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In this example, the camera and the actors move in parallel. But the same technique can be applied to the group, can be traced in Figure A camera moves along the corridor. In part because of the camera frame to the right and ahead of A, which turns into another corridor.The camera pans and it starts to follow them. E down the corridor. And it welcomes and continues to go at us, going from 428 frames left. When A reaches telefonaavtomata, where C is talking, we see as in the part of the door frame on the left, we continue to move the camera for C, which is suitable for a group of four.At this time the bailiff D asks silence and points to the door on the left. The camera stops and turns to the left, tracing a gesture bailiff and showing the door, where the label says "Courtroom" From the beginning trevellingom traced the same type of motion, bringing the audience to the climax of the plan.Movement were carefully into one another, as if specially contested for the camera. .2 Another example of simultaneous movements, captured by the camera in motion, which moves following the actors.Joining 429 is static plans and with the movement when the camera moves with reaching or running actors, it is not easy to stop at the same time with people. Trimming the end of the scene is problematic, you need a very good team of operators in order to synchronize the movement.It is best to stop by simply breaking the frame than by stopping the camera. Case 1: If the actor is on us and the camera moves with it, we can move from the plan to move to a fixed plan for the same visual axis when the actor is shown full-frame in the center of. .3 Driving on a common visual axis, used to connect the two planes of the same plot in motion. 430 Case 2 when shooting fast motion from the first frame, the actor runs to the camera, which recedes. Actor can increase the speed at the end of the plan and get out of the frame while moving the camera.In the second frame actor does two to three steps at a run and stops. .4 It is easier to connect with the plan of movement and static plan, if the plot in motion may withdraw from the frame during trevetinga. Case 3: If the camera moves back, removing an actor who changes direction, it is best to show the change in the time of shooting the second plan 431 ftc.5 Changing the direction of the actor more evident in the second position of the camera is download the film Nati con la camicia
and fixed. The first plan is similar to the previous cases. Film Nati con la camicia
. Actor approaches us, we give an approximate his plan, and the camera pulls back. We end off the frame when the actor full frame in the center.He takes two steps on us, then turns and walks out of the frame, traced, if possible, rotate the camera. Case 4 Trevelling, parallel to the actor, can be used in other cases. First, we move with the actor in profile or three-quarter.Then download the film Nati con la camicia
and dropped the frame and give the actor a full frame camera steady. The actor is on the side opposite the direction of motion, and stands in the center. 6 Fixing the camera moves parallel to the actor.Case 5 Stitch Assist can be used in the background, staying with the actor if he ceases to walk or run.