Using a strong foreground m otion 351

Substitution o f the static subject 351

Redirecting attention 353

Using non-hum an movement 357

Parting curtain effect 359

19 O TH E R TYPES O F M O TIO N 360

Circular movement 360

Vertical movement 370

Dynamic stops 376

20 TW EN TY BASIC RULES FOR CA M ER A

M O V EM EN T 380

M ovement and the camera 380

Basic guidelines for camera movement 380

Solid dram atic m otivation 384

21 TH E PA N N IN G CA M ER A 385

Scanning panoram ically 385

Chase sequences 386

Interm ittent panning 399

Full circle panning 401

Fast panning 403

In two directions 405

Vertical tilts 406

Side tilts 409

Jointing a static and a panning shot 409

Editing two consecutive panning shots 415

Acrobatic pans 421

22 T H E TR A V ELLIN G C A M ER A 424

Interm ittent action covered by a continuous tracking 424

Joining a static and a tracking shot 426

Interm ittent camera tracking 433

Using both sides of the track 436

W inding paths 437

Panning while tracking 443

C am era and performers move in opposite directions 446

Single file form ations 454

Tracking speed 456

Subject approaches tracking camera 457

Editing consecutive tracking shots 458

Static shots intercut within a tracking m aster shot 461

Circular tracking ' 464

23 TH E C A M EA R A C R A N E A N D T H E ZOOM

LENS 469

Following action 469

Foreground props stress height 469

To visually unite two or more story points 470

To inject movement into static situations 471

To single out a story point in a panoram ic m ovem ent 472

To provide strong movement for cutting on action 474

Zooming 475

Zooming speeds 476

Zooming and panning combined 477

Tilt shots using zoom effects 479

Camera tracks as it zooms 479

Zooming through foreground obstacles 482

24 ACTION SCENES 483

Standard formulas 484

The subjective point Qf view 486

Five ways of enhancing visual action 492

Reaching a visual climax 495

Breaking the climatic action into several shots 497

High speed and slow m otion for action sequences 500

Follow focus technique 501

25 ED ITIN G IN T H E C A M ER A 502

Pre-planning is required 502

The pause between movements 503

The change of zone 503

Approaching or receding from the camera 508

Changing the body position 514

Substitution by sectors 516

Switching screen sectors 523

Numerical contrast 533

Editing within the film frame 538