Camera tools like jibs, sliders and gimbals
are giving our camera a lot of freedom
to move around in space.
Just like the Nebula 5100 we got in.
Almost any movement is possible
with this gimbal
but sometimes we need
to take a step back
and think about the visual story we're telling
while making a specific movement.
And that's why we've picked
five very common movements
and we'll share the story behind that.
Hey folks, Jordy here for cinecom.net.
At our channel we share creative
tips and tricks for filmmakers,
but sometimes we are a little
too creative, Aren't we?
When doing a camera movement
you're also telling a visual story.
So it's important to know the difference
between a track-in or a slide.
Today we'll be using the Nebula 5100,
it's a single hand gimbal that
supports any DSLR camera.
With their new generation motors
and built-in encoder
you don't even need to balance
your camera so perfectly anymore.
Just slide it in and make sure it's not
falling to much to one side.
You can literally put in a new camera in here
and start shooting within 30 seconds.
Just like the other Nebula products,
we've got several modes to enable or disable
Following Mode for the different axes.
Those can be adjusted from
the thumb controls
where you can also find a joystick for
controlling the gimbal manually,
and a start/stop record button.
First we'll start with the track-in.
Make sure you have some foreground
objects, to notice your movement
while you're pushing
the gimbal forwards.
Doing such a movement makes you
focus on the subject.
You're going to isolate the talent and bring in
the viewer closer to the action.
One example is when your character is thinking
and trying to find a solution to a problem.
Just as the talent is trying to dig deep in their
mind, the viewer is being pulled closer,
symbolizing the idea that it's approaching.
When you're doing a track-out
you're going to tell the opposite story.
You're going to leave the subject
and make them smaller.
An example for this is when your character
might have just ended her relationship.
Kim here is heartbroken and
feels like she's left alone.
By moving backwards we're making the space
around her bigger and her smaller.
Also, the viewer seems to leave the character as well,
which emphasizes that she's being left alone.
To enable that allow 360° movement
on every axis.
So that means you can hold the gimbal
completely horizontal
making it very small and
fits through tight spaces.
This makes your track-in or out shots
even more spectacular.
The second movement is a slide.
This time it doesn't matter if
you're sliding left or right,
one thing is for sure, it adds
great depth to your shots.
A slide reveals a lot of space,
you can kind of see it as a panorama shot,
very wide and open.
Now, apart from the type of lens you're on, it will
help with making your room look bigger as well.
You can also tell a longer story by
combining two actions in one shot.
Here we can see Kim entering the kitchen,
that's one action.
The camera now slides to the side, revealing
a note, which is the second action.
We're using the space to reveal
itself in one shot.
Now, the motors of the Nebula
are pretty strong,
I can even touch the lens and do
a focus pull right in the action.
The third movement is a parallax effect.
You can either slide gently to the side, but also
bend to keep the subject in the middle,
or you can run around the subject
and keep him in the middle.
Doing this you're isolating the character,
as you're making a clear difference in the
foreground, the talent and the background.
Focusing on the subject while doing this
is way different as doing a track-in,
as we saw at the beginning of the video.
The moving background
reflects on the subject,
and the more the background moves,
the bigger the emotion is.
The world around the character is moving fast
and we can use that, either positive or negative.
If the character is very confident, it seems
like she's moving that world
and it will make her confidence even bigger.
So we can use this movement
to emphasize that.
On the other hand, if the character feels
heartbroken, due to the loss of something,
you can use this movement to make the
surrounding go forward while she's standing still.
Her issues makes her forget
about the world around her,
and she thinks that they'll pass away.
When running fast around a subject,
it could be pretty cool to do this
with a slanted horizon
to give the impression that 
we're running faster.
With one push we can put the Nebula in any
position and start making our shots that way.
And with a press of a button
we are back at Default position.
The fourth camera movement
is about the roll axis.
By setting the Nebula in the correct mode,
we can push to follow the roll axis.
This is a great feature, I haven't seen
that much on gimbals yet.
It allows for some really unique shots.
Slanting your horizon axis
is not that natural.
It's considered as something
you shouldn't do.
And that's the exact emotion it creates.
It adds a weird artificial tone to the shot,
You can do this movement with a combination of
a track-in towards a door, for example.
Doing this focuses the viewer on that door
and with the extra roll movement,
it adds a mystery tone to it.
The viewer will get curious
to what's behind the door
and perhaps make them
a little bit scared, as well.
Turning on the roll axis could prepare
the viewer for something that is coming.
Here we see Kim, standing
ready to run away.
While we move forwards to her,
and push on the roll axis
we are telling the viewer that
something will happen next.
In this case, Kim takes off,
and quickly runs away,
and again, emphasizes that action.
And the last story behind the camera
movement is a crash zoom,
or, to be more specific,
a crash track-in.
You wanna take a certain distance
from your subject and run towards her.
We can hold the Nebula upside down
to be closer to the ground
getting more motion, thus making
the movement look faster.
Once you get your talent in a medium
or close up shot, you stand still.
In post-production you would've speed up
the movement towards the talent.
This is often used in action films to reveal
a character or shock the audience
as you suddenly see something new.
it emphasizes the character enormously.
We're all pretty common by this movement, by the way,
in those Japanese fight movies.
Tarantino also made great use of this
in many of his films, such as Kill Bill.
You can create a similar shot, by the way, when
going from an extreme close up to a wide shot.
So, as you can see, every movement
has its own story to it.
To find out more about the Nebula 5100
just follow the link in the description below.
And don't forget to subscribe, as we're
putting out videos like this every week.
Thank you so much for watching...
...And stay creative.
