Recreate camera moves from different directors.
Here are a few more videos that explore David Fincher’s extraordinarily precise camera movement, cinematography, and direction.
Over the next few weeks, we’re going to be doing some in-class exercises designed around the signature camera moves of famous directors.
We’ve now used cameras on tripods, handheld, and on shoulder rigs. This week, we’re going to play with some bigger toys to create camera movement that is – dare I say it – more cinematic.
Here are some of the tools we have in our collection for smoothly moving a camera forwards, backwards, and side to side.
Film a sequence of shots three different ways.
Want to try out your filmmaking skills? Check out this one minute short film competition from the fine folks at Film Riot.
To illustrate how handheld movement affects cinematography, we’re going to do a very short film as a class. Each shot will be filmed three ways: first, locked off on a tripod; then with the camera handheld but not moving otherwise; and finally, following the action with the camera on a shoulder rig.
Want some additional tips for shooting handheld footage? Check out these videos for some more techniques.
We first talked about camera rigging way back in week three. Rigs are great for adding additional components to your camera and for making it handle more like a traditional dedicated video camera. However, it’s also easy to go way overboard with rigging.
In your first project, you made films using only a camera with a single lens – no tripods or other stabilization methods. This week, we’re going to explore the idea of handheld cinematography in greater depth.
Capture slow motion and time lapse shots.
The word “cinematic” gets thrown around a lot on filmmaking blogs and in video tutorials. It’s an extremely vague term, but generally describes footage that doesn’t look like a home movie or quick social media post. That could be due to the color grading, movement, depth of field, framing, slow motion, or other factors.
Filming cinematic footage is all about planning. The tools used on major cinematic productions are highly specialized and the individuals who operate them have very specific jobs to do. Filming a documentary short requires you to be resourceful; filming an event requires you to be adaptable; filming cinema requires you to be deliberate.
This week, we’re looking at a very unusual camera: the BlackMagic Pocket Cinema Camera. The first, much larger, BlackMagic Cinema Camera was released in 2012 and it immediately made waves in the filmmaking community.
Film a live event and a sit-down interview.
For your next project, you’re going to be making a short film utilizing some of the different techniques we’ve discussed thus far. Your theme for this project is Sleeping/Waking. You can work in a small group on this or create something individually.
The most obvious use for a tripod is to keep the camera from moving – and that’s often critically important. When using a long lens or recording for a long period of time, tripods are a practical necessity. However, a static shot also creates its own kind of drama and not moving the camera can be an aesthetic choice.
Here are some basic terms that we’ll be using a lot when discussing camera movement.
Being able to film at up to 960 frames per second with the compact RX10 II is amazing. If you want to capture really slow motion, however, the best tool for the job is probably a Phantom camera, which can capture footage at thousands of frames per second for specialty shots or scientific tests.