My issues with mustering footage come down to a choice to use panning.
Funny thing is, I don’t like panning.
Panning has it’s uses, but generally for smaller, tighter projects, it is over used. There is almost always movement in a frame, but I feel strongly, that movements that attract attention to themselves need to be used carefully. In a nutshell, I won’t miss not using it, even if the urge to move is strong to this stills shooter.
In preference, focus shifts, multiple angles, panning around the subject, following, walk throughs, simply letting the subject move in front of a still camera can all be as powerful. The pan tends to hero the landscape for establishing shots, great for big flicks, but overdone for smaller. It is possible to make an entire, high quality production with a still camera. It is the norm for many top end movies.
One angle sets the scene.
The other adding intimacy.
The subject carries the frame, gimmicks not needed and I was able to shoot stills at the same time.
Movements are a creative tool, but do we need them as often as we think? Personally I like to use them in a considered, restrained way. When story boarding I will tend to think 2 or 3 to 1 static to movement and even then the movement will be contained.
Occasionally a stronger one will be warranted, maybe even an extreme one, but as often as not, the subject is the stronger element. I guess also you need to ask yourself, are you using a movement to enhance a bad idea, a boring subject or a poor angle?
There is a lot of pressure to come up with new and exciting transitions, movements and angles, but like most things, content and picture/sound quality always come first, often negating “over worked” cinematography.
Ed. Looks like the judder culprit may be related to the stabiliser. Go me!