The document discusses various techniques for camera movement and framing shots in filmmaking. It describes different types of camera movements like pans, tilts, tracking shots using a dolly, and shots taken with a crane or boom. It also discusses framing styles like tight framing, loose framing, and deep focus framing. The document emphasizes that camera movements and intentional framing choices can be used to direct viewers' attention and enhance the storytelling and emotional impact of a film.

1. A Lecture by Prof. Dr. Arminda V. Santiago
SCIM 2103 2nd Semester 2014/2015 (A141)
October 9, 2014

2. Camera Movement is the way
the camera frames a scene while
the actors are moving.
The
movement of
actors
propels the
visual story

3. Camera movement is the same
in context as MOBILE
FRAMING
The mobile frame means that
parameters such as camera
height, camera angle, camera
level and distance may all change
during the course of a shot.

4. The camera’s perspective
not only changes from shot
to shot but it can also shift
and move within the shot
Camera movement shifts the
boundaries and coordinates of
the frame

6. The Pan and Tilt
The Dolly or Tracking
The Boom or Crane
Steadicam

7. The Pan
It is a lateral movement onscreen
Camera pivots from left to right or vice versa

8. The camera
pivots vertically
up and down or
vice versa
This movement
is used to call
attention to new
areas of the
scene
The Tilt

9. Pans may be used to readjust
the frame to accommodate
character movements
The convention for PAN Shots
requires that it be brief.

10. A variation of the PAN is an ARC
shot where the camera pivots at
a 360-degree on its mounting on
the tripod

11. The Dolly or Tracking

12. In Dolly and Tracking, the camera
on the tripod and base physically
travels through space
They produce MOTION
PERSPECTIVE

13. The BOOM or CRANE
When a scene’s action
requires a wider expanse or
area to be covered and when
the action should be shown
on a high angle, the camera
is mounted on a CRANE or
BOOM mechanism

15. Mounting the camera on a
boom or crane creates a
powerful dramatic effect by
revealing the scale of the
scene action that any other
camera movement cannot
achieve.

16. Using the STEADICAM

17. The STEADICAM is a
mechanical system that
produces very steady, jitter-free,
images from hand-held
camerawork
The word STEADICAM is both
a trademark of the mechanism
and a filmmaking technique

18. STEADICAM consists of a vest
worn by the camera operator
that has a stabilizing support
arm connecting the camera to
the operator’s vest.
A video-assist viewing system
is attached to the camera so
that the operator can view
what the camera is seeing

20. Using STEADICAM, the
operator can move the
camera through space in a
completely smooth and fluid
manner as if the camera is
an extension of his/her own
body

21. STEADICAM is used in narrative
and documentary filmmaking
There are digital cameras that
have steadicam capabilities
integrated in its mechanism

22. STEADICAM WAS USED IN ROCKY (1976)

23. To reveal dramatic
information by enlarging the
viewer’s field of view
Able to narrow and focus
attention on significant
objects of characters

24. It expresses a dynamic sense of
movement that makes a shot or
scene more sensous and
dramatically exciting
It visualizes important
thematic ideas

25. Camera movements were always
applied to “manually” held
cameras for analog filmmaking
Today, camera movements can
be created digitally during
post-production
Digital technology can also
create very long camera moves

26. Camera movements can
also be combined

27. LENS MOVEMENT is also
considered as camera
movement
ZOOM IN
ZOOM OUT
RACK FOCUSING

28. Rack focus is a
change of focus
from one plane
of depth to
another
Usually used in
OTS or Over
The Shoulder
Shot

29. In creating a ZOOM shot, one
needs a ZOOM LENS to be
attached to the camera
ZOOM LENSES have a variable
focal length.

30. Zooming changes the
size of the filmed subject
without changing the
distance between the
subject and camera

31. There are situations
that zooming can be
combined with
camera movements to
create unusual shots

33. In filmmaking and related fields,
a film frame is one of the many
still images which compose the
complete moving picture.
It can also refer to the edges of
the image as seen in a camera
viewfinder or projected on a
screen.

34. When directors place
actors in the frame, they
make choices in relation to
the way the actors’ bodies
will be situated in the space
(frame) and how they will
move within the frame or
external to the frame.

35. ONE APPROACH TO FRAMING

36. A FRAME IN A FILM

37. A FRAME FROM “DAYS OF HEAVEN”
INDICATING THE MOVEMENT OF ACTORS

38. FRAMING STYLES
TIGHT FRAMING
LOOSE FRAMING
DEEP FOCUS FRAMING

39. TIGHT FRAMING
An image where
there is a lack of
space around the
subject and gives
a sense of
constriction

40. LOOSE FRAMING
Refers to shots
that have a great
deal of open
space around
the subject and
can give a sense
of isolation or
freedom.

41. DEEP FOCUS FRAMING
Objects or
characters
remain in sharp
focus from
positions near
and far from the
camera

42. FRAMING THE HUMAN BODY

43. DIVIDING THE SPACE
OF A FRAME

44. Space in the film frame refers to
the space that is around a
subject, usually the part of the
frame that’s empty or filled with
a vast expanse of sky, water or
some other simple background
element that doesn’t have a lot
of distracting elements

45. TYPES OF SPACE
IN A FRAME
POSITIVE SPACE
NEGATIVE SPACE

46. POSITIVE SPACE
Refers to
the objects
and
actors/subj
ects that
occupy the
film frame.

47. SHOT FROM “CITIZEN KANE” SHOWING
FRAME OCCUPIED BY POSITIVE SPACE

48. NEGATIVE SPACE
It is the
space that is
not
occupied by
objects or
actors in a
frame.

49. MINIMAL NEGATIVE SPACE

50. VAST NEGATIVE SPACE

51. TOO MUCH USE OF SPACE PRODUCES
A CLUTTERED SHOT

52. THE RULE OF SPACE
This rule states that if the subject
is not looking directly to the
camera, or looks out of the
frame, there should be enough
space for the subject to look
into. This technique creates
intrigue in the minds of the
viewers

53. THE VIEWER’S EYE MOVES TO THE SPACE
WHERE THE SUBJECT IS LOOKING

54. WHAT IS THE WOMAN LOOKING AT?

55. IMAGE SIZE IS IMPORTANT
IN FRAMING

57. Film is a complex intertwining of
language and image.
From the beginnings of film as
a silent medium, it has made
language as a focal point
through the subtitling technique
that propels the film narrative

58. Visual meaning is embodied
in film and we understand the
meaning of images through
the way we interact with the
world around us.
We construct IMAGE
SCHEMAS as we watch a film

59. Image Schema is a concept in
Conceptual Metaphor Theory
by Lakoff and Johnson in 1999.
It states that our knowledge of
abstract phenomena is only
possible by linking these to
concrete experiences.

60. When we watch a film, the series
of shots and scenes are
essentially incomplete and have
gaps.
It is incomplete because visuals
have limitations in describing
what language can as in a written
novel or story

61. Also, a film’s incompleteness
is the result of certain film
conventions that have to be
followed.
Films have to have a total
running time of 1 ½ to 2 hours
only

62. It is the viewer that fills in the
gaps of the film’s visual
narrative

63. The film frame acts like a
container where things appear
in and out of view in front of the
viewer
The camera moves to reveal or
conceal objects and characters
and characters can enter and
exit frame

64. Another concept explaining
meaning in film images is
SIMULACRUM
It is the representation or
imitation of a person or thing.
The film, MATRIX best shows
the meaning of simulacrum

65. WE UNDERSTAND THAT THIS IS A SKATER
BECAUSE WE HAVE SEEN A SKATER

66. THIS IS A REPRESENTATION OF THE INSIDE OF A
SPACE MODULE IN “2001: A SPACE ODYSSEY”