Camera & Kinetic Movement

This lecture discusses the seven basic moving camera shots and the art of the moving camera within time and space.

Pan

When a camera is mounted on a tripod and moved to the left or right to scan the environment while keeping the subject inside the frame of the camera. It can be used to establish an environment and shift attention from one subject to another.

Tilt

When a camera is moved up or down, for the same purposes as the pan shot and pov shots. Tilting the camera up can make someone seem more powerful, whereas tilting the camera down can make someone seem more vulnerable.

Dolly Push-In

Moves the camera into the subject to emphasize the importance of the moment, revelation, and internal conflict.

Dolly Pull-Out

Moves the camera away from the subject to deemphasize said subject, reveal the setting or characters, and detach the viewer from the scene.

Dolly Tracking-Shot

Moves the camera alongside the subject to generate questions such as “where is the character going, and what will happen?” Immersing the viewer in a long take

Dolly Trucking-Shot

Follows the subject, laterally (side to side).

Zoom In & Zoom Out

Moves the lens rather than the physical camera, serving a similar purpose as the push-in/pull-out. Seems less natural than dolly shots.

Handheld

Camera is usually mounted on the camera operator’s shoulder, causing a jumpy and ragged effect that is hard to ignore.

Crane Shot

An airborne dolly shot that can move the cinematographer and camera in and out of the scene, from any direction.

Aerial Shot

Taken from a helicopter or drone, emphasizing freedom, space, and isolation. Used when a crane shot is impractical.

Vertical (Up)

Soaring and free, suggesting aspiration, joy, power, and authority, such as running up stairs, a bird flying.

Vertical (Down)

Suggests grief, death, insignificance, depression, and weakness. Like climbing down a set of stairs to the basement or falling off the ground.

Lateral (Left to Right)

Seems psychologically natural, like the human eye.

Lateral (Right to Left)

Seems tense and uncomfortable because it’s the opposite of our natural eye movement.

Depth (Towards Camera)

Can seem purposeful and assertive when coming from a likeable character, and hostile and aggressive if coming from a villain.

Depth (Away From Camera)

Character becomes less significant and remote, making them seem weak, fearful, and suspicious.