In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib. Filmmaker D. W. Griffith created the first crane for his 1916 epic film Intolerance, with famed special effects pioneer Eiji Tsuburaya later constructing the first iron camera crane which is still adapted worldwide today. Most cranes accommodate both the camera and an operator, but some can be moved by remote control. Crane shots are often found in what are supposed to be emotional or suspenseful scenes. One example of this technique is the shots taken by remote cranes in the car-chase sequence of the 1985 film To Live and Die in L.A.. Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups.
Steadicam is a brand of camera stabilizer mounts for motion picture cameras invented by Garrett Brown and introduced in 1975 by Cinema Products Corporation. It was designed to isolate the camera from the camera operator's movement, keeping the camera motion separate and controllable by a skilled operator.
A crane is a type of machine, generally equipped with a hoist rope, wire ropes or chains, and sheaves, that can be used both to lift and lower materials and to move them horizontally. It is mainly used for lifting heavy objects and transporting them to other places. The device uses one or more simple machines to create mechanical advantage and thus move loads beyond the normal capability of a human. Cranes are commonly employed in transportation for the loading and unloading of freight, in construction for the movement of materials, and in manufacturing for the assembling of heavy equipment.
In the United States, Canada and the United Kingdom, grips are camera support equipment technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions: The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second function is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.
Grips' responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts requiring a high level of experience to operate and move. Every scene in a feature film is shot using one or more cameras, each mounted on highly complex, extremely expensive, heavy duty equipment. Grips assemble this equipment according to meticulous specifications and push, pull, mount or hang it from a variety of settings. The equipment can be as basic as a tripod standing on a studio floor, to hazardous operations such as mounting a camera on a 100 ft crane, or hanging it from a helicopter swooping above a mountain range.
Good Grips perform a crucial role in ensuring that the artifice of film is maintained, and that camera moves are as seamless as possible. Grips are usually requested by the DoP or the camera operator. Although the work is physically demanding and the hours are long, the work can be very rewarding. Many Grips work on both commercials and features.
A professional video camera is a high-end device for creating electronic moving images. Originally developed for use in television studios or with outside broadcast trucks, they are now also used for music videos, direct-to-video movies, corporate and educational videos, wedding videos, among other uses. Since the 2000s, most professional video cameras are digital professional video cameras.
In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move.
A camera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. The camera dolly is generally used to produce images which involve moving the camera toward or away from a subject while a take is being recorded, a technique known as a "dolly shot". The dolly grip is the dedicated technician trained to operate the dolly by manually pushing it back and forth.
In photography, a tripod is a portable device used to support, stabilize and elevate a camera, a flash unit, or other videographic or observational/measuring equipment. All photographic tripods have three legs and a mounting head to couple with a camera. The mounting head usually includes a thumbscrew that mates to a female-threaded receptacle on the camera, as well as a mechanism to be able to rotate and tilt the camera when it is mounted on the tripod. Tripod legs are usually made to telescope, in order to save space when not in use. Tripods are usually made from aluminum, carbon fiber, steel, wood or plastic.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
Image stabilization (IS) is a family of techniques that reduce blurring associated with the motion of a camera or other imaging device during exposure.
The Spidercam is a cable-suspended camera system which enables film and television cameras to move both vertically and horizontally over a predetermined area, typically the playing field of a sporting event such as a cricket pitch, football field or a tennis court. The name Spidercam is a trademark. The Spidercam system is modeled after Skycam, which preceded it, having been invented in the United States in 1984.
PTZ is an abbreviation that stands for pan-tilt-zoom. The term "pan" refers to the horizontal movement of the lens, "tilt" refers to the vertical movement of the lens, and "zoom" refers to the adjustment of the focal length of the lens.
Elevated photography is the process of taking aerial photos using a telescoping pole or mast, or other aerial or elevated support systems, to emulate aerial photographs, or video, taken from a commercially licensed aircraft.
Technocrane is a telescopic camera crane widely utilised in the film industry and in television production worldwide.
A tripod head is the part of a tripod system that attaches the supported device to the tripod legs, and allows the orientation of the device to be manipulated or locked down. Modular or stand-alone tripod heads can be used on a wide range of tripods, allowing the user to choose which type of head best suits their needs. Integrated heads are built directly onto the tripod legs, reducing the cost of the tripod system.
A camera stabilizer, or camera-stabilizing mount, is a device designed to hold a camera in a manner that prevents or compensates for unwanted camera movement, such as "camera shake".
Freefly Systems is an American corporation that designs, manufactures, and markets camera movement systems and camera stabilizers used in cinematography including unmanned aerial vehicles for aerial cinematography, gimbals, and remote controlled vehicles. The company headquarters are in Woodinville, Washington.
A jib or jib arm is the horizontal or near-horizontal beam used in many types of crane to support the load clear of the main support. An archaic spelling is gib.
A cable-suspended camera system is a system of cables above or along an area to be filmed or videoed, over or along which an attached camera head travels to achieve required camera angles.
In cinematography, remote heads, also known as 'hot' heads, or robos are motorized mechanical and/or electronic devices that are used as a mount for film, video or digital cinema cameras and can be controlled from a distance. In most cases this refers to control not only of the physical orientation of the camera body, such as pan (horizontal), tilt (vertical), roll, but also control over many or all camera functions – focus, zoom, color balance, gamma correction, camera menus and other related functions.
