Cinematography #2: Camera Movements | Communicate Through Motion | Film in Flame | Skillshare

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Cinematography #2: Camera Movements | Communicate Through Motion

teacher avatar Film in Flame, Filmmaking Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (11m)
    • 1. Trailer

    • 2. Rotational Moves

    • 3. Transitional Moves

    • 4. Fancy Camera Moves

    • 5. Conclusion

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About This Class

Camera movements, like camera shots are essentials in cinematography and film grammar. All different camera movements capture the action, but they do so to wildly different effects. And that’s exactly what you’re gonna learn in this class.

You’re gonna understand the effects that each camera movement has on your film, and how the audience feel when they confront each. After this class, when you know those effects, you can use them to to your advantage and tell your story better.

This class is essential for writers, directors, camera operators, cinematographers, and anyone who has to communicate through visual elements of motion pictures.

Wish you the best.

Meet Your Teacher

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Film in Flame

Filmmaking Teacher


Film in Flame is an online film magazine which is interested in films that are in flames.

We have such great passion for filmmaking that it makes us smile as large as the half-moon. We love great editings, big emotions, and the moments when you can feel the heat of genius in a film.

We study great masters; and here, we are to share what we’ve learned from them with you. We are willing to teach you all the aspects of filmmaking. Of course, that isn’t possible! Cause many things can’t be learned on a phone or in front of a computer. You gotta get your hands dirty in the work. But we’re gonna try our best to give you the primary knowledge so you can do the rest.

I hope you like our contents, and I wish you good luck.

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1. Trailer: camera movements can be used as a simple tools. Uncomplicated. Lee follow some motion, but a meaning doesn't have to sub there. There are striking differences between different camera movements on While they are all chap chewing the action, they do so two wildly different effects cameras, like everything else in a three D space, can only move around three different axis of rotation and across three different axes of translation. Six different degrees of freedom and in camera terms, they have names UK roads it with a pan sales or chance, and I can't translate with the push track or a boom any other camera movements is a combination of these. In this course, you're gonna understand the effects that each camera movements has on your field and how the audience feels when they confronted. So why knowing those he thinks you can use them to your vanish? Tell your story better. First, we're gonna talk about rotational moves. Let's start 2. Rotational Moves: Paris is the most national of the rotational moves. Usually performed from a tripod. The pan is a simple horizontal turning of the camera, moving the camera lens to one side or another looks. Your left ven looks. You're right. That's panning. It's the direction would serve the most. The Pam feels like scanning like looking around. It's an attention changer following someone as they walked boy or noticing someone in our periphery. It reveals things chilled. Schelzig is when you move the camera vertically up to down or down. Roll up while it's basis. Fix it it to a certain point. Nod your head up and down that its sales ing vertical turn a craning over words or appearing downwards. Fields totally difference us. Something up is like a look of all syncing down. Reminds us of dropping our eyes off, letting our gaze fall. It's a sinking feeling in a shot. These shells are popular and introducing a character, especially one of grandeur. New movie cell sing is the fastest way to get from low to high or the other way around when you want to show two things, though not necessarily at the same time, cans the cancel role or Dutch tells, is a turn around. The cameras long axis the axis sick in a straight out of the lens, but this one is kind of weird. You can't experience it in real world if you turn your head, your brain compensates for the role your inner ear detects and visually stabilizes your field of use. So we don't have much of an experimental Easter for the role. So when we see it on screen without our inner ear telling us to correct for the horizon shift, the meaning it tends to take on is just weirdness and disorientation, maybe dizzy, drunk, paranoid or having vertigo. 3. Transitional Moves: okay now that re pans and silted on spawning every which way, it's time to look our tripod head. Throw the camera on some wheels on push. And that makes a big difference. Because while the rotational shells are all about changes in perspective from fixed geographical location, our next three shells will actually transport us in our point of view through space. The first way to do then is with a push or pull dolly an dolly out. This is emotion tours or motion from the friends Dillion means siptu. Worse, the subject with the camera while Dolly out means to sit backward with the camera. It only moves a straight and or out along the cameras. Access. This can feel all different kinds of ways slow or fast, Salo or obvious, long, short, in or out. Pushing insures a point is a pretty calm move to turn up the emotional volume and make you focus on the subject. Pulling down from point feels like we're abandoning it like we're getting the hell out of there, adding distance or backing away in full view as we watched the subject recede. It also can tell us that while something extremely important happened is just one story in a world of stories. But both a push and a pull can also move us through a space, gliding us into a new place backward or four wars, introducing it to us as if we were walking through it. Track truck trucking is not dulling, but it involves motion left or right if you take the push shot and then turn the camera at a 90 degree angle to the direction off movements you under with a track or truck. And this 90 degree turn changes things completely. There's a following the long vibe with this cycling by and a scanning cross. It's like looking out the window of a car watching the world passes by. But he also completely changes its relationship with offscreen spaces, while the push almost exclusively narrows our view and the poor almost exclusively widens it. The tracking shot does both at the same time, showing us something new on one side of the frame wall, taking something out of the other pedestal. Boom, crane up, craned down. Finally, we got ta poured down a pedestal is moving the camera up or down without changing this very cool or horizontal axis. A camera operator can do two types of pedestals. Pedestal up means move. The camera up pedestal down means moved the camera down. You are not Children. The lens up Ratter. You're moving the entire camera up just like a Dutch tilt. This was also a little rare to find the wild, but can be found the boom feels so. It's like riding in a glass elevator, watching the world rise or fall away. It feels like ascending into the heavens or descending tours and depths. There's eater, soaring feeling to it or a plummeting want, bringing along all the physical and emotional associations there with when penicillin you usually want some maintain the camera to subject distance so you might start on a person leaning up against a wall and then PETA solo end up and up and Duff until the camera gets to Spiderman, cringing to the fourth story of a building and creeping a bit 4. Fancy Camera Moves: hand held. Sometimes the action is moving too quickly or too unpredictably for the camera to be on a tripod. This calls for making the camera more more bile and able to follow the action of a scene. Most jobs. The camera will simply be held by the operator, who will then employ a number of basic chamber moves by moving the feet, doling in and out, trucking in one direction or another tilting, panning, zooming again, performing combination. Of all of these handhelds, shooting can be very bouncy, giving the viewer sometimes subtle feeling that they're watching the news or documentary. For example, the handle shooting the 2008 hard flick over field. The goal of this isn't to be fancy, but matter to make us believe. The movie was shot by an amateur and is therefore riel, floating cam or stabilized shot. This city cam uses a serious of cantor race and gyroscopes to keep a hand held cameras. Motion various smooth a city cam or three axis gimbal gives it a freedom of shooting hands Hell's while keeping your shot perfectly. A stable eliminating the distracting shake that often occurs when your cameras on supported zoom zooming his one can remove the most people are probably familiar with it involves changing the focal length off the lens to make the subject appear closer or further away in the frame. Zooming is the easiest way to get from far too close or the other way around. You might have started with a wide shot of a concert to, said the station, then zoom in to show one of the performers. Colleague seems to do the same. Then why are they difference? A zoom shot requires an adjustment in lens focal length. While Adoni requires the actual physical movements of a camera, that means you need none. Move a camera forward nor backward in order to pull off a zoom. It's in essence, a magnification of an image. A jolly Howard is more human, like the acts of moving closer or further waits on objects with everything's your left and right side taking on greater waits. As a result, Zoli in changes the spatial relation to the surroundings of the subject. While zooming does not 5. Conclusion: camera movements can be used as a great Sewell for telling stories. That's not all. They're less other decisions that can be made after choosing the right camera movement. Are we on the subjects level? Are removing at their speed or moving independence? Li. How can the movement cut to the next shot house the framing at the beginning and at the end of the movements and many mawr, So make sure to follow fail men, flat reality or filmmaking classes coming soon? I wish this class has been helpful to you. Thank you for watching I wish you like and Great Opportunities Audio's.