Shooting Handheld

[Ben Schwartz]

I was looking at some selects from a short film I just shot, and I was troubled to see that some of the handheld work that I did really called attention to the Man Behind the Lens. It was not smoothly executed...that is, I became aware of my presence behind the camera, and thus I was taken out of the story. With handheld footage, there is obviously a more direct link between the frame and the camera operator, and I was wondering if people here might share their thoughts about how they shoot handheld footage without drawing attention to themselves.

[Rik Andino]

I didn't know CCNY had a film program.

I went to Brooklyn College meself (another CUNY guy) :)

 

Anyways you'll always notice problems on stuff you shot

Just like a painter always notices the mistakes in their paintings.

 

Filmmakers don't always make the best feedback audience for films

Because they view a film differently than the standard audience.

 

You shouldn't get caught up trying to make it perfect for filmmakers

That's a common student mistake,

You'll wind up chasing the sun and never catching it.

 

As for handheld, practice makes you better.

Rehearse the movement a few times till your comfortable

Try to get a handle on the scene and what the mood is

There are some scenes (and some movies) where you should never go handheld

I try to Firgure out what's the exact style of the film should be

Even before I shoot, that helps.

 

Also when you're handheld try to always keep the actor in frame

Or whatever other object you're following

Keep the camera focused on the action

That way people won't be focus on the camera but what's in front of it.

 

Ultimately DPs/Cameraperson are there to capture a performance

So just try your best to capture all the action going in around you.

Just keep at it and you'll be better.

 

 

KARMA bums

[Michael Nash]

I agree, you should have a clear concept of the style you're trying to use when executing the camera operating, regardless of whether it's handheld or on a head. Often the difference between a well-executed shot and one that calls attention to itself is only a matter of finesse and timing, dictated by practice and a sensitivity to the material.

 

There's no "one" way that you should execute a shot; it just depends on what you're trying to convey and your own ability to do it (lots of physical "tricks" to handheld operating). For example, it can dramatically change the meaning of a scene if you slightly "lead" or anticipate the action with your camera movements, or if you're a little behind and "catching up" to the action. Neither is inherently right or wrong, it only matters if it's dramatically correct and doesn't betray the point of view.

 

As a general rule, camera movement needs to be motivated by something going on in the story or else it sticks out as extraneous or gratuitous. So usually the timing and subtlety of the movement has to match the drama going on onscreen. If you notice the camera operating, it's often because it's too "separated" from the drama, either by timing or degree of movement (too late a pan, or too fast a pan, for example).

 

I think that handheld, even very smooth handheld, is a distinct enough look that it noticeably jumps when cut with shots done from a head. So if you're going to shoot handheld, you should either be consistent and shoot almost everything that way, or else have a darned good dramatic justification for making the shot slightly unsteady.

 

Regarding specific techniques, I guess I could categorize them into "physical" techniques to getting the camera to move (or not move) the way you want, and then the "artistic" considerations of expressing what you want through hand-held movement. What specifically was it about your material that bothered you?

[jasarsenault]

I am finishing up a film now in which my final shot is hand held. It is a long tracking shot through a fileld following an old farmer holding a bucket as he makes his way to his water pump. It is an extremely rough handheld shot because it was held low pointing slightly upwards. It is rough, but very remniscent of home movie footage as it is grainy black and white. Ive showed many people this shot and they love it. I guess my point is even rough handheld has its place in storytelling. It is just a matter of finding the right place.

[Ben Schwartz]

What specifically was it about your material that bothered you?

<{POST_SNAPBACK}>

It's difficult to put into words what bothered me. It's a long shot set in a hospital room. I start at the foot of the bed, then circle around the bed to the left as a character circles around the bed to the right. We end up on opposite sides of the bed. As the character's emotions intensify, I push in to a tight single. I tried to make my movements as fluid as possible, but watching the dailies I can see every foot fall that I made. The camera goes up and down slightly with my footsteps, thus calling attention to me, the camera operator.

 

But it's strange, because there is other handheld work in the film, and it went off fine. This particular shot is problematic, and I think it was an error related to timing or motivation combined with less-than-stellar operating. Perhaps it's because my timing did not match the character's. Or perhaps it's because one section of the move was emotionally rather than physically motivated, which had me moving in on a static character.

 

By the way Rik, CCNY has what I believe to be the oldest film program in the country. It has a long and rich undergraduate history...past students included Julie Dash, the late Joseph Vasquez, and even -- a very, very long time ago -- one Nestor Almendros. The graduate program, of which I am a student, is a newer invention...the first class graduated in 1999. Academically it's a bit lacking, but the tuition is a fraction of NYU and Columbia, the equipment is decent, and I'm basically free to do as I please. So I've been able to shoot a lot, which in the end is really all that matters.

Edited January 24, 2005 by Ben Schwartz

[Jayson Crothers]

One great trick I learned was to watch the footsteps of the talent; if you're tracking or moving with someone, watch how they walk and time your steps to match theirs - one reason handheld work often feels jerky is because the movement of the subject in frame is in opposition to the movement of the camera, so the more you can sync the two together, the less apparent the movement is.

 

Studying dancers and the way they move is also very useful.

[Dan Salzmann]

I quite agree with Michael and would like to add a few thoughts, so IMHO:

1) It is important to remember that shooting handheld is not going to replace a steadicam, dolly, etc. even if you are a Shaolin monk.

2) I personally don't like it if the camera is handheld and trying to be static for any period of time unless this is seriously called for by the dramatic content of the film. Why try to be a human tripod instead of just putting the camera on a tripod?

3) It is important to remember that small movements get magnified when projected and this is truer in super16mm than 35mm. So I find that generally it is best to be more "zen" calm while shooting than you think you should be. Watch the coffee intake level (I have to be very careful with this because I LOVE coffee).

4) Obvious as it might seem it is a good idea to strip the camera of as much stuff as possible and take time to get the handgrips set up correctly for the type of camera, your body type and the type of movement that you will be doing. Eating well, sleeping well and exercise (lots of reps with light weights occasionally). I find that handholding can make one discover the existence of muscles that I sometimes forget exist.

A comfortable and fit operator is going to be a better operator!

5) Understand why you are handholding is important. I honestly feel that the highest level of personnel on any film not only knows how they are doing something but also WHY they are doing it that way. This is real vision and without wanting at all to be pretentious, is something I have worked on and will continue to work on for the rest of my life.

[Jason Maeda]

"One great trick I learned was to watch the footsteps of the talent; if you're tracking or moving with someone, watch how they walk and time your steps to match theirs - one reason handheld work often feels jerky is because the movement of the subject in frame is in opposition to the movement of the camera, so the more you can sync the two together, the less apparent the movement is."

 

this is really good advice.

 

also, and maybe this isn't your situation but it is one i have noticed a lot, when people get that camera in their hands all that freedom somehow makes them feel like they have to move all around. kind of like how hollywood films tend to get crushed under the weight of their own potential cause the director can't say no to anything. ("we're paying for that rain machine, god dammit, turn that thing up!") i mean, if john williams writes your score it must be hard not to squeeze it in whenever there's like two seconds of silence, right? i guess i'm just saying that operators really feel the need to shine and contribute when they hand hold, and sometimes the mere fact that the camera is wobbling on someone's shoulder is enough.

 

jk :ph34r:

[Bob Hayes]

I love shooting hand held and I?ve shot several features and episodes of dramatic television entirely hand held. If you want to get good shooting handheld shoot ENG docs with a Betacam. It gives you hour and hours and, did I say hours of hand held experience. In addition to learning to keep it smooth, you will learn to anticipate the cool shots as they are developing. You will also develop a feel for what documentary scenes look like and can bring that to your dramatic work which is usually too staged. If you want to study hand held work I?d check out Paul Greengrass?s ?Bloody Sunday?. It has great documentary style hand held in a drama. If you want to see hand held footage that doesn?t work, in my opinion, check out Paul Greengrass?s ?Bourne Supremacy?. What?s the difference? The hand held in the first is motivated by the action in the second it is not.

[Chris Keth]

I love shooting hand held and I?ve shot several features and episodes of dramatic television entirely hand held.  If you want to get good shooting handheld shoot ENG docs with a Betacam.  It gives you hour and hours and, did I say hours of hand held experience.  In addition to learning to keep it smooth, you will learn to anticipate the cool shots as they are developing.  You will also develop a feel for what documentary scenes look like and can bring that to your dramatic work which is usually too staged.  If you want to study hand held work I?d check out Paul Greengrass?s ?Bloody Sunday?. It has great documentary style hand held in a drama.  If you want to see hand held footage that doesn?t work, in my opinion, check out Paul Greengrass?s ?Bourne Supremacy?.  What?s the difference?  The hand held in the first is motivated by the action in the second it is not.

<{POST_SNAPBACK}>

 

 

The advise on practicing is very good advice. I shoot quite a bit of handheld for my job at sporting events and it wakes up muscles you don't know exist. I'm getting pretty decent at it now, though. I get really shaky and tired after about 40 minutes straight though.

 

I actually disagree about the Bourne Supremacy. I liked the handheld work a lot since they kept it pretty constant. It made the film feel urgent and paranoid but, of course, to each his own.

[Jason Maeda]

"What?s the difference? The hand held in the first is motivated by the action in the second it is not."

 

exactly.

 

jk :ph34r:

[Michael Nash]

If you want to get good shooting handheld shoot ENG docs with a Betacam.  It gives you hour and hours and, did I say hours of hand held experience.  In addition to learning to keep it smooth, you will learn to anticipate the cool shots as they are developing. 

<{POST_SNAPBACK}>

 

I agree 100% with Bob here. I've been doing ENG Betacam for 15 years now, and in addition to learning how to physically operate the camera it teaches you how to line up a shot that works to tell the story.

 

Ben, what kind of camera were you using, and what focal lengths did you use (you indicated a "push in" which suggests you were on a zoom)? The physical weight and balance of the camera can really affect the stability of the shot. A shoulder-mounted camera actually needs to be heavy enough to have some inertial mass to resist small influences. If it's too light, every little bounce comes through on the lens. If it was a hand-held DV camera, then the techniques are a little different as the control and isolation is all in the arms and wrists.

 

Someone suggested stripping the camera down as much as possible, but I'd have to qualify that only applies to the heaviest cameras (typical 35mm). Sometimes you'll actually want to add weight in certain areas. For example, when shooting Betacam or digibeta with a matte box, you may want to switch from a lithium battery to a NiCad brick, just to add counterweight in the back for balance.

 

Focal length is vitally important as well, as wide lenses really smooth out the small bumps. When walking, I don't like to be at anything other than the wide end of the zoom (usually an 8mm or wider for Betacam; roughly a 12 for 16mm or a 25 for 35mm). Anything longer than that and footsteps definitely show up.

 

A couple tips for handheld:

 

- Use your body instead of your feet when possible. I'm fairly tall and lanky which means I can cover a pretty good range of movement with just my upper body; even more if I include my legs. You can do subtle dolly movements just by shifting your weight from one side to the other. If you surf or skate you'll know what I'm talking about.

 

- If you've got a limited move that doesn't require you to take a step, plant your feet where it's comfortable and stable for the #2 position, then twist or shift your body as necessary to the #1 position. This will allow you to shift much more fluidly and naturally into the final position and hold the pose longer without getting shaky toward the end of the take. (This tip applies to camera operating in general, even when riding a dolly).

 

- If you're on a longer lens, use your breathing to control unwanted upper body influence on the camera. A trick I learned in target shooting is to take in a reasonably full breath then let it out half way, and when held you squeeze off the shot. I translated this over into camera shooting; when possible exhale a deep breath slowly while shooting and you'll be amazed how much steadier the shot is.