Action Sequence Cinematography: How to Deliver Camera Emotion Pt 1

INCLUDED IN THIS LESSON:  11:45 minutes of video instruction and Script Breakdown   -Supplied w/English Subtitles

IN THIS LESSON YOU WILL LEARN:  This lesson is Part 1 of a 4 part series in understanding what it takes to shoot an action sequence.  From pre production discussions, preparing floor plans and schematics to communicate your vision.  One of our hardest jobs as an artist is to communicate what is in our heads.  This lesson gives you the step by step process to do this, as well as using specific types of camera motion to educate and immerse your audience.
  • Understanding how your camera language can influence and assist in your character’s emotion.
    • Types of camera motion
    • Types of camera emotion
    • Types of tools to visually educate your audience
  • Understanding how to set the scene with camera work that educates your audience on the environment along with establishing the mood and tone
    • How to operate your camera to achieve this
    • How to plan and communicate your style to your crew

REVIEWS:

<<<Santosh Amin>>> wooooowwwww that was an amazing elaboration of the handheld work to get into the story of the character …Lesson learned…You are great as always…
<<<Dominik>>> Man, film looks good…. So natural looking, beautiful.
<<<Kevin>>> Amazing !! I’ve been waiting for an episode like this!
<<<Lukas>>>>I love the tone and mood of colors there! its gorgeous., I love this “dirt” and that “rough feel” in those colors and some kind of organic in it…
<<< Elisha>>>Beautiful…
<<<Kacy>>> Thanks for including lens length choices and visuals, that’s valuable in itself. Really loved this lesson.
<<< Nate>>>I particularly love these camera emotion lessons.
<<<Von: Thank-you, thank-you, thank-you! This is my favorite lesson thus far!
<<<Austin>>>This is really helpful!
<<<Ahem>>>Very informative lesson!
We are directing all comments and questions to our New Forum, please find the related course in the forum’s categories to submit.

nwalters@halounion.com 7 days ago

Hey Shane, do you have a maximum lens length you’re willing to do when going handheld? I’ve found going beyond 50mm becomes too shaky for myself. I shoot a lot of gritty handheld docu-style content that is most often handheld but as a result I’ve had to make a rule for myself to use wider lenses. I’m curious if you’ve created any rules for yourself.

Simeon Geyer 27 days ago

Hey Shane, when you come to the over shoulders between Tyrese and Meagan was there a distinct reason to cross the line? As there are only two characters it’s not too distracting and I can see how maybe the car’s windshield made it harder to get a nice frame shooting over her left shoulder. But I was wondering if there was a storytelling reason for this as well?

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    • Shane Hurlbut, ASC    26 days ago

      @Simeon Geyer Hi Simeon, We wanted to slowly start the confusion, Megan was the first distraction to let Tyrese's guard down and jumping the line was again to help this process. I use this technique a lot to create confusion of the audience and to help the audience get into the characters head space