cinematography When to go hand-held?

Buddy Greenfield

Buddy Greenfield

I notice in films that hand-held or stabilized (that draws attention to the camera) works in certain scenes or shots or scenarios that impart visual “mood”. When I see it done well I feel like “Damn that is perfect, but I would never think to do it there!”

So what are common scenes/shots/visual “mood” scenarios (video examples would be great) where hand-held might be called for or is known to work best for a given result?


-Thanks-
 
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P.O.V. shots, such as the killer watching from behind the bushes or following someone.

Docu-style scenes, where you want the camera following someone into combat or other uncertain situation. See the movies REC, CLOVERFIELD or the opening beach assault in SAVING PRIVATE RYAN.

Tension builder - your character hears a huge bump at the door. Instead of cutting, the camera stays with him/her, as they approach the door.

Dynamics or Excitement - a moving (handheld) camera can add motion to a scene that seems too static.

Time Saver - you are running out of sunlight and just don't have time to mount several camera shots. You can cover the scene quick, by going handheld.

Selling an effect - nothing sells an effect, like motion tracking it into a shot with moving camera. For example: the bullet holes in the glass, in the RAVEN short, used motion tracking to keep them in the same spot. This makes the bullet holes seem like they are actually part of the glass. When someone tries to pass off fake flying saucers as real, you will notice that they shake the camera to make the UFO look like it's really there.


As always, remember to not over do it.
 
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The most obvious one I can think of that Scoopic didn't cover is when using "found" footage, like in The Blair Witch Project, or those home movies in Robocop (I don't think those were actually handheld, but that's the only movie I can think of right now that has home movies, for some reason). Of course, this isn't the best thing to make a whole movie with. Who else felt sick watching Cloverfield?
 
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For intimacy, as in The Wrestler. By going handheld through (I believe) the whole film, the viewer almost feels as if they are standing next to and walking with the characters. It's not the same thing as documentary style (which intends to make you aware of the camera being right there, capturing the events as they unfold) but the results are similar.
 
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NBC's "Friday Night Lights" is a perfect is example for the documentary feel. I'm a background extra on it, and all of the shots are handheld to add more of a personal drama to it.
 
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I love handhelds but it can easily be overdone.

I think the amount of hand-helds in Bourne Identity's first sequel is just whack. I felt dizzy. The f'in Blair-Witch Project girl held the camera more steady than the Supremecy. But, that's just me.

I like handhelds to stress the fact of anxiety and confusion and fear.

Other great handheld scenes are in Children of Men. Perfect scenes in that.

Also in Saving Private Ryan...
 
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ROC said:
I love handhelds but it can easily be overdone.

I think the amount of hand-helds in Bourne Identity's first sequel is just whack. I felt dizzy. The f'in Blair-Witch Project girl held the camera more steady than the Supremecy. But, that's just me.

I like handhelds to stress the fact of anxiety and confusion and fear.

Other great handheld scenes are in Children of Men. Perfect scenes in that.

Also in Saving Private Ryan...
Click to expand...

I was gonna post a comment, but then ROC made it for me.

Ditto everything he said. Oh, "Children of Men". What an amazing film
 
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I think The Office does it really well. Also love the way they do the quick zooms in and out, especially when 'watching' the action from across the room. Gives it a very voyeuristic feel.
 
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