How are you supposed to watch a film and what are you supposed to get out of it?
I mean, I don't know. It really depends on who you are and what the director intends... even what you ate that day.
In narrative film, story and character are at the forefront
and most people engage at the film through its narrative elements
because those are the things that stick with you.
But film language — the techniques and modes a filmmaker uses to communicate that narrative
can be so essential in how you receive a story and how it resonates with you.
Each shot is like a word in a sentence, and choosing the right words can turn a simple sentence into poetry.
Specifically, today I want to talk to you about camera movements and what they can mean.
As with everything in filmmaking, this really depends on who's behind the lens,
but I wanted to talk about the most common camera movements and how they can be used to enhance the narrative.
I'm gonna be showing you a lot of shots all out of context and context matters in film grammar.
So if anything piques your interest, go look it up and go watch it and see how it feels to you.
Obviously the default is a still shot. Usually this means the camera is put on a tripod while the action plays out in front.
In early film history this was a necessity because
cameras were either hundreds of pounds or cranked by hand and the films played out more like stage productions.
Today still shots are used often to get out of the way of the action or the dialogue...
...to help you be immersed in the moment.
As soon as you get used to a still shot they shake things up.
A pan is a lateral pivot usually to follow action as something moves through the scene.
It's also often used when the camera turns from pointing at one thing..
...to pointing at that other thing.
That's because the edge of the frame is often the edge of our characters awareness.
If it's not on-screen, it doesn't exist yet as far as our characters are concerned.
And along with that we have the tilt, where the camera pivots up and down.
Again, this can reveal new information — who shot who, or where something went
And of course there are any number of combinations already of these two simple movements, because cameras don't just move in four directions.
This beautiful 39-second shot at the beginning of Rear Window, where Hitchcock just kind of points his camera around for a while,
gives us a brief look into the neighbors lives.
It's a true establishing shot.
It establishes not only the physical space where we'll be spending the next couple of hours,
but also the thematic element of voyeurism central to the movie,
and eventually land on our protagonist's sweaty head, the psychological center of the film's events.
A dolly shot is a moving shot where the camera is mounted to a wheeled platform that glides along a track or path.
Steven Spielberg is the master of camera movements, especially when it comes to the dolly.
When the camera moves toward the subject that's called a dolly in or a push.
When Spielberg and others push the camera through physical space, it helps orient you.
It also calls attention to what the camera is pointing at — an important object or an emotional reaction from a character.
It intensifies the mood and raises the stakes.
"Say again, please?"
"Houston, we have a problem."
It can also physically pull you towards danger, making a scary scene even scarier.
On a dolly out the camera moves away from the subject.
This can be used to reveal more of the characters' surroundings, or to lend a sense of finality and resolution to a moment.
This is often used as the last shot in the film.
A slow dolly away from a solitary character can also emphasize and heighten that character's isolation.
A lateral tracking shot can serve multiple purposes as well.
It can, again, reveal information that our characters don't know about.
"I will take you all the way—"
"Gentlemen!"
"Tell the captain." "Yes sir."
"Come along now, follow me."
It also serves in moving us through space showing the extent of a busy camp or a field of war.
It has a kinetic feeling and heightens the energy of the scene.
It adds scope and movement to something like a simple conversation.
"I want to thank you for raising our children, by the way."
"Okay."
A zoom is interesting because it isn't really a camera move at all
It's just the lens changing shape to magnify and compress the image.
That gives us some of the same effects as a dolly shot,
but instead of moving us through physical space, the image focuses our attention on the subject of the zoom,
maybe even directing us towards something the characters haven't noticed.
A zoom in feels different from a dolly in
because it feels less like you're discovering something or being pulled,
and more like your attention as being irresistibly drawn to something.
You don't have a choice in the matter you're going to look where the camera is drawing your eye.
Look at Robert Redford's hair! Look at it!
And a zoom out feels different, too.
Because the frame often defines what our characters know and see,
a zoom out reveals new information, but it's stuff that's been there the whole time just out of view.
This can be used to show the space our characters are in, to show how alone they are, or how vast their surroundings.
"Dammit!"
Or it can just be funny.
And then we get to mix things up.
A dolly zoom is a shot that combines a dolly shot and a zoom lens in opposite directions
to create a perspective-skewing effect.
It's also known as the Vertigo effect, for good reason.
It replicates that feeling you have in a fight-or-flight moment.
It's used as a moment of intense focus or fear.
"Get off the road!"
So let's rewind a bit and then catch up again.
it didn't take very long in film history for people to yank the camera off the tripod.
A handheld shot, like the name implies,
means the camera is being held by the cinematographer or camera operator.
Handheld shots can be more intimate, making you feel closer to the action or feel like you're part of a conversation.
"Where did you last see him and where is he now?"
"You will never find him."
"Why is that?"
"Even I couldn't find him."
"He always contacted me out of the blue."
When it's intensified like in an action scene, it can be used to purposely disorient you and suck you in.
But it can be overdone!
You know, I saw this movie in the front row at the very left of the theater, and I did not enjoy the experience.
When you're walking around with the camera it can feel very intimate, but it can also make you feel sick.
So in the mid seventies some genius named Garrett Brown invented the Steadicam,
a spring-activated arm that attaches to a vest or a mount to smooth out those bumps
and ushered in a new era of storytelling — one with beautiful sweeping motions unbound by tracks or tripods.
"Come on, young man!"
"Just let me catch my breath—"
"C'mon, no breaks. You rest at the top."
"Just admit it..."
"No, this's what you asked for, right? Let's go, one step at a time.
"Yeah."
"Come on."
Just like the dolly expanded on the pan, the up and down tilt can be liberated as well.
Put the camera on a pedestal, a crane, or a jib and you get a new perspective.
An upward motion feels revelatory. It shows new horizons.
It can lift and inspire.
And a downward motion can do the opposite it can feel oppressive or paranoid.
And finally, an aerial shot, taken with a helicopter, airplane, or drone,
frees the perspective from the ground altogether giving us a bird's-eye view of the situation.
It can feel sweeping, dramatic — epic.
I hate the word epic but it fits in this—
So what's in the future?
Who knows?
Cameras are so versatile now they can be mounted anywhere:
planes, trains, automobiles,
birds,
people, turtles.
They can move any direction. They can spin, flip, dive.
They can be attached to robotic arms
or motion control rigs that let you duplicate characters without the use of green screen.
They can be thrown or swung.
And any and all of these moves can be combined and adapted to create new exciting feelings.
But what sets a great scene or film apart is the way they use these elements to enhance the story.
If the emotion isn't there in the first place, the camera moves are pointless.
The best directors know how to use these movements in a way that feels seamless, in a way that is almost unnoticeable.
So when you're watching movies, let yourself be drawn in and moved by the film language.
And if you're making movies, consider the emotion that can be conveyed while leaving the camera alone.
If a shot is a word in a sentence, you want to make sure to choose every word wisely.
That way when you do move the camera, it'll be that much more powerful.
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