Camera Work Reflection

 Camera Movements Project:

I found out a lot for this project about how the camera affects the way the story is told.

They used each shot for a reason, and I had to think hard about which ones to use.

For example, Scene 1's static shot focused on dialogue, which worked well for introducing

conflict without distraction. 

Scene 2's tracking shot followed the character and created tension, with the viewer

wondering what will happen when they arrive at their destination. 

Scene 3's erratic movement emphasized the chaos of the moment that Gianni was being

pushed around, and the scene felt disjointed in tone.

The push in Scene 4 brought attention to the shocked face of Jazmine, indicating her inner

turmoil and shock at what she caught sight of. 

The tilt in Scene 5 revealed the body of Gianni, revealing why she was so shocked.

 

The pan in Scene 6 followed Connie as she ran by Jazmine, indicating Jazmine saw everything.

 

The trucking shot in Scene 7 created the sensation of the audience running along

with Jazmine, creating a sense of excitement for the chase.

One of the problems I encountered was to stabilize the camera for tracking and trucking

shots. It was harder than I expected to get the movements smooth. One of the successes

was how well the tilt and push in shots were able to convey the shock and emotion

in the scene.

In short, I discovered that any movement of the camera can impact how a scene

is viewed. I would pre-plan each shot in the future and practice the movements

more so that they would be even smoother. I would also try to pair camera angles

with lighting used to produce even deeper feelings.

Camera Angles/Shots Project:

I learned how a series of camera shots collectively reveal a story and create an emotional

response in the audience. The project was on Clayton, the cow in a backpack, searching for

his owner and with each shot showing another point of his adventure.

The long shot at the beginning unveiled Clayton being left alone in the classroom, showing

how he was left behind and starting his search. 

The close-up shot set the story and Clayton's determination, so that the audience could

pity him and wish he was successful. 

Another long shot subsequently showed him being trampled down the corridors,

emphasizing the confrontation and his bulk in the environment. 

The master shot recorded Clayton tripping that student, setting the interaction and

emphasizing the action.

The low-angle long shot as Clayton was coming towards the staircase put the viewer in

his place. 

The POV shot when he entered the staircase evoked pity and brought the viewer into

the ordeal he was facing. 

An aerial shot showed him rolling down the stairs, depicting the enormity and risk

involved in the challenge. 

The high-angle master shot emphasized the dominance of the obstacle over him.

The low-angle close-up emphasized Clayton facing the next challenge of escaping

Building 7.

There were close-ups of his actions, like buckling the strap on to the door, and

the longer shots of him successfully opening it. 

The establishing shots revealed him in his new positions, keeping the audience interested

in his progress.

 

The POV shot upon finding the classroom of his owner again highlighted the seriousness

of the previous task.

 The two-shot towards the end unveiled the tearful reunion between Clayton and his owner.

One challenge was getting the balance of the type of shots to tell a story that made sense and

was interesting without confusing the viewer. One success was seeing how much feeling and

tension the POV, low-angle, and close-up shots evoked.

With the help of this project, I realized that camera work would be able to make even a

normal story seem interesting and immersive. In the future, I will pay special attention

to shot changes and exercise combining angles in a more innovative way to make

the story more emotive and action-oriented.