Shooting handheld is sometimes a necessity, but it's more typically seen as a fashion statement. It is far from the norm in traditional movie productions. It gives your footage a distinct appearance and feel, which isn't universally admired.
These kinds of choices should be made to help you convey the tale better, not just to be fashionable. As a result, you must consider the best times to employ handheld cinematography. Here's a rundown from filmmakers on which situations handheld filming or gimbals are better suited.
One of the most efficient techniques to help convey emotion and effectively communicate your tale is to shift the camera around. It also adds aesthetic interest and variation. Handheld and gimbal are the two to look at today.
Handheld has a lot more energy and a little more of that unpredictable movement that can quickly immerse you in the action. The example given is getting into the ring with boxers, where the subject's motion is translated by that energy. The objective is to contrast this with a very steady tripod or slider motions.
Starting with stable shows, build up the intensity before introducing handheld shots. Having some breathing room throughout the space can be beneficial.
Allow you to move about with your hands in an exceedingly fluid manner. It's not the same as using a handheld device. This is where the gimbal comes in handy if you want to achieve some lovely, slow, and smooth movements for a wedding, for example.
Because meticulous movements can look so fluid, they can also replace things like a tripod or slider, taking up less room. A fantastic example of how to use a gimbal is in real estate when you want to glide across the space. For good measure, use some slow motion.
Another situation where handheld should be avoided is when the subject is stationary. The handheld can simulate intense activity on-screen, but if the topic is stationary, the handheld will appear and feel strange to your audience. On the other hand, if your subject is extremely active, the gimbal may cause the movements to appear strange and irregular.
To increase tension and create a more immersive scenario, use the other sort of movement before blending in or transitioning to the other. You also don't want to startle the audience.
Another advantage of handheld photography is that the audience can sense and recognize a human being behind the lens. They could even be able to visualize themselves standing in that position, looking at the subject.
The subject's movement must also be taken into account. A dancer, or even an automobile, can be fairly still while moving in pretty fluid motions. The use of a handheld camera may skew the scene's emotions. If you're shooting the driver while in the car, the handheld look might make it feel more intense and spectacular.
Smoother gimbal shots are ideal for a movement that requires the viewer to take in the scene and concentrate on something. Consider the scene's main subject. Is it the person or something near them that's causing the problem? Is it something to do with their surroundings? Smoother movements will be beneficial in this scenario.
When you're preparing your pictures, consider all of these different characteristics of the scene. Camera movement is crucial and can improve an already good photo.
The decision to shoot Handheld may not be pre-planned as the type of event and other extenuating factors may converge to bring you to that decision. However, shooting handheld can help you achieve some of the best works you have yet to do when you thoroughly understand the technique and apply it as your events may demand.
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