Creative Cinematography 4 - Adding Movement to Your Video | Phil Ebiner | Skillshare

Creative Cinematography 4 - Adding Movement to Your Video

Phil Ebiner, Video | Photo | Design

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9 Lessons (18m)
    • 1. Course Introduction

      1:29
    • 2. Why Should You Add Movement to Your Shots?

      1:38
    • 3. Using a Tripod for Better Video

      2:49
    • 4. Better Handheld Shooting

      1:40
    • 5. Using a Dolly for Better Video

      2:42
    • 6. Stabilizing Your Shots with a Steadicam System Like the Movi

      2:53
    • 7. Shooting with a Jib

      1:31
    • 8. Shooting with a Drone

      2:24
    • 9. Practice Your Camera Moves

      1:04
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About This Class

This online Cinematography Course will teach you how to shoot beautiful videos with any camera.

Enroll in all the modules:

  1. Camera Basics
  2. Getting the Right Exposure
  3. Composing Better Images
  4. Adding Movement to Your Shots
  5. Lighting Your Videos
  6. Making Money as a Cinematographer

This course is designed to teach you the ins and outs of professional cinematography - the art of making motion pictures. While there are plenty of video courses, it's hard to find a comprehensive course that teaches you everything you'd want to know about shooting video.

This is the fourth course in the Creative Cinematography series. Please check out the rest of the courses in the Creative Cinematography series to continue your cinematography education.

In this course, you'll learn:

  • Why you should add movement to your shots
  • How to use a tripod for better video
  • Better handheld shooting
  • Using a dolly for better video
  • Stabilizing your shots with a steadicam system
  • Shooting with a jib
  • Shooting with a drone

This is the course for you, taught by a professional Hollywood cinematographer, Will Carnahan.

Regardless of the type of camera you are using - DSLR, Professional Cinema Camera, GoPro, iPhone, or Film - you can shoot beautiful video. Learn professional techniques that Hollywood filmmakers are using to capture powerful images.

If you want to learn how to shoot great videos and making money doing what you love, this is the course for you.

Start shooting better videos today!

Enroll today, and we'll see you in the course.

Transcripts

1. Course Introduction: a one Phil here, welcome back to the cinematography course and welcome to a new section. We're continuing our compositional kind of lessons, and we're adding movement to our camera work, adding movement when I was actually a student, Uh, that was under will a couple of years. He was the master student. I was an undergraduate, and we worked together in the projection booth at the the school's theater, and I remember tying them about cinematography and how I could really make my videos better . And one of the first things he said was had movement to your videos, whether it's a tripod pan or tilt, or just if you have a mono pod or your shooting hand help and doing a little bit of smooth movement that will take your video to the next level. Now, in this section will will be covering all sorts of types of movement, from tripod and dollies to stabilizers and drone footage. And he's going to be showing you a lot of sample footage that he shot incorporating that type of movement. And I think adding movement along with not on Lee your compositional skills of choosing what you want in a frame, but then moving that frame that will really take your cinematography to the next level. So I'm excited for you to take this section. Let's hop over toe will, and I'll see you later in a challenge video. 2. Why Should You Add Movement to Your Shots?: So in this section we're gonna talk about camera movement now. A lot of beginners in a lot of ways. You starting out, you want to just put the camera on a tripod. Now that's great, but it depends on what you're trying to say. If you wanna up your level, we can talk about certain movement. There's a lot of times where you could do a tilt. You could do a pan, you could do a push. You could have a handheld shaky camera. It really just depends on what you're doing and how you want to shoot it. The thing about movement is that it adds emotion and adds emotion to the viewer. And really, as someone watching it, they'll start to feel that emotion. They'll feel that pushin. They'll feel that beautiful till down of a structure. They'll feel that shaky nervous camera. So when you adding movement, you're adding emotion to the camera. And so what the viewer is watching when they're watching on a big giant screen, shaking a camera around and moving around. It's gonna evoke a lot of emotion, a lot of response in the viewer. Adversely, if you're watching a little tiny screen. It's just locked off. It's going to be kind of boring. But when you add a nice little tilt or a really clean commercial look, ill express, maybe some luxury, maybe some selling points, some class to it. So really different movements can say different things. And it will up the value of your production because typically, amateurs aren't gonna be moving their cameras around too much beginners air really going to be locked off two tripods. And that's really kind of static and boring. Like the news big movies will tend to do. Nice big push ins will do. Steadicam follows. They'll do nice, clean movements, and that's really what we're looking to get here. So movement in your camera can add production value, and it can invoke certain emotions. 3. Using a Tripod for Better Video: So let's talk about tripod movement. You could do a nice little tilt down, or you could be doing pans left to right. Now those tend to add this little nice kind of expose kind of class it up a little bit kind of show. If you have an object up above, you can kind of come down until down. What that does is just evoke a nice, clean movement. You see this a lot in commercials, or sometimes in movies where they'll start really high up in the clowns, and then they'll tilt down to reveal the house, as opposed to just showing the house. A cut right to the house evokes a much different emotion than tilting down down to the house. The big thing is that you're adding this movement of a tilt or a pan to add the sea motion . Sometimes you can use a pan to reveal something from left to right, or you compare from character to character. And that adds a little bit of connectivity, right, because within the shot you're able to see the character talk to characters, a pan left to right pan left to right, and then with tilts, you may see them having a gun at the side. That may add down to tilt on the on the side here, or you could tilt up to something in the sky. It's really connecting to compositions or two shots in a very clean, quick way. So the best tip I have for tilting and panning on tripods is first having do with the gear . Sometimes you end up with a tripod that's actually a photo tripod, and it won't have the fluidity of a fluid head or a gearhead. Now, if you're going to be doing video, you might want to look for a video tripod that has he flew ahead that can tilt up or down a pan right and left in a more fluid manner. You can actually set the tension, too, so you can kind of have a little more attention when you're panning and tilting, which will allow you to have a nice clean look. The mistake that most beginners make is that they get photo tripods where the heads do not tilt and pan very smoothly, and they end up being Jaggi or like quickly movements, which is not good at all. So look at your equipment, make sure that's good. The second thing to do is just brie. Take a moment and then use your tilt and just be very steady. It's a very kind of methodical and very kind of. You are one with the camera. Something I learned a long time ago, actually, by watching a pro in one of my classes was that you tend to take your body and you become part of thes sticks. So when you're tilting up or you're panning down, you tend to be that camera. And it's nice that I tend to put my left hand on top of the camera on my right hands holding the hand, and sometimes I'll just snug up against it and I'll just move my entire body to tilt or Japan, and that's a really nice way to kind of get you in the emotion of the camera. And personally, I think that viewers I can see that they can see that the cameraman and camera person it was really come apart of the camera. So those to be my best tips to actually tilting and panning become one with the camera and understand that what you're doing is saying something 4. Better Handheld Shooting: So handheld shooting. Now I've got this camera in someone's hands right now Fills holding this camera so you can kind of see that has a little bit of jitter. He's not running and shaking right now, but you can see that it adds a little bit more realism a little bit more. You're in the moment you're there, and a lot of events and documentary kind of filming. Use this because you're in the moment. I think this is great for documentaries because it really feels like you're there. It takes away the commercial clean tilt and pan and push ins, and it puts you right in the action. You can also use this more narratives. If you look at a movie like Saving Private Ryan, where they're just running around with cameras and stuff like that really builds tension and makes things scarier or skateboard video, sometimes they'll be on skateboards, but they'll be holding it and hand holding, and you can see that little jitter that realism really is what you're saying with a handheld thing. My tips for hand holding is if you get a shoulder rig, that's great cause that's considered handheld shooting on a C 100 like this or a DSLR you're holding in front of it tends to be shaky. The big thing about hand holding is trying to get three points of contact. If you only have to. It's gonna be a little shaky. So one hand, one hand and maybe a shoulder harness. That's three. That'll keep you nice and steady. Or, if you have one hand, one hand and another piece that goes to your chest. That'd be great if you have a DSLR or a smaller camera. Sometimes I'll take the strap and I'll pull it taut and hold it with my two hands. 123 points of contact will still give you that shake, but it won't make it ridiculous, depending on what you're shooting. It depends on what your project is called for. If it needs super shaky or if it just needs that handheld look, try to aim for three points of contact and try to take breaks. Don't kill yourself because that can get tiring, especially using a big rig all day long. 5. Using a Dolly for Better Video: So let's talk about Dolly shots. So there's several types of Dali's there, several types of Dolly shots. So, technically, what is a dolly shot? Well, there's kind of two or three different ways you can talk about it. There's push ins where you just kind of push and glide in, like on a movie. You see that a lot. You see how it the camera just moves nice and smooth into an actor, or you can see how a trucking shot when I move left and right on a dolly, it can go left and right and be very smooth and just be kind of moving along like this. The big thing about Dali's is sometimes they require track. Sometimes you can get many dollars with skateboard wheels. Other times you can get a studio stage and get like a fisher a Chapman, and you will roll that thing around a nice, smooth stage. The other thing that have to do with the advanced dollies is that some of them will have a boom going up and down again. That's more in the advanced professional level, where you might actually even have a dolly grip whose sole purpose hunt set is to run the Dalai, moving it up and down, keeping it charged, moving it left to right, setting up track, putting in the cribbage around it. You get really advanced when you get on bigger sets with Dolly movement. The big thing about Dolly movement is it depends on what you're shooting and how you want to use it. I think Dolly movements add the most amount of production value to a piece. You see a lot of pushing like this on big cinema movies, So if you start to do that in your smaller productions or even your documentary work, it might really up the value of your of your shoot. The thing with the dollars as it comes with a lot, they tend to be big. They tend to require a lot of set up time, so you don't always have a lot of time. They also tend to require more help. It's not something you can go off and do on your own. I definitely don't suggest that they're very heavy. Even a doorway Dolly can become a little cumbersome sometimes, which is really just would, with two giant or four giant wheels and a handle bar that you could put a tripod on. You can still do those pushes. The big thing about Dali's is that I think that they really add production value, and it also takes a lot of set up as an aside to a dolly. There's also something called a slider, or what's also referred to is a day and a dolly, which is a little bit of a smaller thing. Or you could just fit a camera on top of, and then it sits on two rails. Basically, that or it has its own encompassing structure, where it's pocket size and maybe three feet four feet, five feet and you set that up on a tripod and then on that it can do a slide. You see this sometimes in some interviews, where they might be sliding from left to right or pushing in. And it's really, really smaller set up that one person can use on their own. It's just a little bit bigger than a tripod, but smaller than a full blown dolly. You'll still be able to achieve these smaller movements, but you won't be able to achieve these bigger giant push ins 6. Stabilizing Your Shots with a Steadicam System Like the Movi: so something has become really popular are the stabilized movement. So that means I'm talking about steady cams, movies, Ronan's any sort of gimble, or even the law small stabilizers. Now the cool thing about that is that they're sort of achieving what a dollies doing by pushing in and moving around but able to do it more quickly and without track. Now a Steadicam operator will charge a lot of money a day. Also, if you wanted to buy a Steadicam, that can be enormous amounts of money and it's a lot of training. So you may see those guys with the big giant vests in the arms that come out that hold big cameras. And then it comes down like this and they're moving around in. The camera stays perfectly steady. Now. Those shots look amazing, but that is a lot of technical stuff that's going on there a lot of times on. Big professional sets still have a remote follow focus or remote zoom in a remote iris so that an assistant camera can sit back and control all that while they do the move. While they follow the football player in Well, they follow the walk and talk, and those really are the top of the line. Steadicam moves recently. In the last few years, three Access Gimbels have come out where I can hold a bar like this with a gimbal down hither is able to keep it steady. Now those air called movies and Ronan's those three axis gimbals are made by more than just those two companies. But those will still allow you to move around seamlessly without actually having a full blown vest and maintain the steadiness of the object. The big thing is that ASU's your camera gets bigger and bigger and bigger. You may outgrow you're gimble. It also becomes very heavy holding it out just like this. But keep in mind, you can still do that. Push in without all that track in that garbage down below, and you can do it by yourself. The other thing is, they're stabilizers, and those air more for smaller, smaller cameras. There's the Merlin and things like them, really where you hold it with one hand and it really has a counterweight down here below. And then you put a smaller camera, and that's nice, because you can just control one thing and it's a small camera that only works with, like DSLR Zamir list cameras and most popular GoPro's Right Now, tips for steady cams and movies and Gimbels and all that really come down to as you as an operator. Ah, lot of that stuff is very, very technical and just takes muscle memory and practice. The more you do those things, the better you'll get at it. If you can afford it as a cinematographer, if the production you're working on can afford to rent something or rent somebody who's been doing it day to day today, I think that that would be the easiest and best thing. If you want to start to get into that and learn that that's a whole another job, which I think is fantastic, but you should be buying it, you should be investing in it. You should be practicing. You should be practicing as much as you can because a lot of that is just muscle memory. If you're gonna pick it up for the first time, you really should practice with it and learn how to move with it, because every one of those tools moves a different way and it was a different way with a different camera, and you never know what you're going to run into, depending on what you're shooting. 7. Shooting with a Jib: so another way to get nice big shots is using a jib. Chances are you won't be on a big enough production to afford a jib. But if you are and you have a big camera to get a big giant crane or techno jib taking, let you get a giant, big, expansive shot from the ground all the way up. What it is is a giant arm that holds a camera at the very top, and it's able to move down and up and around. It's the type of shots you see at sporting events that you see cruising over or live concerts that you see going over the crowd and zooming in a flying across the crowd. Now, if those air too expensive for you, there are actually smaller gyms that you can rent from, say, Fisher, Or like a kez low camera or anything like that, where you can rent smaller, smaller gyms that are only maybe three feet four feet. That will give you that movement. Maybe you're doing an interview, and you just want to do something a little lighter, a little special that go from the ground up. Also, we talked about Dali's earlier There are a lot of bigger Fisher dollies and chairman dollars where you can put Egypt on the dolly and that will allow you to do kind of a coasting move up like that. So it's really depending on what you're trying to do. Gyms require operator and again, just like the stabilizers and movies and whatnot. It's a specialized movement, so if you're not practicing it, you need to get your hands on it and figure out how you want to move that around to really accomplish what you're doing. It's a beautiful way to get really high, high production value shot, but that will kind of break the bank. I feel it's a little more expensive than some other options that you can use. 8. Shooting with a Drone: so drones. The drone game has become very, very popular. We just actually got one. My partner and I we've been flying it for a little bit. Now, before we dive into a too much I just want to warn you that there are laws all over the country about drones and you should not fly unless you understand the exact laws of where you are and what you're doing. It's very important that you stay safe and that you understand what you're doing before you fly them. So what can you do with Jones? Well, the drones can take off from the ground all the way up to However, if I you want to fly them. The biggest thing about them is that you can kind of take that low production production that you're on and make it look like you spend a lot of money. You can look like you have a giant jib that goes from the ground all the way up. You can go in from what looks like a dolly shot into a helicopter looking shot. The big thing about drones is that adds this giant production value to what you're shooting at a very low cost. Now there's Jones all over the place. Most Jones you can get for cheaper under $3000 would fly a GoPro. You can get the next level up between five and $10,000 that have their own camera, which is 10 d. J. I inspire. One will actually have the GoPro Hero four sensor without the lens so you don't get that bo distorted effect. And then, if you go up from there, you get into the D. G I 900 the bigger drones that can fly like a small, mere list camera DSLR camera. And then going from there, you can get until, like the free flight alter or the bigger deejay I cameras, our drones that will fly like red cameras and Ari's and stuff like that. So, really, there's multiple levels of drones from the very little to the very top, going back to what we said before, something you absolutely need to practice with or hire someone who actually does that stuff on the constant basis. The thing about flying and making it look good is sure you can fly, but can you fly and make the camera movement look good? One of the things about drones is that if you fly without a remote gimble, it'll look kind of boring, just going up and down and straight. You want to be able to control the gimbal, I think Toe Adam or dynamic shot. If you don't have that control, you can get some kind of cool shots. But really, I think the best way to do a drone is to have two operators, a pilot and someone controlling the gimbal so that you can kind of do that shot up and around and down. It really makes things look very high production value again. Be safe and find someone that can really fly a drone well. 9. Practice Your Camera Moves: Hey, everyone, welcome to a new challenge in this movement section of the cinematography course. You probably could guess what this challenge is, and the challenge is to add movement to some of your shots. No, a lot of you won't have a stabilizer, a drone, a dolly to practice with. But most of you might have a tripod lying around, even if you have a photo tripod without a fluid ahead, which is what will mention in the that lesson. It's important to get a fluid head tripod for video, But even if you have a photo tripod, take that out, put your camera on it and try. Doing some nice tilts and pans is really tough to get a smooth tiller pan without a fluid head. But remember those tips that will give you to really become one with the tripod. Get snug right up there with the tripod and move your body. Get that nice till or pan, and so that's your challenge. Just go out, practice your tilson pans with your tripod and have fun with it. We'll see you in the next section