♪ ♪
There are many elements that go
into creating an unforgettable shot.
♪ ♪
The shot size.
The framing.
The camera angle.
In our last episode,
we talked about how
focal length or depth of field
modifies how a shot looks.
But in this episode,
we'll cover how camera equipment
affects how a shot feels.
And how choosing the
right camera gear
can make or break a scene.
♪ ♪
This is episode five
of "The Shot List".
Camera Gear.
The more familiar a filmmaker is
with the various camera rigs,
the better equipped they
are to capture a visual.
In this video,
we'll be examining 12 types
of camera reaching gear.
Working our way from
the most fundamental
to some of the most unique
ways to film a shot.
Along the way, we'll update a
shot list made in StudioBinder,
which you can download and
reference in your next project.
Let's start with the most
basic of camera rigs.
The Handheld Shot.
Many handheld shots
are taken with a shoulder
rig, like this.
Or an easy rig.
The movement of a handheld
shot is meant to be shaky.
And, filmmakers can use
jagged, handheld shots
to heighten the
intensity of a scene.
Or they can use it more
subtly to establish intimacy.
"- Okay, hold on, don't shoot.
- You see where you're going?
- Mm-hmm."
The opening scene of
"Avengers: Endgame"
uses the handheld shot for
both intensity and intimacy.
In the beginning of the scene,
the camera shake is subtle,
but it's documentary
style presence
makes us feel like we're
standing right there
watching this intimate moment.
"- Mind your elbow.
Good job, hawk-eye."
Go get your arrow."
But when Hawkeye's
family disappears
"- Lila, let's go.
Lila?"
The camera shake intensifies.
"- Babe.
Babe!
Boys!"
We can feel his panic.
"- Boys!
Laura!"
A handheld camera can be
effective at increasing intensity
or intimacy.
But there are times when a shot
may not benefit from
any camera shake at all.
Enter our next camera rig.
The Tripod.
Tripods,
sometimes referred to as sticks,
are a fixed three
legged support mechanism
great for either static shots
or shots with movement.
If movement is needed.
"- Very good."
A fluid head tripod
allows the camera to
smoothly pan left and right,
or tilt up and down.
The static framing of a tripod
is ideal when you
don't want to distract
from the subjects
within the frame,
like in dialogue scenes.
"- You're nothing to me now.
You're not a brother.
You're not a friend.
I don't want to know
you or what you do."
Emotional, single shots.
And shots that focus on
blocking and staging.
In this precisely
framed static shot
from "Grand Budapest Hotel".
Wes Anderson mounts the
camera to the tripod
and keeps it locked.
"- She's been murdered.
And do you think I did it.
- Hey!"
He takes advantage of the
depth and blocking of the shot
for comedic effect.
It's a memorable moment
and it's achieved with a
simple static tripod shot.
Moving on.
Our next camera rig.
The Pedestal.
A pedestal
is a camera mechanism
that moves vertically
up and down
for smaller vertical motions
when you want to match
the movement of an actor.
Establish a world.
Or to build suspense.
Let's look at this scene.
"- Now, are you aware of the job I've
been ordered to carry out in France?
- Yes.
But the Germans looked through my
house nine months ago for hiding Jews
and found nothing.
- I'm aware of that."
In the opening scene of
"Inglourious Basterds",
Tarantino uses Hitchcock's
theory of suspense.
"- People are sitting around a
table, very dull.
Now take the same scene
and tell the audience there
is a bomb under that table."
"- Ages of the children?"
And he does it with a
downward pedestal shot.
"- I'm not really sure."
To reveal a metaphorical bomb
under the table.
"- Well,
I guess that should do it."
But what would this
moment look like
if Tarantino chose
to cut instead?
"- 18 or 19.
I'm not really sure."
Not nearly as
suspenseful, is it?
The slow movement
of the pedestal
shows how brilliantly this
camera rig can build suspense.
"- I bid farewell
to you and say...
adieu."
♪ ♪
Now, sometimes filmmakers want
big vertical movements that
a pedestal cannot achieve.
This is where cranes
and jibs come into play.
Although the scale of
the equipment may differ,
the terms Crane and Jib
are often used interchangeably.
Both use arms to extend
the camera outward
and smoothly glide it left,
right,
up or down.
The large camera movements
that the crane achieves
can also be used to highlight
a specific emotion of a shot.
Whether it be isolation.
Freedom.
Or spectacle
as seen in "Spectre".
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This crane captures the
scene's production design.
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Blocking.
♪ ♪
And camera movement.
♪ ♪
All in one smooth long take.
But, if you're looking to capture
an extreme high angle or overhead,
but don't have a camera
crane at the ready,
our next camera equipment
provides the answer.
Overhead Rigs.
An overhead rig can capture
perfect top-down shots
in a variety of scenarios
within a variety of budgets,
An overhead shot like this
is great for communicating
details within inserts.
P.O.V.'s.
And god-view shots.
Named for their objective,
omniscient perspective.
Few filmmakers
embrace this technique
more than Martin Scorsese.
In "Casino",
there's a direct
parallel to omniscience.
Not just to the
surveillance cameras,
which Sam refers to
as the eye in the sky.
"- And the eye in the sky
that watching us all."
But to Sam's ability,
to see and know everything
that happens in his casino.
Consider this moment
when he suspects a
pair of cheaters.
"- Now here's this guy
reading the dealer's hole card
and signaling his
buddy at this table."
♪ ♪
With an overhead shot like this,
we recognize Sam as the all-knowing,
all-powerful casino boss that he is.
While Scorsese most likely
didn't use an overhead rig,
you can achieve similar
god's-eye-view shots
when the budget or location
makes a crane impossible.
Moving on.
Our next camera rig,
also prioritizes
movement and precision.
The Dolly.
A dolly is a wheeled apparatus
that a camera is mounted on.
The tracks can be either
straight or curved.
The Dolly is perfect
when you need to smoothly
push into a character
or pull out.
Or track their lateral
movements as they are walking,
running,
or fighting.
Like in the Korean
action-thriller "Old Boy".
The use of the
dolly in the scene
allows us to smoothly
follow the action
free from the distractions
of camera shakes
or rapid-fire cutting.
Making this long take,
especially unique and memorable.
But, dollies require heavy
equipment and operational effort.
As a result,
camera's sliders have
become a practical
and economical alternative
that achieves a smaller
but similar effect.
Or if you need to
cover long distances
or glide past
obstructions, like trees,
you might also
consider a cable cam.
And you compare a dolly movement
with a lens zoom to create
a vertigo effect, like this.
We have an entire video
breaking down the dolly zoom,
AKA the zolly.
So be sure to check it out.
Our next rig allows a camera
to move steadily
across most terrains
without tracks.
The stabilizer.
A stabilizer is an apparatus
that holds a camera in a manner
that compensates for
unwanted camera's shake,
allowing the camera operator to
move freely in any direction.
The camera shake is eliminated
either with counterweights,
such as in a steady cam.
Or with motorized gimbals
that rely on battery power.
Stabilizers allow a shot to move
with the blocking of an
actor more organically
than a dolly.
Ideal for long takes.
Moving through large sets
Or complex tracking shots
as demonstrated in "Parasite".
In the most pivotal
scene of the film,
this steady cam shot
builds an incredible
amount of suspense.
It moves through the tightest
of spaces quickly and smoothly
in a way, no other type of
camera gear or rig could achieve.
"- I said I'm alright..."
Finally,
landing on the film's plot twist.
"- What is all this?
- I know you're shocked."
But if your scene calls for a
more subjective camera movement?
One that creates a
sense of imbalance.
That's where the
Snorricam comes in.
A snorricam also referred
to as the chest cam
body cam or body mount
is a device that rigs the
camera to the body of an actor.
The snorricam establishes
a dynamic point of view
thas hinges on the
movements of the actor.
This can be used
to create vertigo.
Dizziness.
Panic.
It can also be used to make
the audience feel the tragedy
of a character.
As brilliantly executed
in "Requiem for a Dream".
A snorricam.
is used to capture
both the actor's face
and a point of view
making it nearly impossible,
not to feel the
character's emotions,
anxiety,
and nausea.
The Snorricam is a very
specialized camera rig
when used in the right context,
it can completely
immerse the audience
into a character's experience.
While the Snorricam shot depends
on the movement of an actor,
our next camera rig depends
on the movement of a vehicle.
Vehicle mounts.
A vehicle mount
is a camera rig that
simply mounts a camera
to a fixed point on a vehicle.
Vehicle mounts
are used for cars.
"- The royale with cheese.
- Royal with cheese."
Bikes.
Helicopters.
Sometimes a vehicle mount
is the only type of camera gear
that can capture the realism
and intensity of a moment.
Like in this scene from "Mission:
Impossible - Rogue Nation".
"- Open the door."
Cruise literally hangs off
an Airbus as it takes flight.
And since it's unlikely,
any camera operator will willingly
strap themselves to a plane
a vehicle mount is the only
way to capture this moment.
No C.G. here.
Speaking of planes,
let's take to the air with
our next type of camera gear.
Drones.
In the past, helicopters used
to be the most practical means
of shooting aerial shots.
Allowing cinematographers to
capture some of the most iconic
establishing shots in cinema.
But with the advancements
in drone technology
aerial shots have
become accessible
to filmmakers with all budgets.
♪ ♪
Drones can capture a wide
variety of aerial shots
like grand establishing shots.
Wild chase scenes.
Or unique establishing shots
as seen in "Bohemian Rhapsody".
This scene seamlessly combines
the use of a drone and a crane
in a single shot.
From a large swooping
aerial into a close-up.
♪ ♪
Speaking of unique shots,
our next camera rig has allowed some
of the most creative shots in cinema.
Let's take a look
at motion control.
Motion control is a device
that allows for the
complete control
and precise repetition
of camera movement.
It effectively captures
time-lapse shots.
"- This is going to
be a good night."
And stop motion
animation relies heavily
on motion control cameras.
But it's most common
use in film today
is for visual effects.
By using motion control,
two shots can be taken with
the exact same camera movement,
and precise framing.
David Fincher uses motion
control masterfully
in "The Social Network".
He use motion control to replicate
precise camera movements,
so VFX artists could create
the Winklevoss twins in post.
"- I need you to assume the same
position that Josh has right now
and then I need
you guys to swap.
I need to see if there's any
difference in height for the B camera."
The result is effective
and convincing.
"- Mark.
- You Mark Zuckerberg? - Yeah.
You guys look like you
spend some time at the gym.
- We have to.
- Why?
- We row crew.
- And cut it.
Save that one."
So, we've covered
how to shoot on land
and in the air.
Let's dive into how
to shoot underwater.
Underwater Camera Housing.
Underwater camera housing
is a completely waterproof case
that allows control
of the camera
when fully submerged in water.
It's enables filmmakers to
capture the suspense and action
below the surface.
♪ ♪
"- For my next trick...
I'm going to f*cking
kill myself."
♪ I'll miss the earth so much ♪
♪ I'll miss my life ♪
♪ It's lonely out in space ♪"
Shooting in water can make
a shot more immersive.
♪ On such a timeless flight ♪
Or as in "Moonlight",
more intimate.
This scene could have been shot with
a long telephoto lens from shore,
but by using underwater housing,
we can see the water
partially fill the frame
as if we're floating
with the characters.
The underwater housing
creates an intimate
and anxious effect
beyond what any other camera
rig could have achieved.
And these are the
12 camera mechanisms
each with their own
unique emotive properties.
So now,
let's put them to practice.
In this scene, from "Dunkirk"
Christopher Nolan uses
different camera mechanisms
to make the narrative
dynamic, immersive
and completely engaging.
We'll do our best to identify the
various rigs Nolan might've used.
Can you identify them all?
Let's watch.
Did you identify all of
Nolan's camera mechanisms?
Selecting the right
camera gear for the moment
can play the key role in
making a scene engaging
and emotionally resonant.
A clear shot list equals a
clear game plan for a scene.
You can do it with free shot
listing software, like StudioBinder,
where all of these camera
mechanisms are listed out for you.
Check the links in the
description for a cheat sheet
of all the camera mechanisms
we covered in this video
along with articles
on more rigs,
lenses
and other cinematography
essentials.
In the next episode
of this series,
we'll explore camera movement
and how the best
filmmakers in the world
use simple
but powerful movement decisions
to create memorable moments.
Subscribe, click the bell,
and we'll see you
in the next episode.
