稳定的摄像VS手持式摄像

几乎所有的摄影机运动,我们将在这个过程中讨论 能或多或少地用手握持相机来完成。 手持相机的工作是在独立电影特别受欢迎,因为它可以加速 通过避免阐述了轨道拍摄进度和小车设置,对于每一个场景。 使用这种技术,重要的是在理解什么手持震动传递给观众。 意外震动可以是恶心诱导并撞击观察者作为业余的。

在当今世界的智能手机视频,观看者 往往联想手持与非专业视频工作摄像头的工作。 我们也与手持摇来跑和走纪录片与现实 的电视,其中摄制组被追逐的动作。 当用打火机摄像机工作是极其困难的捕获 通过简单地手握照相机的主体的电影片段。 由于重量轻,且仅两个接触点, 你的身体的每一个移动和振动将彻底挤帧。

为了限制这一点,要考虑使用是很重要的 钻机将增加重量和更多的支持。 手持相机工作中经常能感觉到偷窥。 >>不,我只是说像,我们总是喜欢,孩子身边,但喜欢.. 。 >>或者制造紧张感。 根据项目的不同,您可能需要增加或减少手持的感觉。 当正确完成,有意的手持晃动可以注入 的顺序与紧迫性和紧张感。 手持摄影的运动本身 提供了动能,我们的现场。

认为战争片战斗序列。 疯狂手持摄像机的工作创造,我们的感觉 有,在战壕中,我们周围的行动所淹没。 让我们来看看高张力 的场景,其中手持的感觉可能真的被通缉。 >>到底是什么这样的话,是吧? 为什么我在这里做什么? 你是这样一个混蛋。 你到底是这个的话,是吧? 为什么我在这里做什么? >>相机抖动不喧宾夺主,但实际上增强了戏剧现场, 通过添加物理不稳相机, 我们还增加情绪不稳现场。

有意在制作场景传达真实性或感觉,一个 场景是如此忙碌的协调摄影机运动是不可能的。 当手持拍摄,我们一般需要使用 可用的最宽的镜头在视觉上隐藏或减少常见的抖动。 选择更广泛的第二个理由镜片 在更长的透镜是最小聚焦距离。一般来说,有效的射门被通过保持取得 的照相机与对象之间的距离不变。

手持拍摄被用于各种 原因中,最常见的一种是主体。 模仿的人行走的运动, 例如,将更好地与手持实现 拍摄,如果我们想观看者感觉到他或她正在行走沿着字符。

Steady cams vs. handheld cams

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 infusea 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 ascene 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.