Track - The term tracking shot may refer to any shot in which the camera follows a subject within the frame, such as a moving actor or a moving vehicle. When using the term tracking shot in this sense, the camera may be moved in ways not involving a camera dolly.
Tilt - Tilting is when you move the camera vertically, up to down or down to up, while its base is fixated to a certain point. Again, like panning, this move typically involves the use of a tripod where the camera is stationary but you move the angle it points to. These shots are popular when introducing a character, especially one of grandeur, in a movie.
Aerial - This is usually done with a crane or with a camera attached to a special helicopter to view large landscapes. This sort of shot would be restricted to exterior locations. A good area to do this shot would be a scene that takes place on a building. If the aerial shot is of a character it can make them seem insignificant. Circular shots are also possible.
Zooming - This is the most used (also the most overused) camera movement there is. It is often used as a clutch when the director is not sure what else to do to add interest to a shot. Zoom in or out from an unexpected, yet important, object or person in your shot. Use a quick zoom to add energy to a fast-paced piece.
Handheld - 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 mobile and able to follow the action of a scene. Most times the camera will simply be held by the operator, who will then employ a number of basic camera moves by moving the feet - trucking in and out, dollying in one direction or another, tilting, panning, zooming - and combinations of all of these.
Dolly - A dolly is when you move the entire camera forwards and backwards, typically on some sort of track or motorized vehicle. This type of movement can create beautiful, flowing effects when done correctly. If you want to attempt a dolly, make sure your track is stable and will allow for fluid movement.
Steadicam - It is a brand of camera stabilizing mount for motion picture cameras that mechanically isolates it from the operator's movement. It allows for a smooth shot, even when moving quickly over an uneven surface. A Steadicam essentially combines the stabilized steady footage of a conventional tripod mount with the fluid motion of a dolly shot and the flexibility of hand-held camera work. While smoothly following the operator's broad movements, the Steadicam's armature absorbs jerks, bumps, and shakes.
- The camera could be mounted on a camera dolly, a wheeled mount that rolls on tracks or leveled boards. This is time consuming to set up, and impractical in many situations.
- The camera operator could hold the camera in his hands. This allows greater speed and flexibility, but even the most skilled operator cannot entirely prevent the camera from shaking. Hand-held footage has traditionally been considered suitable mostly for documentaries, news, reportage work, live action, unrehearsable footage, or to evoke an atmosphere of authentic immediacy or cinéma vérité during dramatic sequences.
Pull Focus - This shot refers to the act of changing the lens’s focus distance setting in correspondence to a moving subject’s physical distance from the focal plane. For example, if an actor moves from 8m away from the focal plane to 3m away from the focal plane within a shot, the focus puller will change the distance setting on the lens during the take in precise correspondence to the changing position of the actor. Additionally, the focus puller may shift focus from one subject to another within the frame, as dictated by the specific requirements of the shot (cinematic techniques).
Crane - A crane can be used to lift a camera from low to high shooting positions. Less expensive jibs can support the weight of a camera and lift it several feet off of the ground. Sometimes called a boom, but the boom term usually applies to the device that holds a microphone aloft.
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