Lens movement and audiovisual language analysis of aerial vehicles - vertical movement

1, head-up lens

We often see vertical motion shots appear in aerial photography and aerial photography. This kind of lens is not commonly used in shooting cars, but it is also very good when used. Vertical motion shots have their own neat properties of geometric lines. So in most cases we have to learn to find the lines in the scene before shooting, and the composition is a symmetrical composition.

When you are ready to do this, then consider whether your mirror is going up or down. The ascending movement makes your picture look more and more vast, and it has the effect of sublimation in the feature film.

The descending movement brings your subject closer and closer, giving the audience a sense of coming soon, which plays a role in the feature film.

In the article of the first push movement, it is mentioned that finding the foreground is equivalent to self-destruction. So for vertical motion, finding the foreground for your picture becomes safer and more reliable. In shooting cars, due to the limitations of the scene, the prospects we often find are some elevated bridges.

2, overlooking the lens

It is not difficult to find that the above-mentioned head-up lens has a superior narrative ability, but sometimes we don't need this feeling. For example, when shooting a car, we only want to use different compositions and mirrors to show the car. Then, shake your pan/tilt camera to create a dive effect. If you let the car pass through your picture, you will learn another way to shoot the lens.

This geometrically perfectly symmetrical space movement has a wonderful thing, and you can rotate the picture 180 degrees in the post-production of the film without any sense of disobedience.

If you are familiar with the previous shooting techniques, you can add a lens to complete some continuous mirrors. If it is a double exercise, then basically send a sub-question. If it is a single exercise, this is also the basic skill that should be added most often.

Not all scenes are so geometrically symmetrical. If you want to be an aerial master, you should practice the basic mirror while still thinking smartly. Design your shot language according to the scene. For example, in the sunset scene, we can slowly push up when we drop the height, and go to the sunset with your subject.

For example, in a viaduct scene, we can also push the lens forward as it rises. Imagine if you don’t push forward what kind of picture will be presented, the elevated blocks and fences will not pass in front of the mirror, and the car will gradually drift away. And then compare the picture below which you think will be better. In the end, you should remember one sentence: a sense of movement has a sense of cinema.