When we think about
directing camera movement,
we may think of those
high up crane shots,
or elaborate long takes,
or robot arms.
Why do we really
move the camera?
When is a slow push
in on a character
more effective
than a static shot
or vice versa?
Why would this shot...
-Shit just got real.
-Not work for this scene.
-She's been murdered
and you think I did it?
-Next to directing actors,
directing the camera can be one
of the most challenging tasks
that director takes on.
So it's important to know what tools are
available to tell your story visually.
So let's fill up your tool
kit with the most common
and not so common ways
of directing a camera.
Let's start with some of
the basic camera movements
in any cinematographers arsenal.
First up — the Pan.
The pan can be a
fast-paced whip pan,
like Paul Thomas Anderson
is fond of using.
It`s the equivalent of quickly
turning to see something.
It creates a jolt of energy.
Conversely the slow pan gives us
time to take in the landscape.
Next up — the Tilt.
You may not realize it,
but one of the most effective
opening shots in history is a tilt.
Tilt often reveal
something to us,
suddenly redirecting
our attention.
Next up — the Zoom.
Zoom can be a funny kind of punctuation
because of its sudden nature.
Our next shot is — the Dolly.
A smooth movement
often on a track
which moves the camera
through a space,
creating a different type of visual
experience than the zoom or pan.
"Vertigo" was the first film to ever
combined the dolly and zoom at once.
This is called — the
Reverse Dolly Zoom.
It's become a favorite
of many filmmakers,
to show a character having an
intense internal experience.
Next,
let's look at the Pedestal shot
which moves the
camera up and down.
Here, it's used to reveal the stakes
of a scene in "Inglourious Bastards."
Another impressive three-dimensional
move is the Crane or Boom shot
which might also tilt the camera,
and use a larger range of motion.
The showdown is coming,
and sheriff Will Kane is left
alone to protect the town.
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Next, the Steadicam or Gimbal.
Steadicam or gimble
shots, like this one,
can have the same
effect as the dolly,
but because the camera is
stabilized on the camera operator,
it gracefully glides
within a space.
You can take that even a step
further with the Handheld shot.
The handheld shot
moves the camera
through the space much like
the steadicam or gimble,
but it also has a
roar, shaky feeling
that creates more
anxiety in the viewer.
And lastly,
we'll take a look at a type of shot
that doesn't physically move the
camera, but moves the lens.
The Rack Focus.
By racking focus, you bring
something to the viewers attention.
All of those camera moves
a fairly common knowledge.
What really makes a
great filmmaker is
how you can combine
them in unique ways.
if you shoot scenes on sticks,
but then go handheld for a
sudden violent fight scene,
well, then you got
everyone paying attention
and literally feeling
the camera choices.
Take a look at this shot from
"Straight Outta Compton."
The shots slowly ventures
through the party,
starting up above the party
then lowering down
to a camera operator,
who then takes it
into a swimming pool.
And then hands it off
to another operator.
The effect?
We the viewers,
feel like with their.
How about this shot
from the circle?
It starts as a drone shot,
but it's soon handed
to an operator
who glides the camera
through the sequence.
By combining shots
in unique ways,
you can direct the camera to
create an engaging experience.
Free shot listing software,
like Studio Binder,
makes that part much easier.
It lays out all of the most
common, shot, angle, equipment,
and gear choices for
you as checkboxes.
So you can think more creatively
and combine them in new ways.
Yes, there are a
lot of camera moves
and a lot of ways
to combine them.
But before you strapped a
camera operator to a drone,
and fly them off a cliff,
ask yourself one
important question.
Do you have insurance?
But then ask yourself
another question.
How does this support the story?
You don't want the viewer to
notice the cinematography,
you want them to notice
something in the story.
The visual language
is always evolving,
and filmmakers have new tools
available to them every day.
But in the end,
they're just tools,
designed to move something else.
The viewer's point of attention.
When filmmakers rack
focus or dolly in,
all they're really doing is directing
the audience's eye to something.
If you start thinking about where
the audience's eye is pointed,
then you're truly moving
the camera with a purpose.
Watch the sequence and notice
where your eye is throughout it.
- Without anybody gettin` wise,
the IRS or anybody.
Now, notice how in a court rooml
nobody ever seems to see anything?
Somehow, somebody's always
lookin` the other way.
Now, look at these guys.
They look busy, right?
They are counting money.
-This sequence is about
following the money.
And from shot to shot,
we do this with our eyes,
our point of attention,
from hand,
to briefcase,
to table.
What's moving across the frame
and through the sequence
isn't just the camera
and the objects and frame,
but also our eyes.
Now, check out this sequence.
The energy of this
moment is frenetic
because Quran has us
looking all over the frame.
Our point of attention
goes from one upper corner
to the opposite lower corner,
as we try to follow the subject,
as she's hurtled through space.
We don't even know
where to look.
It creates, chaos, anxiety.
Both sequences are excellent,
and so their stories
in different ways,
by understanding how to manipulate
a viewers point of attention.
Thinking about this one show you won't
use any unmotivated camera moves.
However,
you choose to move the camera,
the real object you should
be focused on moving
is your audience's attention.
-Boo, mummy.
-Think about what you want
the audience to focus on
in each shot,
and why it serves the story?
Then think about what devices and
movements can help you achieve that.
Because if you're
moving the camera
without thinking about where
the audience is looking,
they probably going to start
looking at their phones.
-Really?
- If you like the video,
make sure you share and subscribe.
See you in the next video.
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