6 Factors that MOTIVATE Camera Movement | Cinematography & Filmmaking Part 6

This video covers 6 different factors that might MOTIVATE a filmmaker TO MOVE or manipulate THE CAMERA to get a more dynamic or cinematic shot.
Moving the camera, adds a whole new “dimension” to the visual experience of the story being told, but camera movement without a purpose, is like a broken pencil, there’s just no point. Some reasons to move the camera are To Provide Greater Context, To Influence the Narrative, For a Subjective Experience, To Follow The Action (Directed Camera Movements vs with Planned Reactive Shots), for an Unmotivated Camera Movement, and No Movement at all. So basically, move the camera with a purpose, or don't move it all...This is video number 6 in my Cinematography or Filmmaking Video series.
🎬My Cinematic Filmmaking Techniques Video Series:
Part 1: SHOT SIZES | • All Camera SHOT SIZES ...
Part 2: CAMERA ANGLES | • Cinematic CAMERA ANGLE...
Part 3: FRAMING + COMPOSITION | • Cinematic FRAMING & CO...
Part 4: CAMERA MOVEMENTS | • Cinematic CAMERA MOVEM...
Part 5: FOCAL POINT | • Eye Trace, Emphasis & ...
Part 6: SHOT MOTIVATION | • 6 Factors that MOTIVAT...
Chapters:
0:00 Introduction
0:50 1. To Provide Greater Context
1:52 2. To Influence the Narrative
2:49 3. For A Subjective Experience
5:05 4. To Follow The Action
7:29 Directed Camera Movement
9:10 Planned "Reactive" Shots
10:52 5. Un-Motivated Camera Movement
11:23 6. When NOT to Move The Camera
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📺 ABOUT MY CHANNEL
Hi! My name is Shawn Dolinski of the Digital Workshop! I am a high school filmmaking, photography and animation teacher and I make CZcams Video Tutorials for everyday, average, regular people like you and me. My Tutorials are meant to help you learn how to make the most out the equipment and software that you have (or that you can afford) taking you from beginner to pro along the way. So if you want videos that are clear, helpful & straight to point, then this is the channel for you! Enjoy!

[@ThisGuy]

CLICK HERE to watch other videos from my Filmmaking Techniques Playlist:
czcams.com/video/53C4JPULu68/video.html

[@svorgz3654]

Man YT algo sux! Your content warrants way more attention and viewership. Thank you for putting this out for free.

[@ThisGuy]

Much appreciated!!! I'm always trying to battle the "YT algo" but not much seems to work? I just always hope that my videos will eventually be found in search at some point...some will, most won't! Thanks for the support!

[@THEJASKumar-ui7qw]

Plz explore more about camera movements😊

[@son.basement]

Thank you so much for these videos. Truly.

[@ThisGuy]

You are so welcome! They definitely took a lot of planning and "clip finding" but I'm really happy with how they turned out - Thanks for watching!

[@konstantinosoikonomou5297]

Another great video! Very nice break down and excellent examples!
My only objection would be regarding the movement that represents a character's mind; I think those examples better fit the "narrative infused" camera movement (the examples in 03:25 - 03:29 are not subjective shots and one can argue that are similar to the camera roll in 02:40 or the tunnel vision in raging bull). So, in my opinion there is narrative infused camera movement (either subjective or character's reaction shot), and also there is moving subjective shot when the character is moving.
Also, the two push-in in 02:20 - 02:28 also can be argued that they match the character's movement. In the first one (02:20) the character is fixated in something and when we do that we block everything else surrounding the focal point (just like the camera does by pushing-in to the character) and in the second (02:25) the camera moves and closes the distance between the audience and the characters just as the characters close the distance with each other.
So, in my opinion, as it is now there's some overlapping and to be honest I had some difficulty trying to understand the difference between the two.
But overall the video was very informative.
Thanks again for sharing your insight on the subject!

[@ThisGuy]

I get what you're saying for sure. The reason I split them like I did was because everything I put in the "subjective" category meant that the camera movement was supposed to be directly "linked/related" to the actions/etc of the subjects in the scene. As for the "narrative-infused" ones, they were meant to be movements that added to the story/directed the audience, but were not explicitly linked to the subjects. So for the Push Ins at 2:20 and 2:25, I totally agree, there was also an element of "subjective movement" that I missed, as the camera in these situations was essentially "mirroring" the character(s)' state of mind/actions in the shot (becoming fixated & closing the distance as you put it). It's obviously a super fine line between the two categories...with lots of overlap as you suggested.
Thanks for watching and adding some insight!

[@Whyiadda]

Great video man! Really enjoyed it

[@ThisGuy]

Appreciate it! Thanks for watching!

[@jermeycombs3602]

Please make More Videos on the Reason Why the Camara Movement or Not Movement. Motivational Camara Movement vs Unmotivated Camara Movement ?

[@IndieSpeak]

Wait for 7 part

[@ThisGuy]

Not sure what this means?

[@taylorlewis7522]

What film is 6:11

[@ThisGuy]

The Hateful Eight