Next comes the chamber of horrors what the director is doing behind the lens that he's not letting you in on. If he's a good director, he should have been explaining the types of shots he's been taking all along. Some directors don't do this for the simple reason that many actors readily come to their own conclusions about how they should be photographed. Arguments take time, and time is money. For your own sake, you should begin to recognize the various types of lenses whether they be wide, telephoto, or zoom. With such instruments a director could be focusing on anything from the iris of your left eye to your entire body including that lofty mountain behind you.

Let's suppose, for instance, that he's focusing with a long zoom lens on your iris. Should you happen to blink, it would appear to the cameraman, and the audience, that the sky is falling in; Should you be trying to execute a fast kick or punch during this shot, you'd probably drop out of the screen altogether or, at least, blur that lovely gloss on your iris, thereby preventing the director from getting his shot. Now let's switch the scene around. Suppose the director is shooting you while you're performing a form, and he wants to include that large temple in the background. If you do a wing chun form such as sil lum tau, you might as well be darning a pair of socks, for that's about what it would look Like from that great distance. Just imagine trying to capture the fierceness in your eyes at the same time. One might as well try counting the hairs on a gnat's thorax! In this case, a far-reaching tae kwon do or Northern Shaolin kick, plus Southern Chinese kung-fu hand and footwork techniques -- one for long shots, the other for medium and close-up shots. Most forms of wing chun, kendo, judo, and karate are less likely film prospects since their techniques are either more confined, subtle, or limited in scope and often depend upon the actual exertion of internal power, rather than biomechanics to achieve success. Always remember what may, in fact, be a truly powerful martial art might not look as powerful or spectacular in a two dimensional plane. 

The type of shot the director chooses determines the type of action required. For a long shot, either the individual or a group of individuals must extend and exaggerate each of their body movements. A medium shot, whether it be of your bead and torso or hip and legs, demands normal movement (which doesn't mean you can't move fast or powerfully); and a close-up requires minimal motion to stay within the limits of the screen.