Eight camera moves to improve your narrative and your dock style shooting pity you guys are cheating
Let's get started see what can do
Hi, this is JP Morgan today on the sidelines we're gonna talk about cinematic camera moves
You could have played both the documentary style shooting and your cinema style shooting. We're using the nine dot solutions Sipan arm
The reason we're using this arms because it gives us both
Great slider type shots parallax shots and crane shots
We'll look at all those and how they can improve your video when you put them together into the piece that you're shooting
This is not just for narrative. It's not just for documentary, but it's certainly used in both. Look at chef's table
They use a ton of camera moves and cinematic lighting. It brings drama to the piece. It communicates emotion in a way
That is very powerful when you use the right camera moves
So let's look at each of these camera moves and the emotion that they bring and how they advance our story
We're lighting this today with our Intel attack light cloth. It's a one by three. The reason this is nice
Then telecheck has a very very low profile and well
It's a matte we could tape it to the ceiling quite frankly a little box is about six inches
but it makes it easy for us to get this up to the ceiling and out of the shot out of our way if we
Need to we've put a grid on it to make it more focused
So one by three so it kind of runs the table
Has a nice shape to kind of the same shape as the table but this grid allows us to kind of focus it right on
To the table. We also have a two by two
Intel attack light cloth in the background
Kind of open up the shadows and give us a little bit of light on our sliders. We want to do picture in pictures
So you see the slider move and you see?
Actually what the cameras getting so first camera move is going to be a horizontal slider move
This is a classic and a staple of every filmmaker. Just this horizontal slider move will allow us to establish our two characters
See the game
See the things in the foreground kind of passed back and forth just and introduce this game in a very interesting way
So I'm gonna do just a simple slider shot across the two scenes. I'm gonna start here on key and
so I'll just kind of introduce John as I come across here and
gentlemen, go ahead and start playing your cards there for me and
Take two cards
I can maybe do that even a little faster if I wanted to here and start off from the top. I'll take two cards action
The next shot we're gonna do is a parallax move
what that means is that as the slider goes around it arcs and
It keeps whatever is in the center of the frame in the center of the frame
so it allows me to get in here on Keith's shoulder and
As I'm looking at John I keep John in the whole time that he's starting to deal
His cards and keep him right in the center the difference between that parallax like I say in just a dolly
Is that the dolly is moving past your subject is more disconnected from your subject
It's not as concerned about the subject a parallax is focused on the subject
so it becomes a great POV shot a great product shot or a great way to kind of
romance
The thing you want the viewer to look at the next shot is an overhead shot or a fly over
Reasons call it fly over is because the camera is moving
It's not just a locked-off overhead shot that overhead shot is used to create interest in the video
To give you a kind a little more perspective
It's also a great time if people are gonna lay out something that you want to look at a map a book
something that you want people to be able to see you get that higher overhead view now the viewer gets to see exactly what the
actors are looking at
So our next shot is a push in it can either be a slow
Push in which just adds a lot of drama like you're looking an actor
responding to what's about to
happening or what is happening in front of them or gonna be a quick and wham like also this thing just happened to me and
You get that startling reaction. I don't try to pull the focus the whole way
I'll focus on my end and
Then I'll either set my I did my hand here a couple of them where I just pushed up to my hand
Let it focus
I just want to bump my hand when I do that, but then I will also just roll into where it looks like
it's in focus or
Get that point just do it a few times where it feels like that's the right point
You get it to be in focus the next shot is a pullback
If you do it quick it really is a matter of surprise or reveal
We see him breeze gun up as it's a way to introduce a new subject a new person into the scene or you can do
It really slow where the camera just slowly pulls back and you slowly see
Just the enormity of what this person has to overcome in the scene. Like they've got this long way to walk
We've got this great way to go. Those are two very different emotions and very different pacing for the piece
So this is a crane
shot release a crane up or a crane down because just a matter you can come off the floor either off from his shoes or
Off from his feet. You can come up to what I've seen it with his eye as he goes down for the gun
so we kind of go down to reveal the gun or
Over his shoulder to come up over his cars to be able to see John across the table there
so it's just a matter of creating a way to
Direct the viewers eye to what we want them to see and to come from a low angle
Into a normal eye level or high angle
So this camera move is really it's a parallax on a vertical crane shot
Which is interesting because you go from this kind of high
Looking over the shoulder looking down at what he's doing shot and in that process
He's almost in the a meek more submissive position because he's low and under the camera
And as you come down, you really push him into a blow the eye level high heroic shot
so he's like the hero so you can go the reverse like I pull out a gun and
I'm low. We got this gun, but it's a banana and then we're up here now. I'm an idiot, you know young
Banana, I think you get the point. So low angle here Oh high angle more either can be neutral ish
To more submissive and that's just an issue or can just be an interesting play on that
I want to see what's going on on the table
And I'm now going to let the audience see what's going on underneath the table
So this move is not a dolly move as a flat plane across our subject
But this is called an outward curve and it's done on these devices
the Sipan arm or the c-pen are many here and what it does is it allows the
Camera to turn at the end
So it gives you basically on a like a three foot slider it gives you the equivalent of like a five foot
Because the camera view is turning out on each end as you get to the end. So the cameras not turning keeping turned in
We're in a parallax which the lens is trying to stay like this. This is allowing the lens to look out
So it's like looking out and looking way back over here
So it gives you a big sweep
if you're shooting a car or you're shooting a large scene and you want to just show a
Larger scene and a move that's going to take in a larger area
Than just your normal slider would straight across and you just put it on this outer curve and it allows you to sweep a much
Bigger area so we're in here really tight and gives me a nice shot between the two of them here
So just that outward sweep gives me a lot more than I would get if I just sliding straight o'clock across here
So there you have a look at eight camera moves that can help either enhance your video or really drive the drama of your video
Depend on how you use them. These are not just for cinema. They're not just for documentary or for interviews or just general production
They're just for everyone each one of these moves can be applied to your project and how you shoot
So look at them and decide which ones are going to work. You cannot use all these moves all the time
It will become just too much. It's like eating ice cream, but every meal although even ice cream every meal is not so bad
But you don't want to eat ice cream only in every meal
So you want to use them to try to communicate what you want to say and to start a visual dialogue with your viewer?
So that the visual?
Camera moves become a clue
To the emotion that's going on to the things you want them to fill and the things you want them to to
Understand and the piece you're doing the reason I love the 9 point solution
Sipan Arms is because it gives me the ability to do all of these moves with one device
You don't have to have both of these they both will do all of these moves
It's just a matter of that outward curve
Was so large on the big arm that it was nicer to getting in on the small arm to get that outward curve and more
Of an intimate kind of setting it's also nice to fly with this one, which is what I love to use it with
It's goes in your suitcase easy to travel with but the larger arm is great for Red's for
C200 all the larger cameras and gives you such a great array of moves you can do with it
It's very worthwhile looking at but most importantly I want you to share some of the things that you've learned about doing camera moves
Show us some pieces put them up on a Facebook group
If you want to make the transition from just natural light to strobe light
Get our mastering studio strobes download it's at the slant lens comm it's gonna teach you what strobes you should buy
How to use them and has all kinds of lighting setups. It'll help you perfect the skill and be using strobes in no time
so get over to the sling lens comm so that about wraps it up for us here today Oh
Friday
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