The Art Of Moving The Camera
Like I said in the opener, I feel like we've lost our way when it comes to moving the camera. It should be giving the viewer a point of view or plunge us directly into the action.
Camera movement evokes excitement, energy, and dynamism. It has to connect us to the events on screen.
Think of the raw, immersive feel of a handheld camera in a film like City of God, which makes the chaos feel palpable and real. Or consider the meticulously planned tracking shots in a Scorsese film, which build a sense of urgency
A moving camera is a character in itself.
But it doesn't have to always move...
The Strength in Stillness
There's a lot of power in a static shot. A still camera, the video explains, can offer a sense of peace, stability, and objectivity. It allows the viewer to observe the world within the frame without intrusion, taking in the entire composition.
It can slow things down, calming the audience or lulling them into a certain emotion or mindset.
Filmmakers like Japan's Yasujirō Ozu perfected this with his famous "tatami shot," where the camera is placed at a low, still height to quietly observe the subtle dynamics of family life.
We have a whole post on that vase shot!
The static camera in a film like First Reformed creates a cold, clinical, and indifferent world, trapping its characters within the unblinking frame.
Stillness isn't a lack of action; it's a deliberate choice that forces us to look closer.
But it needs to be planned out. There needs to be a reason why we're still.
Expressionism vs. Formalism
Diving deeper, the video connects these two approaches to fundamental filmmaking philosophies.
The moving camera often leans into expressionism, embracing chaos, emotion, and even abstraction to convey a feeling.
The static camera, however, is a tool of formalism, allowing for meticulous composition, balance, and a clear display of the fundamentals of filmic grammar.
Play With Your Toolbox
Ultimately, the video concludes that the best filmmakers don't choose a side; they use the entire toolbox.
You can do anything, just make sure you have a reason and that you're doing it thinking of how to appeal to the audience and the story, not just setting up to shoot.
Blend your approaches and see what you can get.
The core message is that camera movement—or the lack thereof—is never arbitrary. It's a choice that adds layers of substance and meaning to a film.
I want that meaning back on the big screen.
Let us know what you think in the comments.
