Details
In a standard production with a 2.35:1 Cinemascope aspect ratio, the human figure occupies approximately 60-80% of the screen height. Camera height is typically at the protagonist's chest level (1.20-1.40m). Modern digital cameras use focal lengths between 25-35mm (Super35 sensor) or 40-55mm (full-frame sensor) for this. The depth of field at an aperture of f/2.8 is about 2-4 meters, allowing foreground and background elements to be rendered with controlled blur.
History & Development
D.W. Griffith already established the full shot as a standard framing size for dialogue scenes in "The Adventures of Dollie" in 1908. Fritz Lang perfected its dramatic impact through precise framing on 65mm film in "Metropolis" in 1927. Orson Welles revolutionized its use in 1941 with "Citizen Kane" by employing extreme wide-angle lenses (18mm), which created an unusual perspective despite the full shot framing. The Nouvelle Vague of the 1960s relaxed rigid rules through handheld full shots.
Practical Use in Film
Stanley Kubrick used static full shots with 50mm lenses in "2001: A Space Odyssey" (1968) to emphasize the astronauts' isolation. Sergio Leone employed contrasting full shots before extreme close-ups in his Western films. Modern blockbusters like "Mad Max: Fury Road" (2015) utilize the shot for action sequences, as it captures full body movement while providing spatial orientation. The full shot allows for efficient continuity editing and reduces matching problems.
Comparison & Alternatives
Compared to the American shot (cut at hip height), the full shot displays complete body language and stance. The long shot offers more environmental context but reduces character identification. In cramped shooting locations, the American shot often replaces the full shot. Digital Intermediate now allows for post-production reframing from long shots to full shots. Steadicam movements in full shot are increasingly replacing static setups, as they are more cost-effective than dolly shots with corresponding grip equipment.