Looking at good film footage, I am more convinced than ever, that good still image framing is the best way to start a video clip. If you could honestly take a good still from your footage, then it will lift your videos a step above the average.
So framing and other basics like lighting make good practice.
Does this mean movements are irrelevant?
No, movement, when used well is a powerful tool. When over used or used badly or inappropriately, it reduces the strength of footage.
Movement in video, is generally best used when the subject is static. If the subject is moving, a static angle of view or at least one that is moving sympathetically with the subject if often best. Too much movement is on trend, but when you look at the best work out there, the really moving stuff, movement is balanced and restrained. It is invisible allowing the more important elements, light, subject, framing and atmosphere to shine through.
Which movements would I use and why?
The Pan (limited)
Panning is often over used and is also often too long and/or too fast. Technically, judder and flickering are often the result of overly fast panning (7 second for an object to travel from frame edge to frame edge is apparently the standard), so technically it is limiting. Going slow can also mean it goes too long. The other reality is, unless used as an establishing shot, it is often boring.
Panning from frame left to this would make a good entry shot, with the subject then entering from the tunnel.
Pans generally should be short, motivated* and interesting. They should be a seamless part of a sequence, not the hero shot and are often best used as an introduction to a subject. Following someone or something moving through the scene is often their best use, but remember, a still camera can serve a moving subject just as well.
This is a scene that could support panning, but I would prefer a still shot with the subject moving through or from back to front.
Pushing In (some)
A well respected way of increasing intimacy and character relevance, or cutting through the setting to the most important element, pushing in is a good movement, used sparingly. Even slight spiralling or angle changes work here and are for the most part invisible** to the viewer if done slowly enough.
Pulling Out (some)
The same as pushing in, but pulling out reduces character importance, introduces the environment as an equal or senior partner in the scene, so it can be used to change the mood of a scene. It is a good end scene tool. Again, if used sparingly and technically well, pulling out has its uses and feels natural.
If you push in on this man, tension is heightened, intimacy is increased and a feeling of entering his story, his current state comes through. If you pull back, it is a leaving statement, placing the man back into his environment, increasing the feeling of loneliness and detachment.
Arching Around (often)
This is where the main subject stays relatively central, but the camera moves around them. I like arching. It can be pushed pretty hard, sometimes completely circling the subject(s) changing their perspective, but generally is best used for changing the background relative to the subject or following them through the scene. This seems to be used commonly with modern sliders to create more dynamic B-roll at interviews, but too much can be irritating.
Remember with all movements, the stopping point is short of audience over-awareness.
I can see myself being drawn to scenes like this with arching or dolly moves (OSMO hand held).
Slider Move (some)
This is when the camera moves across the frame, generally without the subject moving with it. This is a great move for school or work environments along with pushing/pulling. The OSMO or my simple mechanical slider will get a bit of work here.
Trucking (some)
Trucking is the same as above, but moving paralell to the subject. Trucking is a very natural looking movement and powerful, but hard to pull off. Gimbals can be used, but top notch results usually involve a rail or wheeled camera rig. My OSMO will be the one option here unless the obvious hand held look is wanted.
Who to follow? This would have been a dynamic scene following one person as others move through the frame.
Tracking or Following (some)
Tracking follows the subject as they move through their environment. It should therefore always be motivated*. Again, like trucking, it is a good solid movement and a good balance between creativity and process invisibility. This and Trucking are movements that lend themselves to extended scenes. OSMO time again for me.
Tracking/trucking/arching subject nirvana.
Focus Shifts (regularly)
Focus shifts are good for natural establishing shots or drifting through a scene. When used as part of a more aggressive movement, they add an element of uncontrolled immersion, chaos even. This is a decent way to start or finish a story.
Hand Held Random (some)
The currently well established trend of semi-gimballed movement is fine for what it is and can be the only real way of capturing the right mood and feel of a story, but personally I see far too much “loose” movement as an ends in itself. Documentary style or high action are ideal here, but too much can be gimmicky. I doubt I can avoid it, but intend to keep it controlled and limited.
If done well, hand holding gives the viewer a feeling of being there in person, but if not controlled, it is distracting..
Zooming (never)
Noooooo! Ok, too much, but no movement telegraphs “process” more than zooming. Zooming is not something a human eye can do, so it never looks natural. Few can pull it off, and often only after establishing a “breaking the fourth wall” vibe in their films, but unless you are a Tarantino or Wes Anderson aspirant, probably best avoid this one. Moving in/out and zooming can be really effective, but beoyond my skill set.
Dolly Move (very rarely)
The true Dolly move is a move and zoom going in opposite directions to keep the subject the same size. It looks cool and for some reason is more acceptable than just zooming, but it is tricky and needs the right gear so probably out of my league at the moment.
Overhead and Booming (often)
Overheads are more an angle than a movement, but are part of the booming move. Basically booming is arching or tracking/trucking using an up/down move rather than side to side. The OSMO was bought with this in mind and I will use it as able. One of the great strengths of the OSMO is its ability to be a Dolly, Boom or Gimbal rig all on its own, something that often costs thousands and looks very pro when done well.
Of course the best of creativity often comes from the breaking rules, but be careful. Rule breaking can go both ways.
*
The importance of slo-motion cannot be overstated when it comes to movements. Apart from making movements smoother, slo-mo can also help justify a movement. The slower delivery helps the viewer take in the changing scene and somehow makes the movement seem more natural*** and poignant. You do lose sound, but this is a perfect time to add a fitting sound track, narration or simply silence.
*
*Motivated (I like to call it “Justified”) movement is the same as motivated lighting or sound. It literally means making the move/light/sound a natural, logical part of the scene. People should move from somewhere, to somewhere, just as light and sound should come from a natural source (even if given a little help).
**One of the most important things a film maker must decide on is the balance they want to strike for their techniques being visible or invisible to their audience. Breaking “the fourth wall” is a big choice and can define the films mood and story relevance. If you want to keep the process invisible, generally aggressive, unnatural or ungainly movements should be avoided.
***Slo-motion is the one exception where process helps to make movements look more natural without breaking the illusion of viewer detachment.