One thing I've learned from photography it's not the camera or its movement that creates a cinematic or great shot, it's mood and the viewer's immersion in the image. If you can make a connection for the viewer then the shot will always be strong
@jeydison video and photography are here to do the same thing. Make a connection, and get a story across. Whether it's one frame or many frames it's all the same in that sense
I was educated not to move the camera when unnecessary, my professor always told me "every camera movement should be justified to follow an action or something that actually requires a camera movement". Following this rule since.
Don't always follow these guidelines... watch "Killing them softly" it had lots of amazing shots and some brilliant ones that didn't require movement... the placement was everything and the most important thing of all... originality without being silly. The cabinet panover shot is one of those amazing shots. You'll know it when you see it.
I was going to write exactly the same thing :-) I'm old school. Every movement of the camera says something to the viewer. What do today's "cool" shots say when the camera keeps emerging from behind something?
YES. People always tell me, that shot went too long, it got boring, it made me feel weird. And it only solidifies my desire for shots to be more static and long, as in like 10-15 seconds vs the 5 seconds people want.
@@nomadikmind3979 ahhhh now it is 2.5 seconds. Sorry we got confused since you said "vs the 5 seconds people want." But just throwing it out there: shots like anything else in art are subjective. You just saying that 10-15 seconds is right and "2.5 second shots" are wrong actually doesn't make you any more correct than the ones giving feedback...in fact as THE AUDIENCE, their feedback is more correct since they are who content is made for. Only pretentious douchebags say people are wrong for giving you feedback on how the content you made FOR THEM (the audience) felt.
Similar to the rotating shot in your last example, I have used a tripod for a quick dolly-type pull back shot when shooting food - starting on one item of food and pulling back and slightly rising to reveal another item. I would practice the move several times perfecting the framing and movement, and use my foot to help the move come to a soft, controlled stop. It looked quite impressive, and I've never told anyone how I accomplished a high-quality move so quickly and cheaply...until now.
Mi first little project "Oppenheimer - The Vinyl" after years and years of doing absolutely nothing with a camera is basically all stationary shots. Made it just for fun and enjoyed making every bit of it. So yes, I think you don't need a million cranes, gimbals to make something meaningful. Just recently went to see a movie "The Zone of Interest" and it was basically 95% of static shots. It is possible and it can create a certain type of feeling. I highly recommend that movie by the way.. but not everyone will fully get it I think.
If you search you'll find a great BTS on The Zone of Interest, no lighting used, yes the cameras were fixed but all hidden so the actors could move freely around the house, no crew in the house during filming all cameras monitored remotely. Often 3-4 cameras in each room with up to 12 used for a scene where the actors moved around the house, very well done and very effective, no wonder it won an Oscar.
Congratulations on the video. I was wondering how you managed to play the intro songs loud, without disturbing your voice. Have you changed the EQ frequencies?
Great video...and yep! I love static shots in movies because it allows me to become immersed into the vignette around the subject, such as: the environment they're in, or the people around them, they way that objects in the room are arranged, and especially the lighting setup.
Nice to see a clip of my friend Joey in a fight scene. While we were all out trying to shoot martial arts movies in the neighbourhood he went out and got real roles like in the Bourne Ultimatum 👍
Also important to mention is that if you're shooting in 24p, or (to a SLIGHTLY lesser extent) 30p, you will have to pan your camera more slowly or it will become juddery (and probably also blurred if you're using the 180º shutter rule), especially if you're not using a wide-angle lens. 60p and 30i are more forgiving, and will allow you to pan a little bit faster without these problems. However, even if you're shooting in 60p or 30i, if your shutter speed it set to 1/60 second (or set to "off") you'll still have to be a little careful not to move it too fast or it can blur just a bit, but (if your exposure and lighting will allow it) you can turn up the shutter speed a little bit and get less motion blur without having to worry about it becoming choppy like 24p and 30p will at high shutter speeds.
Also, you can't just shoot your faster pans in a high frame rate and then convert the footage down to 24p or 30p because it will still judder from having 50%-60% fewer frames (unless you're playing it back in slow motion).
Good video and some useful tips and ideas. Thank you! My rule of thumb for camera moves is simple. If you can’t do it with your head then don’t do with your camera (unless you want to be arty). Use a slow zoom only when you want to draw the viewer into something secret or emotive. Like when someone tells you “hey, come closer, I’ve got something to tell you”. Cameras that move continuously around a subject (especially in interview situations) are plain odd. Would you walk around someone talking to you in real life like that? Perhaps if you were eyeing them up or trying to get the measure of them. If that’s the mood you want to pull off then fine but I really don’t like these moves just because a crew can hire some track and dolly the camera from left to right or in a semi circle. The worst thing a filmmaker can do is move the camera unnecessarily - that’s when you end up distracting the audience and ruining a good story. If the audience becomes aware of your camera moves then in my book it’s gone wrong!
Good points here man! Totally agree! Camera movement should make sense (in most cases)! There's always exceptions to the rules though but it's a good general rule!
Thank You So Much For Doing This Vídeo! Because Right Now All I Have Is My Tripod And My Camera. Thank you For Showing The Actual Camera BTS On How You Positioned The Camera To Get Each Look. I’m A Visual Person and That Helped Tons Ive Been Researching On How To Bring My Vídeos To Life.
I find the perpetual motion that many UA-camrs use very distracting. Some guys actually seem to push the idea of moving the camera for every shot in order to create motion. Watching on a large TV makes it more obvious, so I experimented by making a short film of a trip twice. Once handheld with moving shots and the same locked off. The wife preferred the locked off version because it was easier to watch. In the end, I mixed a few moving shots into the static in slower sections and that gave a reasonable compromise.
Yep, I think good balance is important. There is no right or wrong, it just has to make sense and not distract from the story or what is going on in the frame 👍
this was a refreshing and very interesting video. Really cool to focus on techniques and not several expensive gadgets. It really inspires to try new things.
Very nice video! I would add that adding a jib for static shots can be a very powerful tool especially with a remote control head to explore great angles and compositions.
The content of the video is anchored in the depths of my brain and I hope it helps my creativity. I say: many people should simply dare not to stick to established rules or short-lived trends. Just do it. Just try to put your own creativity and imagination before everything else ...
Hi great video I’m new to filmmaking and I’ve learned a lot from your channel I have a small question : how do you find movies references for each technique, do you find them one by one or there is a tool or website that helps thanks in advance
Great stuff. Hope your project sells! Reading Mamet. Mamet says the uninflected shots put side by side is the strongest. What happens next=drama. The camera needs to get out of the way. So tripod shots work great for that style. Example: shot of birds flying out of a tree, shot of lion walking=idea: approaching danger. Implication is always strongest. Because the audience does the work. Who's got money for cranes?
Love to see all the techniques directors use in movie making. With today's tiny cameras, like the ZV-E10, one doesn't need much in the way of equipment to make a video. I cheap gimble and tripod can do. Love to see a remake, just for fun, of the 1960s movie Grand Prix using small ZV cameras from Sony. I want to see what today's kids can do.
3:52 use a tilted mirror for a more comfortable position for your actor and the camera operator. Bonus: it can simulate the camera being higher than the ceiling.
Very informative video. Very creative techniques from just a tripod. Shows how much we don't have to break our backs to get high cost until we comfortably afford, especially if one isn't shooting high-cost videos. I like & subscribed. It was definitely worth it. Kep producing.
True but really depends on the subject. If you’re shooting a static object or an event, movement helps because you’re showing many angles of the product at the same time( with a gimbal for example). For event, it helps a lot, it creates energy and dynamism to describe the event.
Wow yo u either went to a SHIT cinematography school or you mastered in hyperbole. So basically you are saying in FOUR YEARS they didn't teach you to tilt or pan the camera or use a high angle to show a wide shot? Like I said: sounds like a shit school.
im making my first shortfilm and most of the shots are stationary, cause its a one man project. the rest are stills (to show the empty scenario, panning and two tilt shots to show the direction from which my Actor maybe comes (its a sort of sci fi film)
I know I'm a Rookie but WHY NOT auto focus when moving the camera in the scene where crazy is moving up from lying down on the bed. Wouldn't that be far better than having a focus puller while you're lifting the tripod? Just curious. AWESOME tutorial man! LOVE the channel. Bo
Yes of course that would have done the job perfectly fine! But I was using a vintage lens and that does not have autofocus. Glad you liked the video Bo, thanks for watching! 🙌
And I just realized how cool the David FIncher shots are! I guess that was always subliminally one of the reasons why I loved his style but I didn't actively notice it until now.
Mmm maybe in some cases yes. But wou'd have to shoot everything with a lot more space around the character because otherwise they will still break frame if the camera doesn't move fast enough.
Thank you. The problem I see with the "handheld look" is that it's so seldom done well. Mostly, it upstages the actors, it's tiring for the viewer, and it demonstrates the camera person's ego-activated desire to be, very unnecessarily, part of the action. Poor handheld camerawork has ruined entire films and series, most notably (?) the Belgian version of "Professor T" which needs to be Warp Stabilized (read the Amazon 1-star comments). Too often, camera shake is used stupidly in the belief that it will GENERATE excitement, fear, nervousness, a feeling of hectic action, et al., instead of trusting the actors, who nearly always do it better. I've watched handheld scenes that were very well done - like the best running shoes, you forget that the camera is there. In those scenes, it was appropriate and served the viewer - it made the scenes better, not worse as amateurish handheld work does.
![Ultimate Guide to Camera Movement - Every Camera Movement Technique Explained [The Shot List Ep6]](http://i.ytimg.com/vi/IiyBo-qLDeM/mqdefault.jpg)
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One thing I've learned from photography it's not the camera or its movement that creates a cinematic or great shot, it's mood and the viewer's immersion in the image. If you can make a connection for the viewer then the shot will always be strong
Very true! 🙌
But this is a video
@jeydison video and photography are here to do the same thing. Make a connection, and get a story across. Whether it's one frame or many frames it's all the same in that sense
😂
@@jeydisonCinematographer also called Director of Photography
I was educated not to move the camera when unnecessary, my professor always told me "every camera movement should be justified to follow an action or something that actually requires a camera movement". Following this rule since.
That is definitely a good rule to live by! 👍
Don't always follow these guidelines... watch "Killing them softly" it had lots of amazing shots and some brilliant ones that didn't require movement... the placement was everything and the most important thing of all... originality without being silly. The cabinet panover shot is one of those amazing shots. You'll know it when you see it.
@undergroundsprinkles still one of Fraser's best movies.
I was going to write exactly the same thing :-) I'm old school. Every movement of the camera says something to the viewer. What do today's "cool" shots say when the camera keeps emerging from behind something?
0:56 Static Shot
2:40 Overhead Shot
5:38 High Angle Shot
6:46 Panning
7:18 Fast Pan
8:02 Tilt Shot
10:12 Rotating
Love the explanation of Top Down shots. Chef's kiss.
Glad you liked it!
YES. People always tell me, that shot went too long, it got boring, it made me feel weird. And it only solidifies my desire for shots to be more static and long, as in like 10-15 seconds vs the 5 seconds people want.
As long as the shot does what you want it to do, it can be as static and as long as it needs to be!
Sometimes people aren’t wrong
@@mickeybardot997 when they are wanting 2.5 second shots constantly, they are
@@nomadikmind3979 ahhhh now it is 2.5 seconds. Sorry we got confused since you said "vs the 5 seconds people want." But just throwing it out there: shots like anything else in art are subjective. You just saying that 10-15 seconds is right and "2.5 second shots" are wrong actually doesn't make you any more correct than the ones giving feedback...in fact as THE AUDIENCE, their feedback is more correct since they are who content is made for. Only pretentious douchebags say people are wrong for giving you feedback on how the content you made FOR THEM (the audience) felt.
@@owexsolo i feel like youre interpreting this whole conversation to be a lot more literal than it is.......
Similar to the rotating shot in your last example, I have used a tripod for a quick dolly-type pull back shot when shooting food - starting on one item of food and pulling back and slightly rising to reveal another item. I would practice the move several times perfecting the framing and movement, and use my foot to help the move come to a soft, controlled stop. It looked quite impressive, and I've never told anyone how I accomplished a high-quality move so quickly and cheaply...until now.
Nice one! Thanks for sharing 👍
Love how you explained it… it seems interesting when I realized you shot Joker
Glad to hear you liked the video 🙏
Mi first little project "Oppenheimer - The Vinyl" after years and years of doing absolutely nothing with a camera is basically all stationary shots. Made it just for fun and enjoyed making every bit of it. So yes, I think you don't need a million cranes, gimbals to make something meaningful. Just recently went to see a movie "The Zone of Interest" and it was basically 95% of static shots. It is possible and it can create a certain type of feeling. I highly recommend that movie by the way.. but not everyone will fully get it I think.
As much as I love using a gimbal, setting up a nice static shot is just so pleasing.
I haven't seen that film though, thanks for the recommendation 👍
If you search you'll find a great BTS on The Zone of Interest, no lighting used, yes the cameras were fixed but all hidden so the actors could move freely around the house, no crew in the house during filming all cameras monitored remotely. Often 3-4 cameras in each room with up to 12 used for a scene where the actors moved around the house, very well done and very effective, no wonder it won an Oscar.
Congratulations on the video. I was wondering how you managed to play the intro songs loud, without disturbing your voice. Have you changed the EQ frequencies?
Glad you liked it! Yes exactly, bring down certain frequencies 👍
Amazing tips! Will definitely use them as a film director. Thank you.
Awesome! Thank you!
“Cinema is a matter of what's in the frame and what's out." -Martin Scorsese
I always keep that top of mind when shooting
Really great info. Great explanation and great examples. Thanks.
Glad you enjoyed it! Thanks a lot
This is so true! With all the great new tech it's hard sometimes to realize that a simple shot can be if not more powerful that a moving shot
Yea man, agreed! ✌️
This came up in suggested. Totally helping me in my new “moving” story telling videos. Simple tips but GOOD. Thank you.
Thank you! Glad to hear it! 🙏
Great video...and yep! I love static shots in movies because it allows me to become immersed into the vignette around the subject, such as: the environment they're in, or the people around them, they way that objects in the room are arranged, and especially the lighting setup.
Thanks! And well said, couldn't agree more 👍
As a filmmaker I can tell you that if you are paying attention to all that shit, then the story must really suck.
@@owexsolo OR, you've seen the film numerous times and are now looking for things that you may have missed.
Nice to see a clip of my friend Joey in a fight scene. While we were all out trying to shoot martial arts movies in the neighbourhood he went out and got real roles like in the Bourne Ultimatum 👍
Also important to mention is that if you're shooting in 24p, or (to a SLIGHTLY lesser extent) 30p, you will have to pan your camera more slowly or it will become juddery (and probably also blurred if you're using the 180º shutter rule), especially if you're not using a wide-angle lens. 60p and 30i are more forgiving, and will allow you to pan a little bit faster without these problems.
However, even if you're shooting in 60p or 30i, if your shutter speed it set to 1/60 second (or set to "off") you'll still have to be a little careful not to move it too fast or it can blur just a bit, but (if your exposure and lighting will allow it) you can turn up the shutter speed a little bit and get less motion blur without having to worry about it becoming choppy like 24p and 30p will at high shutter speeds.
Also, you can't just shoot your faster pans in a high frame rate and then convert the footage down to 24p or 30p because it will still judder from having 50%-60% fewer frames (unless you're playing it back in slow motion).
If it’s the composition, set design and lighting is strong and working with the story then the static shot can most definitely work.
Good video and some useful tips and ideas. Thank you! My rule of thumb for camera moves is simple. If you can’t do it with your head then don’t do with your camera (unless you want to be arty). Use a slow zoom only when you want to draw the viewer into something secret or emotive. Like when someone tells you “hey, come closer, I’ve got something to tell you”. Cameras that move continuously around a subject (especially in interview situations) are plain odd. Would you walk around someone talking to you in real life like that? Perhaps if you were eyeing them up or trying to get the measure of them. If that’s the mood you want to pull off then fine but I really don’t like these moves just because a crew can hire some track and dolly the camera from left to right or in a semi circle. The worst thing a filmmaker can do is move the camera unnecessarily - that’s when you end up distracting the audience and ruining a good story. If the audience becomes aware of your camera moves then in my book it’s gone wrong!
Good points here man! Totally agree! Camera movement should make sense (in most cases)! There's always exceptions to the rules though but it's a good general rule!
Thank You So Much For Doing This Vídeo! Because Right Now All I Have Is My Tripod And My Camera.
Thank you For Showing The Actual Camera BTS On How You Positioned The Camera To Get Each Look.
I’m A Visual Person and That Helped Tons
Ive Been Researching On How To Bring My Vídeos To Life.
Glad you enjoyed it ✌️
I find the perpetual motion that many UA-camrs use very distracting. Some guys actually seem to push the idea of moving the camera for every shot in order to create motion. Watching on a large TV makes it more obvious, so I experimented by making a short film of a trip twice. Once handheld with moving shots and the same locked off. The wife preferred the locked off version because it was easier to watch. In the end, I mixed a few moving shots into the static in slower sections and that gave a reasonable compromise.
Yep, I think good balance is important. There is no right or wrong, it just has to make sense and not distract from the story or what is going on in the frame 👍
this was a refreshing and very interesting video.
Really cool to focus on techniques and not several expensive gadgets.
It really inspires to try new things.
Glad you enjoyed it! ✌️
Very nice video!
I would add that adding a jib for static shots can be a very powerful tool especially with a remote control head to explore great angles and compositions.
Glad to hear you like it! Cool idea with the jib 👍
The content of the video is anchored in the depths of my brain and I hope it helps my creativity. I say: many people should simply dare not to stick to established rules or short-lived trends. Just do it. Just try to put your own creativity and imagination before everything else ...
Thanks a lot! Glad you liked the video 👍
What a video !!! Love it !!! 😮
Glad you liked it! 🙌
After playing tons of Star Wars Knight of the Old Republic i love still shots SO MUCH!
Wutttt
good advice, ty
Glad it was helpful!
Hi great video I’m new to filmmaking and I’ve learned a lot from your channel I have a small question : how do you find movies references for each technique, do you find them one by one or there is a tool or website that helps thanks in advance
Thank you! Glad you enjoyed the video. There are a number of websites to find movie stills like Frameset, Film Vibes, Shotdeck, etc
POV - You’re learning and it’s super satisfying to watch!
Glad you enjoyed it 🙌
Great stuff. Hope your project sells! Reading Mamet. Mamet says the uninflected shots put side by side is the strongest. What happens next=drama. The camera needs to get out of the way. So tripod shots work great for that style. Example: shot of birds flying out of a tree, shot of lion walking=idea: approaching danger. Implication is always strongest. Because the audience does the work. Who's got money for cranes?
Appreciate it! Glad you liked the video!
And yes, cranes... eeesshh💰💰
shooting a bit wide and then digitally reframing a bit can help keep framing
Love to see all the techniques directors use in movie making. With today's tiny cameras, like the ZV-E10, one doesn't need much in the way of equipment to make a video. I cheap gimble and tripod can do. Love to see a remake, just for fun, of the 1960s movie Grand Prix using small ZV cameras from Sony. I want to see what today's kids can do.
3:52 use a tilted mirror for a more comfortable position for your actor and the camera operator. Bonus: it can simulate the camera being higher than the ceiling.
Very informative video. Very creative techniques from just a tripod. Shows how much we don't have to break our backs to get high cost until we comfortably afford, especially if one isn't shooting high-cost videos. I like & subscribed. It was definitely worth it. Kep producing.
Happy to hear you liked the video Tony! Thanks for subscribing ✌️
This was really good in certain areas ..thnx
Glad you liked it
I loved this video. Great!!
Glad you enjoyed it!
love it. I use a lot of these things instinctively in videos but this structured explanation really gives a sense of clarity to it all.
nice work, thanks man.
Thanks!
True but really depends on the subject. If you’re shooting a static object or an event, movement helps because you’re showing many angles of the product at the same time( with a gimbal for example). For event, it helps a lot, it creates energy and dynamism to describe the event.
can you tell me how you were wirelessly transmitting the image to the monitor in the directors hand during the overhead example? thnx
We were using the Hollyland Mars M1 monitors, they wirelessly connect or can connect to your smartphone
Wow! Eye opening. Really interesting. Thanks!
Glad you enjoyed it!
Thanks for this teaching.
Glad you found it helpful man! 🙌
Very informative and engaging. Thanks for sharing!
Glad you enjoyed it!
Great video....thanks for the tips
Glad it was helpful!
Super. I learned so much. Thank you.
Great to hear! Thanks for watching 🙏
Thank you very much for this. Learned a lot in a short time.
Glad it was helpful!
I discovered you just now, Thank God for making you.
This was helpful
Great to hear! 🙌
Awesome a very helpful video, well spoken with great video samples….thank you……….please please keep up the good work
Glad it was helpful! Thanks a lot 👍
Great composition = Cinematic
100% true 💥
Great info, thanks!
Glad it was helpful! Thanks for watching ✌️
First time watching your channel. Great video.
Thanks a lot for stopping by! Glad to hear you enjoyed the video 👍
Danke für die tollen Informationen und Erklärungen. Solche Details Analysen helfen sehr bei eigenen Projekten.
Freut mich! Vielen Dank 🙌
😯Wow this is good. The techniques covered more than the entire 4-year of Cinematograpahy schooling !!!
Thanks a lot! Appreciate it 👋
Wow yo u either went to a SHIT cinematography school or you mastered in hyperbole. So basically you are saying in FOUR YEARS they didn't teach you to tilt or pan the camera or use a high angle to show a wide shot? Like I said: sounds like a shit school.
Thank you
Welcome!
im making my first shortfilm and most of the shots are stationary, cause its a one man project. the rest are stills (to show the empty scenario, panning and two tilt shots to show the direction from which my Actor maybe comes (its a sort of sci fi film)
Nice! Yea I think solo projects are a great way to learn because you just have to simplify certain things
Nice one, thanks!
Glad you liked it!
Thanks for reminding this important facts.
simply great1
Thank you!
that's a nice silver mir-1b 🤩
I actually sold it again, but why?! 🥴
Amazing video, thank you.
Glad you liked it!
Superb
Thank you! Cheers!
You used Wild Tales, my favourite movie
I know I'm a Rookie but WHY NOT auto focus when moving the camera in the scene where crazy is moving up from lying down on the bed. Wouldn't that be far better than having a focus puller while you're lifting the tripod? Just curious. AWESOME tutorial man! LOVE the channel.
Bo
Yes of course that would have done the job perfectly fine! But I was using a vintage lens and that does not have autofocus.
Glad you liked the video Bo, thanks for watching! 🙌
@@SightseeingStan Ah yes, makes sense
The camera actually moves in that shot from Dunkirk tough.
Do you mean the shake when the bombs drop? I would still say this counts as a locked off shot 😉
Yeah, I'd say more of an effect rather than a move.
And I just realized how cool the David FIncher shots are! I guess that was always subliminally one of the reasons why I loved his style but I didn't actively notice it until now.
Yea it's nuts once you start paying attention to it! 😅
Good video
Glad you enjoyed
Great video!
Glad you enjoyed it
It s all about feeling
Interesting, thanks!
Nice to hear you liked it! 🙏
9:50 or a camera with good resolution and then crop and refine the movement in post 😀
Mmm maybe in some cases yes. But wou'd have to shoot everything with a lot more space around the character because otherwise they will still break frame if the camera doesn't move fast enough.
@@SightseeingStan yup, exactly. I think i heard Fincher talking about doing that in an interview or RED promo video
@@subros. Ahh really!? Would be interesting to see/hear that!
I also heard he's a perfectionist and will do tons of takes until he gets it just right!
this was really goooodd. have you ever heard of a two piece combo from Popeyes?!?! LOL I would def watch an episode two.
this is also effective if you have a great actor to begin with
Yes of course great talent helps!
It is a must no matter what technique you use.
This is familiar with the StudioBinder.
Very similar content we have seen at studio binder, but 4 years ago.
90% of my short film is locked off shots, because the characters are stuck in a bad situation. Sometimes, stillness in itself can convey a mood.
Yes 100% agree! 👍
Thanks
Anybody know what the film at 2:26 is? It's two people in a restaurant. Don't recognize either actor.
Wild Tales or Relatos Salvajes
Instant subscriber!!! 😅 Many Thanks, my Good Brother.
Thanks for subbing! 🙌
3:33 what kind of tripod is this?
Smallrig Freeblazer AD-100
3:27 What lens is that?
Helios 44
@@SightseeingStan I did knew it is a soviet lens, but thought it is the Mir-1.
@@MezeiEugen Oh okay, maybe the time code is wrong, because I also used a MIR-1 in this project!
What is really noticeable in your film is the unmotivated lighting
A harsh read only the lighting nerds will understand haha
great
Thanks! 🙌
Ini yg ku mau di pelajari
WILD TALES 🇦🇷🇦🇷
Thank you. The problem I see with the "handheld look" is that it's so seldom done well. Mostly, it upstages the actors, it's tiring for the viewer, and it demonstrates the camera person's ego-activated desire to be, very unnecessarily, part of the action. Poor handheld camerawork has ruined entire films and series, most notably (?) the Belgian version of "Professor T" which needs to be Warp Stabilized (read the Amazon 1-star comments). Too often, camera shake is used stupidly in the belief that it will GENERATE excitement, fear, nervousness, a feeling of hectic action, et al., instead of trusting the actors, who nearly always do it better. I've watched handheld scenes that were very well done - like the best running shoes, you forget that the camera is there. In those scenes, it was appropriate and served the viewer - it made the scenes better, not worse as amateurish handheld work does.
Reth Sogan
Let the action move, not the camera
I think Casey Neistat once said something similar!
hi Sightseeing Stan
, i would like to do video editing for your content , looking forward to hear from you soon
Roy Andersson approves.
😁
Isn't it someone's job "focus puller"? You did it the Hollywood way
Yes you are correct. Usually that person is wirelessly connected to the camera and isn't in such an awkward position though 😅
3:15 - Same calculator.
You probably get this a lot but
Seth Rogen.. is that you?
yep... Ive seen so many movies ruined by endlessly moving the camera.
2:00 it’s called sub-framing
Doesn't you. Camera have auto focus? Last shot xould be taken care of with autofocus
I was shooting on a vintage lens, that doesn't have autofocus.
I'm making a film in NYC anyone interested?
I don’t think people understand the meaning of cinematic.
Def Just means 24fps and 21:9 right?
Haha
i hope the actor is ok. :p