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5 Brilliant Moments of Camera Movement

5 Brilliant Moments of Camera Movement

100 thoughts on “5 Brilliant Moments of Camera Movement

  1. I want to know what the camera in Crimes of Grindelwald wanted to tell me when it screamed at Newts and Leetas faces at the beginning of the film

  2. There's a scene in the movie, game night where a bad guy is trying to get into a locked room… They use a broom to knock the lock open… The camera spins with the lock, and it was really amazing in my opinion. LOLOL

  3. You talk to so fast …and combining many shots in between with plenty of examples difficult to understand

  4. I'm wondering how they decided with the candidate to just say fuck the 180 line and switch the shot reverse shot AND IT WORKS.

  5. I love Goodfellas like every normal person… But by Casino, Martin Scorsese went overboard with lighting and tracking and zooming and panning… whatever. As a lay viewer, it was totally distracting.

  6. I've learned a lot. Like how cameras are actually alive and can think to themeselves and can get distracted easily by sand

  7. I’m not so sure I agree about the pan to the porthole in Marnie. Because of the Hayes Code, it was such a common move to avoid showing anything remotely approaching a sexual act that lots of directors far less skilled than Hitchcock used the “pan to the window” move to reference it. So much that it became enough of a cliche that in House Calls Glenda Jackson and Walter Matthau guessed that even on set the actors must have kept on foot on the floor on opposite sides of the bed, and then tried to have sex with one foot on opposite sides of the bed.

    And so in your clip, when Hitch pans to the window, my horror at what was (implied to be) happening on the bed was at war with my smirk at the cliche on the screen of the “pan to window to avoid showing sex”, which by 1964 was just as much a cliche as it is for us now. So I’m casting a doubt on that one.

  8. Didn’t include the greatest camera movement of all time: Once Upon a Time in the West in literally EVERY SCENE isn’t possible to be executed better

  9. The shot in Taxi Driver with Travis on the payphone and the camera tracks off of him and onto an empty hallway, shooting the exit. Brilliant. https://youtu.be/o0CChQG3D0A

  10. good camera angles are those that gouge an introduction to an atmosphere which leads, brings focus to the subject….

  11. dude… you can't just say "here's the script. Use your imagination!" in a video called "5 brilliant camera moves". There are enough great camera moves out there. Just pick a different one! Its not like "20th century women" invented the pullback.

  12. Where can I watch this Candidate? Looks intriguing but it's not on the IMDb filmographies for David Karnik OR Rober Picardo.

  13. Can someone else?? https://chrome.google.com/webstore/detail/threelly-ai-for-youtube/dfohlnjmjiipcppekkbhbabjbnikkibo

  14. Camera move…Good Fellas Move into the club …like a VIP gangster…the camera walk in as if you are the VIP go in the kitchen to a front table next to the stage

  15. With the push in, You think you are looking closer without realising that its the camera moving closer.marvellous.

  16. The space jockey reveal in Alien. A pull out crane shot plus matching music. One of the greatest single shots in cinema.

  17. It's cute to think that the camera has a mind of its own whose job is to listen into the characters' stories, but every now and then it just follows its own will to explore and discover.

  18. Not as brilliant as most of these examples, but mid way through "Spotlight", when Robby and Sacha leave the high school after their interview of the board for the scandal, a fixed cam follows their movement for more than a minute, in a design that includes perfect calculation and marrying of dialogue, movement and scenery

  19. Consider the leverage in using Coyne's "The Story Grid" on a script
    before deciding the cinematography!

    ( bonus points for unsing "Exploring Culture" on it for the 5 dimensions of culture,
    & Logan++'s "Tribal Leadership" for the 5 levels of culture, too:
    deeper/more-rigorous understanding of the unconscious meaning
    should clarify the potential in cinematography greatly )

    Thank you CineFix for implying it so clearly!

    Salut, Namaste, & Kaizen, eh?

    ( :

  20. I loved this video but the example for number 5 was too simple. I always notice it in almost every film I've ever watched and I think it's over-analyzed

  21. I'd like to focus on the scene more. The point of these videos are the actual clips. You don't have to be too talky. Your voice is not as important as the scene. Don't over anaylze, you end up being redundant. You only have to identify the point of the scene once. Don't let YOU get in the way. That's why I'm not subscribing. It's not about YOU

  22. I AM ADDICTED TO THIS CHANNEL. Great job with the narration, choice of music and overall quality in the research and display of topics

  23. The push in, in addition to that, feels trapping, so it works really well to convey tyranny, limitation, and being trapped. The pull out, conversely, feels free, conveys freedom, oppenness, and liberation.
    I know this is different from your interpretation, but thats where angles come in. The push in from a camera below its subject conveys intimacy, moving closer, and the pull out from a camera above its subject conveys abandonment. The same pull out from an angle below the subject conveys liberation, and the same push in from a camera above the subject conveys subjugation

  24. Opening shot in a Geoffrey Unsworth shot film is from the point of view of a teacher who's being thrown off a cliff by his all boy students. You don't forget that. Or, very early on in Shadows Of Forgotten Ancestors, a tree falling on a man from the point of view of the tree. Cutting immediately to a blood red shot of horses leaping over the camera.

  25. The ultimate slow push in is the scene with Alec Guinness alone on the completed bridge in Kwai. It moves like a tentative lover. It actually stops, then starts again.

  26. Nothing gave me a better case of the Heebee Geebee's like when the camera went under the water a for view of all the swimmer's legs kicking and flailing around in the movie "JAWS"….it so perfectly captured the sense of impending terror about to wreck havoc upon those swimmers, helplessness and totally unaware of the doom that was coming….

  27. I prefer examples where you can't figure out how the director gets the shot in a particular scene. Where you can't figure out how the camera is even in the scene at all.

  28. I think the camera looking away, avoiding to show a terrible image on screen is also examplefied brilliantly by Rififi. In the scene where Tony whips his previous girlfriend, and then leaves, the camera dollies to a picture of the Girlfriend with her lover. The Whipping sound in the background is sinister and terrifying. And paints a detailed picture of Tony as a person.

  29. I'm surprised you didn't mention the way the tree branch is cutting right through Jesse James character in the first example. It tells the whole film right there.

  30. I was down and out and was looking for a reason to live. Then i clicked on this video. My life is better now. Thank you for such a shitty video…

  31. SW:ROTS when Padme and Anakin are across the city/planet from each other but staring toward each others, great editing and camera movement

  32. the last transition is my favorite because he literally changes sides as in he changes his opinion and the camera crosses the 180 degree line on purpose for that reason

  33. One of my favorite examples of this was Apocalypto when he held the heart up the camera than tilts down to the city below and we see just how massive and dense Mayan Civilizations were. So many people, tall pyramids, swap meets, etc.

  34. My single most favorite moment in cinematographic history is the dolly zoom scene in Jaws. I know it was invented for the movie Vertigo, but its used in that movie to be exactly what it is: Vertigo caused by fear of heights. It's wonderful, but quite on the nose. In Jaws, the vertigo is caused by Brody's worst fears coming true… but in that oh my god, I can't believe it king of way. Like his brain wont allow him to believe what his eyes are seeing, but the emotions are saying "yes, this IS happening". You can almost feel the rush of heat that comes with that rush of adrenaline that comes with fear. It's glorious.

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