Nearly every camera movement we will discuss in this course
can more or less be accomplished by hand-holding the camera.
Handheld camera work is especially popular in independent film, as it can expedite
shooting schedules by avoiding elaborated tracks, and dolly setups, for each scene.
Before using this technique it is important to
understand what handheld shake conveys to the viewer.
Unintentional shake can be nausea inducing and strike the viewer as amateurish.
In today's world of smart phone videos, a viewer will
often associate hand held camera work with non-professional video work.
We also relate handheld shake to run-and-go documentary and reality
TV, in which the camera crew is chasing the action.
When working with lighter cameras it is extremely difficult to capture
cinematic footage by simply hand holding the body of the camera.
Due to the light weight, and only two points of contact,
every movement and vibration of your body will completely jostle the frame.
To limit this, it is important to consider using
a rig which will add weight and additional support.
Handheld camera work can often feel voyeuristic.
>> No, I'm just saying like, we always like, kid around, but like...
>> Or create a sense of tension.
Depending on the project, you may want to enhance or decrease the handheld feel.
When done correctly, intentional handheld shake can infuse
a sequence with a sense of urgency and tension.
The movement of handheld cinematography inherently
provides a kinetic energy to our scene.
Think of battle sequences in war films.
Frantic handheld camera work creates the feeling that we are
there, in the trenches, overwhelmed by the action around us.
Let's take a look at a high tension
scene, where the handheld feel may actually be wanted.
>> What the hell is this then, huh?
Why am I doing here?
You are such a jerk.
What the hell is this then, huh?
Why am I doing here?
>> Camera shake is not distracting but actually enhances the drama of the scene.
By adding physical instability to the camera,
we also add emotional instability to the scene.
Intentionally under-produced scenes convey authenticity or the sense that a
scene is so hectic that coordinated camera movement would be impossible.
When shooting handheld we generally need to use the
widest lens available to visually conceal or diminish common shake.
A second reason to choose wider lenses
over longer lenses is the minimum focusing distance.
Generally speaking, an effective shot is achieved by keeping
a constant distance between the camera and the subject.
Handheld shots are used for a variety
of reasons, the most common one being subjectivity.
Mimicking the movement of a person walking,
for example, is better achieved with a handheld
shot if we want the viewer to feel he or she is walking alongside the character.