Watch the Online Video Course Camera Movement for Video Productions

46m 52s Appropriate for all Jul 17, 2014

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Filmmaking is a medium defined by motion: not only the action that occurs within a frame, but also
movement of the camera itself. It's the ability to employ camera movement that separates new
videographers from the pros. In this course, production veteran and instructor Eduardo Angel
explains the importance of camera movement and the benefits of integrating it into your video
productions. The lessons are explained through a series of examples that compare static shots to
their dynamic counterparts, showing exactly how camera movement contributes to each scene,
whether it's increasing drama, following action, directing viewers' attention, revealing key details, or
simply transitioning between shots in a sequence.
Topics include:
Exploring the different types of camera motion
Panning and tilting
Zooming
Racking
Tracking on sliders vs. dollies
Stabilizing camera movement
Working with cranes, jibs, and mounts
Choosing the right camera for motion

Why motion is important to video

Hello, I'm Eduardo Angel. In this course, we will be discussing the importance of camera movement,
and how and why we should begin to integrate into your own video productions. I am often able to
identify photographers who have recently made a transition to video. Simply by the amount, or lack
of camera movement in their work. Unlike still photography, filmmaking is a medium defined by
motion.
Motion in the action within the frame, but also, of the frame itself. Let's take a look at this. Here is a
night exterior shot, at a cafe, with a young woman standing in front of it. It's raining, and she's
waiting for here boyfriend, who's running late as usual. Even though someone walks in front of the
camera, we have no movement. It almost feels, like a still photograph. A sequence of beautifully
composed, perfectly lit shots, can feel like a fancy slide show, as opposed to a story in motion, if
they remain frozen.
Now, let's be clear. It is possible to tell a story without any camera movement. We obviously
understood the situation. But what if we move the camera. Would it change our perception of thegirl
waiting impatiently, and the man running late? Let's see. Do you see the difference? Let's just play
again the sequence where he arrives. On the left, he just enters and exits the frame.He doesn't
seem like he's in a rush. On the right, the camera follows him. We can feel how fast he's walking.

It seems that he actually cares, and he's rushing to get there as fast as possible. And guess what,
he is walking at the same exact speed, on both takes, but our perception is completely different. Not
only are we increasing the production value of the piece, we're actually shifting the way the
audience reads the scene. This is the power of camera movement. In this course, we will see why
movement is such a powerful resource, for infusing drama, following action, directing the viewer's
attention, revealing key details in transitioning between shots in a sequence.
Let's get started.

What are the different types of motion?

The most basic camera movement that we see in movies is used to follow characters. It is the most
basic technique because it tends to be the easiest to incorporate into our work. But there's a lot
more to camera movement than just following our subjects. And we will see when and why they can
be used to enhance our stories. Over several short movies, we will cover manydifferent types of
camera movement from big budget gibs, to much simpler do it yourself variations that can be
quickly and easily incorporated into smaller budget projects.
There are essentially five motions we can do with a camera. Back and forth, side to side, up and
down, around the subject, and pivoting the camera, which we normally refer to panning and
tilting. Lets look at some examples of these motions. Pans and tilts are accomplished by shifting the
direction of the camera. Up or down. Side to side. These are examples of back and forth movement,
which in cinema are called dolly in and dolly out.
The camera moves forward and backward to increase or decrease the distance from the action.A
similar move can be accomplished adjusting the focal length if using a zoom lens. We will cover the
difference between moving the camera and zooming in our out in a later chapter. On a tracking shot,
the camera moves alongside the action of the scene. The distance between the camera and the
subject does not change. The pedestal is somewhat similar to tilting. But here, the height of the
camera changes.
This is a very effective way to reveal additional visual clues. An arc is created by moving the
camera around an object, or more often, a subject. The Arc is accomplished through acombination
of the moves mentioned earlier. The distance, height, and the camera direction canshift to move the
camera around the subject. On chapter four, we will discuss stabilizers and share several different
examples of this movement. Each of these camera movements can be accomplished in multiple
ways.
As we will see, we don't always need tons of super fancy and expensive gear to achieve
thesemotions, but having the right tools and most importantly, understanding when and why to use
them is the key. Along with these essential types of motion, we will cover less conventional camera
movement techniques. As well as the artistic difference between shooting a handheld as opposed to
stabilizers or fixed camera shooting.

Tripod vs. monopod

Let's begin by working with a tool we all know very well, the tripod. With it, we can very easily
achieve two of the most essential types of camera movements, pans and tilts. Turn your head and
look to the left. Now, to the right, back to the left, that's a pan. Now, look up, then down, and up
again. That's a tilt. We could use a tripod in many other creative ways. Like, for example, we could
convert a tripod into a by simply lowering one of the tripod legs, and slowly moving the camera
forward or backwards.
This is especially powerful in combination with a wide angle lens. I have seen people using tripods
as a shoulder rig, and even as a cheap version of a steady cam. But above all else, a tripod is used
to eliminate shake. Let's take a look at a handheld shot. Some intentional camera shake, which we'll
discuss later, can really charge a scene with kinetic energy. But unintentional and exaggerated
shake, is often distracting, and pulls the viewer out of the story. We set up a tripod to eliminate any
trace of camera shake.
Notice the difference in the camera shake. The handheld version provokes a voyeuristic feeling,like
the couple is being spied on. And it doesn't match the cozy mood of the cafe, and the happy
exchange we see. On the tripod version, the viewer is not distracted by the camera movement,
and can concentrate on reading the body language and facial expression of the couple, especially
hers. Another standard tool that can accomplish many of the same motions as a tripod, is a
monopod with a fluid head. The monopod is much more portable than the tripod, and it is easier to
adjust the height.
Because of its small footprint and portability, the monopod lends itself to run and gone camera work,
such as documentary, quick interviews and event videography. Actually, a big chunk of the BPS for
this course, was shot on a monopod. The key difference between the two, is that a monopod will
never be perfectly still, because the cover is being supported by human hand, it is impossible for it
to be completely static. Let's look at an example of these two pieces of equipment, side by side.
Here's the same scene shot handheld, with a monopod and on a tripod. The mid ground between
these two extremes, is the monopod. It has a little bit of movement, which adds a layer of realism. It
conveys a scene straight out of a reality TV show, perhaps. When, and why would I use a monopod
over a tripod? If I have to pack light, I'm working by myself, need to be very quick, I'm using a light
camera system with a shotgun, and a little bit of movement is okay, I would choose a monopod.
Now, if I'm going for longer takes camera shake is unwanted, I'm working with fully rigged systems
or very heavy cameras, and need precise control of the speed of the movement, I would opt for a
tripod.

Pan and tilt

As we mentioned before, panning is like moving our head from left to right and back. Panning can
be used to follow a subject as it makes its way across the frame. Or it can be also used to redirect
the viewer's attention to reveal new details. Tilting is like moving our head up and down.This

technique can be used to bring the viewer into the scene, emphasize importance or significance of
the subject, reveal to details into the scene, or reveal the vertical size of an object.
We often see pan, and tilts being used together. Because the pan and tilt mimics the motion of
the human neck, we often use them to create or recreate a character's point of view, also called
POV, or establish a sense that the action on screen is being observed by others. When panning and
tilting, it is also important to consider the height of the camera when plotting our shots. As it will
determine the perspective from where the audience views our subject. A quick example, check this
out.
The camera's height is about the girl's eye level. When we tilt down or up, the results are drastically
different. When tilting up, it looks like someone is looking at her shoes and then her face. When
tilting down, it seems like someone is looking at the building and suddenly discovers there is a girl
waiting for someone. Panning a subject with a long lens, increases the perceived speed of
th emotion and can give the impression that the subject is being followed or watched.Panning, is
often considered as in camera editing.
Since we can go from subject A to subject B and back to A. Without interrupting the integrity of the
scene. By doing this, we can add a layer of realism, and give the impression that the situation is
happening in real time. Very quick pans can also be used as transition between scenes. And there's
something else to consider. The speed of the pan or tilt, can greatly influence the perceived effect
on the viewer. A slow pan or tilt forces the viewer to take in all the visual information of the scene as
it enters the frame.
A fast pan or tilt can disorient the viewer, and jolt their attention to a new point of focus. In order to
capture truly smooth movement it is essential to properly set up and counterbalance the tripod. We
need to fine tune the tension, so the tripod does the heavy lifting for us. If we have the luxury
blocking out our shots, we should practice the movement multiple times, before evenrolling the
camera, and adjust tension accordingly. Generally speaking, we want to set the tripod's head with
less tension for close or fast moving subjects, and increase the tension for slow movements.
Additional tension often helps if for any reason, we find it difficult to keep the shot steady.Sometimes
this happens with fully rigged cameras. More often than not, we want panning as well as tilting to be
steady and fluid, unless of course, the story calls for camera shake.

Zooms
In this section we will be discussing zooming in and out. Although a zoom is not technically acamera
movement as the camera itself does not move, by adjusting the lens focal length we can make
objects appear near or farther. With zoom lenses this is a very convenient method of integrating
camera movement without any set up. Zooming in can also be used effectively to imitate a point
of view shot of someone using a camera or a pair of binoculars. Because the human eye cannot
perform a zoom in, a viewer will often associate it with someone watching a scene from afar.

When we are zooming out, we can conceal details from the viewer until we are ready to reveal them
or de-emphasize the subject and put it into the context of his surroundings. In current mainstream
cinema, aside from perhaps Tarantino, we won't find zooms used that frequently.Unless used in a
stylized fashion, it is often viewed, as an outdated, heavy handed way of directing the viewer's
attention, to a particular aspect of the frame. We are more likely to find this technique, used in runand-go documentary work, in which the DP doesn't have the luxury of staging their shots.
They're simply trying to capture the most important action of the scene as it happens in real time, or
re-framing a scene using different focal lengths in order to pick the best shot later in post. Another
place to look for zooms is info documentary, or found footage films and TV shows that intentionally
draw attention to the amateurish camera work. Zooming during a shot can pose technical
challenges as well since the amount of light transmitted by the lens might change with the focal
length.
Depending on what lens we are using, this effect on exposure can drastically change our
shot.Notice how the image brightens overall when the camera zooms out and darkens when
zooming in. Interestingly, both of these images were shot at the same ISO and aperture. Another
technical consideration is that certain elements may shift in shape if working with a wide-angle
lens. While this is generally acceptable in documentary style film, it can be unpleasant and
distracting in a narrative film.
Let's look at this example. Here's the basic static shot of the girl waiting outside. But if we zoom in,
we bring the viewer right in front of the action. We actually see what's going on, and actually, behind
her we see what's going on inside the restaurant as well. If we zoom out, we can actually establish
a sense of isolation. She looks smaller. It's raining. It's wet. It's cold. Let's take a look at them all
side by side. If we have a little bit of shake, we can imitate like someone is watching the scene from
far or someone is standing there watching her.
Zooming in or out very quickly provides a sense of urgency and danger. The final shot might not be
perfectly framed, which can add a layer of realism. Instead of using a zoom to emphasize or deemphasize a subject, most directors today, will often opt to use a dolly instead. This involves a more
elaborated set up, that we will cover later on this course.

Racking
In this lesson, we will be discussing another camera move that is done with an adjustment of the
lens rather than the camera. Racking focus. Adjusting the focal length, is one of the easiest ways to
direct a viewer's attention, and force the viewer to take in the depth of a scene, in a certain
order. This can be used to track subjects as they approach the camera. Or reveal new levels of
depth in a scene. The order that you force the viewer to take in a scene, can greatly affect the
message.
Let's take a look at an example on how we can guide the viewer's eye, through the depth of the
scene. We start with the girl, perfectly sharp. The cameras focal point shifts from the girls face to his
face. The girl is now completely out of focus. The focal point of the frame is a mirror of the mans

priorities. The girl he is with, fades in relevance as he is distracted by his cellphone, when he's text
messaging. If we had opted to use a greater depth of field, everything would be sharp, and we
wouldn't be able to direct the viewer's attention as effectively.
How did this shift in focus affect the way we interpret the scene? Let's take a look at this same
scene with a slight, but critical, shift. With a greater depth of field, we're thrown into the psyche of
the girl, as opposed of the man. She's no longer an afterthought, but rather the camera's priority. As
a viewer, this scene now reads as curiosity, as opposed to neglect. Although, it may seem obvious
to rack focus to pay attention to whoever is speaking. Sometimes the reaction of the other character,
is more important than the delivery of the line.

Sliders vs. dollies

With contemporary Hollywood films, we are hard pressed to find a film that does not include
extensive use of dollying or tracking shots. This type of camera movement can be accomplished
with a dolly on tracks, a dolly on wheels, or, for faster setups, a Slider.Regardless of which hardware
we decide to use, the principal of the movement remains the same. There are three ways we can
set up the motion of the Dolly or Slider. The lines of motion can be perpendicular to the actions,
which moves the camera forward and backward.
Or parallel to the scene, which allows us to move side to side. Or in an arc, which will allow us to
travel around the subject. These camera moves have a much different visual effect than simply
panning or tilting the camera on a tripod. These moves give the camera mobility. We're no longer a
passive spectator, who is viewing the scene from a fixed vantage point. In essence, we become part
of the scene. We can walk alongside the character, or approach a scene to take a closer look.
Or perhaps, peer out from behind an object in the foreground to reveal new details.

Side-to-side motion
When tracking alongside the action of a scene, the movement can affect the scene in a variety of
ways. As their names suggest, one of their primary purposes is to track a subject as it makes its
way through the frame. In this way, a side-to-side tracking shot can function in a similar way to the
panning motion of a fluid head tripod. Here's a scene shot from a fixed position. The camera is not
moving and the subject is obviously moving across the frame. Now, this is the second take of the
same scene, but we are now panning.
We're following the dancer with the camera on sticks. And here's a third approach, which I believe is
more effective. We are tracking, we're following the dancer, so not only the camera is moving along
her side, but she's also moving across the frame. Now let's compare these two.There's nothing
wrong with the image on the left, but the right one is loaded with kinetic energy.And as viewers, we
are, we become part of the scene with, with the dancer in the camera moving.
A pan can be very effective in placing a subject within the context of a scene by revealing details
that are not present in a single frame. Tracking alongside the character, as opposed to

panning, immediately creates a sense of proximity and intimacy. As opposed to watching the
characters from a distance, like an observant stranger, it is as if we were walking with them. By
shifting the camera to the side, we can reveal details that existed within the frame, but were not
visible from a single fixed position.
Through this technique, we can surprise the viewer as we reveal new visual information that
perhaps changes the emotional charge of the scene. This motion also lends itself to transitions
between scenes when an object in the foreground obscures the camera view.

Sliding in and out

In this movie, we will be discussing the dramatic effect that moving the camera forward and
backward can have on our video projects. By adjusting the distance between the camera and the
subject, we can create a sense of depth, which we can provide a three-dimensional feel to a twodimensional image. We will often see a slow dolly in during important moments of dialogue in a
film. As the camera moves closer, it signals this is important.
It is essentially drawing the viewer into the scene, into the psyche of our character, and can be done
to the point where the movement itself is hardly perceptible. By dollying in, we are forcing the viewer
to get closer to this object. Let's look at an example of dollying in on a dialogue scene. It is a great
way to create more tension to add drama. She's really surprised or she really wants to know
more. So whereas we are dollying in, we as viewers are looking into his eyes.We're trying to
determine, is he lying? Now when there's no motion, we witness the scene, but we don't become
part of it.
Many filmmakers just beginning to introduce movement into the repertoire have to understandingthe
benefits of dolly shots, as opposed to a zoom in or out. Let's look at a quick side-by-side
comparison. Here's the zoom, and notice how the proportions change in the background of the
zoom. And here, they are side by side. Psychologically, these have a very different
meaning.Although the frame is actually shifting more, it is less noticeable camera move than a
zoom because it is something that the human eye can relate to.
Rather than perceiving it as an optic trick, we read it as simply adjusting our distance from the
action to get a closer look. By increasing the distance between the camera and the subject, wecan
place the subject within the context of his or her surroundings. The overall effect diminishes the
importance of the subject and emphasizes the location. This can work to convey a sense of
loneliness and isolation, or perhaps a sense that the subject is looking at the world with a new
perspective.
Whether the mood created is one of intrigue or revelation, all depends on the context of the
scene. Dolly moves can also be a great way to introduce the viewer into a scene. A subtle and slow
movement like these can give the viewer a sense of place and time. One important thing to
remember when implementing this camera technique. Depending on the depth of field we're
working at, the subject may go out of focus as the camera distance changes.

To successfully pull this move, it is best to have someone assist you. One person concentrates on
smoothly moving the camera and another one is in charge of making sure that everything is sharp.

Disorienting slides: Vertigo slides, Dutch-angle slides

Let's discuss a couple of techniques that can infuse a scene with a sense of psychological
distortion. These moves alter the perspective of a, of a scene in ways that the human eye will never
perceive the world. These moves are not subtle. They attract attention to themselves to signify an
emotional distortion, disorientation, intoxication, or instability. The first technique we will look at is
a dolly shot that incorporates the use of a Dutch angle.
Let's take a look. We can accomplish this move on a slider by mounting the camera sidewards on
our tripod head. Now we can skew the orientation of the frame by tilting the camera. When this
motion is combined with a dolly in or out, it creates a disorienting perspective of the world.Here's an
example of a standard dollying shot. Let's see what that scene would look like if we incorporated a
Dutch angle. Notice how the camera becomes an extension of the character's emotional state. With
this dramatic technique, we are drawing attention to the move and forcing the viewer to become part
of the story.
A related technique is a vertical move, which is a combination of shifting the focal length while
adjusting the distance between the camera and the subject. This move is often associated with
Alfred Hitchcock, who used this move to great success in his classic film Vertigo. Notice how the
subject's size remains constant while the background gets bigger or smaller. This can be used to
draw attention to the background if done slowly. But it is more often used to illustrate a mind-altering
event.
It is like our characters' world is changing in front of their eyes and ours. In general, it is best to
avoid overusing these camera techniques, but when used sparingly and appropriately, they can
underscore a climatic moment in our video project.

Steady cams vs. handheld cams

Nearly every camera movement we will discuss in this course can more or less be accomplished by
hand-holding the camera. Handheld camera work is especially popular in independent film, as it can
expedite shooting schedules by avoiding elaborated tracks, and dolly setups, for each scene. Before
using this technique it is important to understand what handheld shake conveys to the
viewer. Unintentional shake can be nausea inducing and strike the viewer as amateurish.
In today's world of smart phone videos, a viewer will often associate hand held camera work with
non-professional video work. We also relate handheld shake to run-and-go documentary and
reality TV, in which the camera crew is chasing the action. When working with lighter cameras it is
extremely difficult to capture cinematic footage by simply hand holding the body of the camera. Due

to the light weight, and only two points of contact, every movement and vibration of your body will
completely jostle the frame.
To limit this, it is important to consider using a rig which will add weight and additional
support.Handheld camera work can often feel voyeuristic. >> No, I'm just saying like, we always like,
kid around, but like... >> Or create a sense of tension. Depending on the project, you may want to
enhance or decrease the handheld feel. When done correctly, intentional handheld shake can
infuse a sequence with a sense of urgency and tension. The movement of handheld
cinematography inherently provides a kinetic energy to our scene.
Think of battle sequences in war films. Frantic handheld camera work creates the feeling that we
are there, in the trenches, overwhelmed by the action around us. Let's take a look at a high
tension scene, where the handheld feel may actually be wanted. >> What the hell is this then,
huh? Why am I doing here? You are such a jerk. What the hell is this then, huh? Why am I doing
here? >> Camera shake is not distracting but actually enhances the drama of the scene. By adding
physical instability to the camera, we also add emotional instability to the scene.
Intentionally under-produced scenes convey authenticity or the sense that a scene is so hectic that
coordinated camera movement would be impossible. When shooting handheld we generally need to
use the widest lens available to visually conceal or diminish common shake. A second reason to
choose wider lenses over longer lenses is the minimum focusing distance. Generally speaking, an
effective shot is achieved by keeping a constant distance between the camera and the subject.
Handheld shots are used for a variety of reasons, the most common one being
subjectivity.Mimicking the movement of a person walking, for example, is better achieved with a
handheldshot if we want the viewer to feel he or she is walking alongside the character.

Steady cams vs. glide cams

Dollies and tracks are wonderful camera movement tools. But they are often heavy, expensive and
limited. Think, for example, of a typical New York scene. Let's say, someone exiting a subway
station, and joining the crowds of the city. How could we easily move the camera up or down the
station stairs? The answer is, by using the Steadicam or a similar stabilizer rig, like a Glidecam or
the Comodo Orbit. The Steadicam has become such a fundamental piece of equipment for
filmmakers and cinematographers that there's a very specific Steadicam shot.
As a Steadicam operator job description I'm also wearing a Steadicam vest, right now.Additional
benefits of these devices over dollies and tracks are the endless possibilities of movement, not to
mention that one can chase or shoot around the character, as well as improvise speed and height
on the fly. Steadicam shots are based used when maintaining the integrity of time, space, and the
fluidity of movement are meaningful to the story. In other words, there's often a good reason to
cover a specific scene with a Steadicam and not by using a combination of shots.

Glidecams and Steadicam are great stabilizers to chase action. Let's take a look at a scene, where
our main character is running late for a date. That doesn't really, have any sense of urgency
right? He didn't seem rushed at all. Now, let's try a Glidecam. It looks, and feels
different. Steadicam, Glidecams, and similar stabilizers can make the viewer race through the frame
with your subject. It's pretty interesting how static the image on the left looks now when compared to
the more kinetic scene on the right.
Rather than watching the character from a distance, the chasing action creates a sense of
proximity. Sometimes a character's performance is better served in a single take. Sometimes we
might want to increase the viewer's involvement in a particular scene by making them feel that they
are physically present. Sometimes we might want to float the camera to highlight the sense of place
or time. When set up properly, a Steadicam will eliminate any trace of camera shake. Steadicam
eliminate the shake created when we hand hold the camera and create the floating sensation that is
quite unnatural, therefore creating an almost surreal quality.
When choosing a stabilizing rig, the first consideration is weight. Most systems specify camera
weight limitations, but one needs to factor in lenses and other accessories. A second key
consideration, is an external monitor, which allows the camera operator to continuously check focus,
and framing, while using peripheral vision to avoid potential obstacles. Some rigs can accommodate
extensions, to accommodate the camera's length or height, while others do not offer this
option. Let's take a look at a situation that requires stabilization, but cannot accommodate a full
sized Steadicam or Glidecam.
In this scene, we see a man driving a car. He is running late, frustrated, and stuck in traffic.Notice
how much the camera is shaking without any stabilizer. We all know how small the interior of a car
can be. We also know how much a car moves and vibrates. So we need to stabilize the camera. We
opted to use a smaller two-hand system, the Comodo Orbit, along with a lens with built in
stabilization, so we could truly concentrate on framing and grabbing the subjects best expressions.
Another option, would be a hand held gyro. We're seeing new developments in gyros, with new
products becoming more quiet and able to handle all sorts of cameras and configurations.These
devices are allowing small crews to pull off shots that would have normally taken a much larger
team and budget.

Handheld vs. stabilized

When using a high end stabilization system, like a Steadicam, we are able to eliminate any trace of
camera shake and replace it with a floating sensation. This has a distinct look, almost as if the
viewer is flying through the scene. When would I use a Steadicam or stabilizer as opposed to a
hand held rig? Let's take a look at a scene filmed handheld. And here's the same scene filmed with
a Steadicam. An easy way to explain the difference between the motion of theSteadicam and a
handheld is like the difference between flying and walking.

Regardless of the terrain below, the motion of the Steadicam is always consistent. Because of this
consistency, a Steadicam works well for smooth, elegant motion. Think about a frenetic action
movie chase scene. A perfectly stable, smooth floating camera motion wouldn't fit with the mood of
the scene. Here's a handheld scene of a man in a rush. When shooting handheld, the weight of the
camera can make a big difference. But the best way to reduce shake is by using a stabilizer.
The stabilizer has a less kinetic feel, but it's smoother with less distortions. Look at the
difference. Sometimes, a high degree of stabilization can actually reduce the dramatic impact of a
scene. Here's another example of the same handheld versus stabilizer, but for another scene.Here,
she's very upset and we are following her hand-holding the camera. That is how shaky it is. And
now, she's still upset but we are following her with a stabilizer.
But now, you can compare the two, side by side. As always, which approach to use depends
specifically on the story and what kind of reaction would you like to get from the viewer and how
much drama do you want to add or remove from the scene. If properly integrated, a bit of
coordinated camera shake as opposed to digital warping and distortion, caused by unwanted shake
can enhance the tension and suspense of a cinematic moment.

Cranes and jibs

Cranes and jibs are some of the most elaborate motion generating equipment we can have on
set. They require significant time and manpower to set up, but they can provide us with a broad
range of motion that is impossible otherwise. Unlike many of the other types of camera movement
discussed in this course. Sweeping jib, crane shots can not be accomplished by hand holding the
camera. By attaching the camera to a crane or jib, we are able to swiftly move the camera above
and around the subject.
You will often see this move used in up and down fashion as an establishing shot that lowers the
viewer into the world of your story. Another variation is raising the camera and increasing the
distance between the camera and this object. This can create unusual bird's eye perspective. Or
more importantly, enhance the mood of a scene. A crane shot moving up from low to a high angle
can diminish the importance of an object or subject by making them appear small, vulnerable or
alone.
Here's an example of a scene where a crane shot can dramatically augment the way we perceive
the action. Here we see a girl angrily storming away from a bad date. >> I'm sorry. >> Oh, God. The
worst. I cannot believe this. >> Let's take a look at this same exact scene shot from a jib that is
sweeping away from the subject. >> The worst. I can not believe this. >> By pulling the viewer away
from the action, we reveal just how empty the cafe really is. And are able to emphasis this sense of
abandonment.
>> The worst. I can not believe this. >> Another useful aspect of a Jib is that it can be used to
create movement generally associated with dallies when necessary. They're especially useful when
shooting on uneven terrain, as they don't rely on a level surface to set up the tracks or stands. For

this specific assignment, we needed to use the jeep to avoid setting up our tracks over wet
paint. They are incredibly versatile. And, for this reason, you will often see jibs used in live
television, as they can cover a wide area with a single camera from a wide variety of depths and
angles.

Pedestals vs. tilts

As discussed earlier in this course, a pedestal movement is one in which the camera itself moves
up and down. This can be accomplished with a handheld rig, or to a greater success, with a jib or
crane. Although similar to a tilt in that we are adjusting the vertical trajectory of asequence,
pedestals are uniquely powerful in that they can shift the vantage point of a shot.Let's take a look at
an example of a scene that illustrates this difference. Here's a man on a date, secretly texting with
another woman.
This movement successfully shifts the focus of the frame and reveals a new key detail to the
viewer. The up and down tilt motion mimics the way a waiter or spectator would view the scene.Let's
see what the same scene looks like if we shot it with a pedestal motion. How does this technique
change how we view the scene? By lowering the camera, we're able to convey to the viewer,
let's take a look at what's going on beneath the surface of this situation. By opting for a move that is
so intentional in refocusing our attention on the hidden cell phone, we emphasize the sneaky nature
of his behavior.
Unlike a tilt, which is fixed with single pivot position, there are no vertical limits for a pedestal.We
can quickly move up into the sky for an overhead bird's-eye perspective or peek out from behind
the foreground object to create anticipation and suspense. You will often see tilts and pedestals
used together. Let's revisit our earlier scene. Let's compare that alongside the tilt and pedestal. The
camera to subject distance and aperture combination produce a depth of field that drives the
viewer's attention where it matters most.
On the left image, it's about the male's character. In the middle, it's about his hand, and very
specially, the cell phone. On the right, it's about the box of chocolates and what is happening under
the table. As the camera gets lower, the distance to the subject changes, signaling that our
perception about the character is also changing or about to change. Like any of the other camera
moves covered in this course, you're not limited to just one.
Use the right combination that works best for your story.

Car mounts
Another form of stabilization we can use in our video productions is mounting the cameras to
objects in a scene on or off camera. With a bit of creativity, we can make seemingly impossible
shots not only possible, but also affordable. By attaching a camera to a car, a wheelchair, a drone,

or any other moving object, we can achieve first person and, or unique point of views.Let's look at a
driving scene. Using standard hand held rakes and stabilizers, your options are really limited.
In this scene, we used a vacuum camera mount to properly attach the camera for a steady
shot.While it takes a little bit of time to set up the system, it's fairly simple and works on virtually any
smooth surface. It is possible to fake a car scene like this without ever moving the car, but achieving
realistic reflections in moving backgrounds would be much harder. While there are many do it
yourself options, I strongly recommend buying or renting a proper system that will keep your gear
safe.
By mounting the camera on the hood of the car, we're able to attain a unique perspective that
normal people with normal lives don't experience. This moves can also take us out of the ordinary
and expected point of view, to see the world from a different perspective. Let's take a look at an
example where we attach a camera to the wrist of a graffiti artist. By doing so, we're making the
viewer see the world from the perspective of the artist's hand. We are surrounded by objects that
can move easily and perhaps stabilize your camera.
Quick examples, wheelchairs, cars, office chairs, skateboards, you name it. Don't let a lack of
hardware or budget limit your creativity. As cameras continue to get smaller and smaller, the
possibilities are endless. Don't be afraid to break the rules and explore unique vantage points.

Choosing the right camera for motion (large sensor vs. small sensor)
Our choice of camera, and therefore a camera sensor, will determine many aspects of our visual
strategy. Being depth of field a key consideration. In a nutshell, the larger the sensor, theshallower
the depth of field, and visa versa. The smaller the sensor, the deeper the depth of field. As prices for
large sensor cameras keep coming down, it seems attractive to shoot with the largest sensor we
can get and achieve extremely shallow depth of field. But while this sounds great on paper, reality is
a bit different.
If we're shooting with a full-frame sensor, we still have the issue of focus. But technology is quickly
catching up and out of focus for a video, wireless follow focus and wireless monitoring are becoming
more affordable and accessible. Part of the beauty of the shallow depth of fieldthat we can get with
large sensor cameras, is that we can cause the viewer to look exactly where we want them to look,
by simply adjusting the focus accordingly. A sharp foreground causes the viewers to look at the
foreground without getting distracted with the background.
The opposite is true. A sharp background with a blurred foreground causes more attention to be
paid to the background. We can use this simple technique, to create a sense of mystery, and
intentionally obscure certain areas on our frame. We can also draw the viewer into the scene by
changing what goes from sharp to blurred. Adjusting focus can also be highly effective during
dialogue scenes. We can provide the viewer with cues to dictate what is, or might be important.

Every camera movement has a different emotional effect on your film

Every camera movement has a different emotional effect on your film. Something so seemingly
obvious that we tend to forget, is that the camera is the eye of the audience. Before deciding where
to place, or how to move the camera, we should consider what we want the viewer to perceive. The
perspective and the way we move the camera will affect the way the viewer interprets a particular
scene or character. In this course, we have covered the emotional effects camera movement can
have on our video productions.
Of course, like any aesthetic decision, there is no prescribed defect on each movement, as it is
determined by the context of our piece. Our job as film makers is to find our visual and shooting
style, and figure when and how we can break the rules. The most basic and simple support system
is a tripod. The most portable is a mono-pod. If we need to move around and get hand held shots,
we may want to use a rig, which creates multiple contact points between the camera and our body
increasing stability.
To greatly increase the production value of our projects, consider using tools like Sliders, Dollys and
Jeeps. These tools and the many camera movement techniques covered during this course, are
proven methods to enhance our stories.