so here i'm just going to lay out some basic benefits of adding movement to a shop and the first thing is that movement can be used to explore a space so that the viewer gets the visual geography of a location i think how many movies you've seen where the first time you're in a character's house the camera moves through that space either following them as they go from room to room to convey that space to an audience so that later when the geography of that space becomes important we've seen it you also create relationships between characters and objects think about maybe a movie you've seen where the camera follows a character's hand over to a knife on a table weave through movement completed an action by seeing them move over to the object pick it up and move away often movement will follow action this is important in any kind of fight sequence the camera very often will parallel the action and all of these uses of movement are a way to generate energy or tension or suspense in a movie right to keep the movie's energy up and to keep you engaged visually now how do you add movement there's a lot of different tools but i'm gonna offer a couple of them here first up there's the dolly which is a little cart that looks just like this camera sits on that tripod right in the center and it can be either pushed or pulled around a space oftentimes to create very smooth movement there's the old-fashioned tripod this is a way of course that you can statically position a camera in one spot so that you have a locked down view so the camera's not shaking or moving around but also of course because of the head of that tripod you can swivel the camera you can tilt it up you can pan it over and add still just a little bit of movement from one grounded location there are cranes where you can attach the camera to the one end of the crane and then on the other end you put some lowly production assistant on there and have them raise it up or down which is very dynamic and exciting and then there are rail systems where you build these little sets of rails that a camera can run along and you can also get smooth movement that way and i'm sure you all can think of a ton of other ways to move the camera around a helicopter shot put it on a drone any number of mechanisms and pieces of technology that you can attach a camera to and add movement to a film so the first camera movement that we're going to discuss is called a pan and what that means is the camera is moving horizontally so that you all know what a pan is and can recognize it i'm going to show you a clip that is a bunch of pans edited together from a paul thomas anderson movie called magnolia back again again again again i'm jimmy gator and believe it or not we are at the end of week seven heading towards week 8 with these three you kids know record for the longest running quiz show in television history now we are as you know endorsed by the pta and the north american teachers foundation they're the longest running quiz show in television history i want to say something about these kids now these kids right here i think they're going to be here a while today is a dangerous day because i have just met with the adult challengers backstage let me tell you they are they are a terrific challenge for our kids so let's get this show up and away joey i want to know where your son is marcie jerome samuel hall do you have a fight with your husband is it john the peaceful clamour what the [ __ ] is this it's a pan that's what it is anytime you have an instance where the pan moves so fast that the image blurs like this that would be called a whip pan and you'll notice in these instances where that happens they're doing it because it hides a cut and so we move from one location cut to the next location the opposite of a pan is a tilt and so if a pan moves horizontally a tilt moves up and down or vertically and to give you an example of this i'm going to show you a clip here we go give it to you wait for you to get it on your own [Music] okay so she's gonna do superhero landing wait for it superhero landing yeah that's really hard on your knees so yeah every superhero landing you've ever seen usually comes with a tilt this is an instance where the movement is paralleling the action so it creates this dynamic rush of motion i mentioned this up top but a dolly is a very frequently used way of creating smooth motion within a film and what you'll see here is that dollies very often run on tracks that have to be assembled these are the dollies and these tracks that they're on had to be assembled by the camera crew and so you'll notice that they've placed them up on wooden platforms oftentimes you'll see that you'll have to put wooden shims under a dolly and that's all about making them perfectly level so that when that dolly runs down that track it is super smooth and what this is often used to do is to create what's called a tracking shot [Music] um [Music] [Music] [Applause] [Music] [Applause] [Music] that shot goes on even longer than this it it holds for a long time and we keep tracking back and forth and so what i want to point out there is that tracking shot has been chosen because of course the movement of the action is lateral it's moving up and down this hallway to accentuate this tight narrow space that the fight is taking place in and also to hold so that is one long tracking shot to emphasize the amount of effort that it is taking so that we end up sympathizing with this character and so this is an instance again where a tracking shot has been chosen purposefully similar to a dolly is the steadicam now the steadicam is an invention that only came around about 40 years ago this is what the steadicam is right here it is a rig that the camera operator wears on their body and the camera which is up top there is balanced out by weights at the bottom here's the weights here's the camera and what this does is it creates extremely steady motion you can move freely like you would if you're just walking around the space and so i'm going to show you a real quick clip from stanley kubrick's the shining that is one of the first films to utilize the steadicam [Music] if you wanted to do that exact same shot with a dolly you'd have to build track around all that area but then you would see the track of course as you're rolling the camera after the kid on the tricycle that shot can only exist using the steadicam the last camera movement that i'm gonna highlight is a crane shot from spike lee's do the right thing [Applause] [Music] is why did spike lee choose a crane here as opposed to dollying up as opposed to just setting the camera on a tripod and looking at these guys drinking their beer one thing i can propose is that we move from a close-up to a wide shot within one single shot you get to see the detail of the beer the foam of it and this movie's all about people trying to combat the heat and so you get that cold beer but then we also get the wide shot that relates these characters to the environment which is incredibly important to this movie it gives us both in one single movement in this last section we're going to talk about camera lenses and what they do in terms of affecting the aesthetics of an image to begin i want to just offer an overview of lenses and lens types first of all what you need to know is that lenses are described in three different ways there are wide lenses medium lenses and long or telephoto lenses and those relate to the types of images that these lenses can create the type of lens you use literally affects how the image looks and so a wide lens has been used on this shot from raising arizona how it affects that images this baby is in the foreground pretty close to the camera and nicolas cage he can't be in reality more than a foot away from that baby and yet he looks so far look how small he looks here in the background so far away and that's because the wide lens has distorted the spatial relationship a medium lens on the other hand is the closest to the way we see naturally so it does very little to distort the image and can have a pretty limited range of focus a long lens has the ability to create very sharp or shallow focus so these two guys in the foreground here are in very sharp focus and this plane in the background is blurrier and out of focus and with some lenses you can get even sharper focus than this but the other thing that a longer telephoto lens does is it compresses all the layers of depth of field and so that plane is very far away from those two actors but because a long lens has been used it looks much closer and as it moves closer to them it looks even bigger in the frame and will appear to be getting closer than it actually is the choice of lens can affect the end result of the image so to illustrate focus i've got two shots from david fincher's seven and i want to point out how we refer to focus in the first image we have brad pitt in sharp or shallow focus in the foreground of the frame and morgan freeman in the background gradually get blurrier and blurrier and then in the second shot we have brad pitt's face in sharp focus and his hand in the foreground is out of focus david fincher may have chosen to put brad pitt's face in sharp focus in either of these shots so that we're able to see the nuances of his reaction at this critical moment in the film other times directors choose to do what is called deep focus and what this means is that all layers of depth of field are in sharp focus the most famous instance of this might be from citizen kane where everything from the characters in the foreground of the frame all the way to little baby charles foster kane outside the window is in focus we can see the details of all of them now sometimes focus can actually change within a shot and when this happens it's called pulling focus or rack focusing so what this means is that within a shot the focus might change between the foreground to the middle ground to the background or any one of those layers i've got a real short clip from a film called the young victoria that has a lot of focus pulling going on in it [Music] your next birthday will be quite a landmark i hope it means we'll see more of your court i hope so too yeah you know we're gonna end on a zoom so that you know what a zoom looks like versus a dolly movement because these get confused very often a zoom as i've mentioned before actually means that the glass in the lens is shifting so that the lens is changing from a telephoto to a wide lens in one fluid movement and so to give you an idea of what the zoom looks like i'm going to show you a shot from the shining and then we're going to look at a dolly from the very end of the godfather part 2. so that was the zoom here's the dolly [Music] we'll start with the dolly here first and i want you to see that you can tell in many ways that the camera is physically moving which is what is happening in a dolly so do you see how as we move closer to al pacino here the background stays relatively the same those trees in the background they don't distort that much nor does his face and you can also actually see you see that shadow coming up on the right side of his face that's the camera getting closer to him right that is what a dolly will do now what the zoom does take a look at the background here and watch how watch those pictures over on the left side underneath that moose head you see how one they're blurring a lot more as the focus because this is a telephoto lens and it it can have sharper focus so the focus is it's going more and more out of focus but also those pictures are see how they're kind of like stretching and blurring and distorting and getting bigger in the background there and so that is what that long lens is doing it is it's not the camera is not moving closer the lens is zooming it's changing to a telephoto lens and so that fireplace is stretching and distorting in a weird way as i told you how a long lens compresses all of the layers and so it is compressing those layers as we shift from a wide lens to a telephoto lens that's how you can tell a zoom from a dolly thank you everybody go take a rest after watching all of this