Movement in frame and in camera makes sequences much more interesting, but it comes with its own challenges. All movement shots should be motivated to either help the story along or follow action.

Shooting movement is where the cameraman’s mettle is really tested. It takes practice and experience to make the shot work and to accurately follow the sequence while staying in frame and in focus. Too much movement can make the audience feel sick, too little and the action or subject goes out of shot.

Keeping the subject in frame begins by starting the camera moving before the subject appears. This reduces the jarring that can occur with sudden movements of the camera. Minor adjustments can be made to keep the subject in frame, rather than having to race to get them there. Letting the action enter and leave the shot can add extra flavor to the sequence. Filming an empty space first and after can round off the shot. It isn’t always appropriate or necessary to do it, but know when and when not to can add a lot to the shoot.

If using a handheld to shoot movement, you have to be as careful as possible. Even thing like fatigue or hunger can make your hand shake and interfere with the shot. Using a wide angle lens when using a handheld can reduce a lot of the wobble when moving it. Most of the reality shows use this method when chasing after subjects or filming moving vehicles.

Stance is important in keeping any handheld steady. Stand with the feet apart at an angle gives you a good foundation. Holding the camera with both hands while locking the arms in near the body whenever you’re still will also reduce any wobble. When moving, hold the camera a little further away so the arms can absorb any impact made by walking or running. If you’re doing a static shot for a little while, find something to lean on. Not only will it make the shot more steady, it will also help stave off fatigue.

When following people, as in the reality TV example you need to keep them the same size in the frame. This means keeping up with them and maintaining a distance between you. Include some close ups of feet or other movement to help when editing. This can add a couple of frames to break up a sequence into bite size chunks.

As if you didn’t have enough to think about, you also need to keep one eye on the environment around you while filming. You don’t want to be in anyone’s way, trip over something or go down steps you didn’t see which would spoil the shot. It’s also a great habit to get into if you plan on doing any filming with animals in your career. Even the most domesticated can offer a surprise or two when you’re not paying attention.

Filming movement is a challenge, but when it’s done right it can add real drama to the sequence.

There are many ways to film the perfect picture, which is just as well as a poorly shot sequence will end up on the cutting room floor, or at worst, bore the audience. Whatever kind of camera you prefer, the established filming techniques help you achieve the perfect shot each time.

The most basic technique is getting the focus right. No amount of editing or post-production is going to fix out of focus images. Focus is down to the distance between the camera and subject. If this changes the focus changes and will need to be adjusted. It’s tempting to use auto focus as it takes most of the work out of the shot, but it can get confused with movement and foreground objects.

It is much better to focus manually and then use a push-auto feature to fine tune. Static shots can be manually focused and then push-auto, the back to manual focus. Then reframe the shot to your satisfaction. You only need the subject to be the largest object in frame, not so close you can see their nose hair. If the subject is in focus and begins to move, it is relatively easy to follow the movement manually. Using manual will allow you to focus on the subject even if foreground objects get in the way.

Maintaining focus is all about predicting the movement wherever possible. Tracking or panning something moving at a predictable pace allows you to follow in focus. Knowing the maximum and minimum focus distance is essential is knowing where to set yourself, and where you can follow the subject if it moves. Subjects moving unpredictably are much more difficult and something only knowledge and experience will allow you to do effectively. Again, knowing your maximum and minimum focus distances will also play a part.

This leads nicely onto using lenses. While it is the eye of the camera, and the effective eye of the audience, it does work much differently than a real eye. This can be utilized when shooting to be creative with shot size, perspective and angle.

A wide angle lens is ideal for moving subjects. It avoids many focus problems and allows the greatest freedom. It is also ideal for handheld shooting or if you want to make a small thing look bigger, longer or wider. It can also be used for dramatic visual effect like making something look as though it’s moving much quicker than it actually is, especially if moving towards camera!

Tight lenses are ideal for close ups as they can be done from a distance, and you don’t have to stick the camera in their face while they are doing a piece to it. The face also appears the most flattering using a tight lens, which is why presenters like it. If the shot is a busy one with lots going on, a tight lens can make things look closer together than they actually are. This can distort the perspective so judgment is needed as to which lens to use in what situation.

If the story is planned, the summary written and time to shoot, equipment choice will now come forth. Choosing the right tool for the job is as important in video production as it is in any other field. Too much kit and it will get in the way, too little and the shoot will suffer, and the wrong kit and the shoot will be a write off.

To decide what kit you need, you need to know the type of shoot you’re going to. What the style is and what any director might want to see. You also need to bear in mind the weight and if you’re single manning the shoot, if you can carry everything all day. It isn’t only the camera you’ll be carrying if you’re working alone, or with a journalist or interviewer. You’ll need sound too.

Ensuring all the elements of the kit are compatible is also something worth checking before you even leave the building. If working with sound and video, they must be able to communicate otherwise you’ll only get one or the other. Everyone has their own favorite brands and models of equipment. Some are better than others and as long as you’re familiar with it all then you should be able to produce results.

There is no camera yet made that can do everything. Neither is there a microphone that is suitable for all situations. Have an idea of what to expect before setting out will prevent you from having to compromise when it comes time to shoot.

Another aspect of equipment you need to consider is lighting. For most shoots, ambient light will be sufficient, especially if using DV kit as light correction is often automatic. There may be situations where you will also need to add light. Battery lights are the favorite if single manning the shoot as they can bolt on to the top of the camera. Extra lighting you may need could include batteries, stand or tripod, reflector, preferably a fold out one and blue and orange color correction gel.

As if that wasn’t enough, what about the mounting for the camera? Often for short shoots or where the subject is moving, the camera can be hand held. Static shots or fast moving shots will need a monopod or tripod. Monopods are just a tripod with a single leg. They are lighter and easier to carry than a tripod, but aren’t quite as steady. The average video production shoot won’t need specialist mounts like the limpet or magic arm, but they are tools to be borne in mind for shoots if you have one. Either will affix to an object and offer great stability with a good range of movement.

Choosing the right equipment will make a difference to your day. Not always in the quality of the film you make, but in how flexible and comfortable you are during the shoot. Knowing your gear, and what works with what, in which situations will not only make your job easier, but enables you to react much quicker if something unexpected happens.