Camera angles…
Camera Angles
Here are some of my thoughts after about a week of filming for my movie…
MUni
The terrain is such an important part of muni that I find it best to cut off part of the top of the rider in order to fit in more of the ground surrounding them if you have to make that decision. Naturally I think it’s good to have heaps of different camera angles in a movie, but this is something I’ve noticed in a few different clips I’ve seen. If you can see what’s in front of the rider, then you get a bit of warning before they tackle that part of a track. Personally I like to subconsciously think about how they’re going to negotiate something and then see what happens. That sounds a bit strange doesn’t it? - ‘Personally I like to subconsciously think…’.
Another thing I like is to have reasonably long (in terms of time) shots for muni every now and then. Muni is a really flowing style of unicycling and I think this helps to show that.
I have a question for you people…how do you make a section look steep when there’s no room to get directly beside a rider and you can’t climb a tree to get level with them? I know this has been discussed a lot…sorry.
With drops in muni scenarios (I guess I’m talking mainly about 2’+ drops) I’ve found that you can give an idea of the height by filming from behind the rider at the top of the drop. I wasn’t sure at first, but in one of the bits I’ve filmed Tony doing it worked out well.
Trials
Although the terrain in trials is also a key element, I like to see quite a few close up shots with a full view of the wheel. I think it’s great to be able to see the compression of the tyre and the subtle little wheel movements. There’s an absolutely awsome bit in Unizaba (which you see a little bit of in the trailer) where the cameraman follows Kris’ wheel up a steep rocky trials ascent. It’s really really good.
I also think it’s good to occasionally fix the camera in one spot rather than following the rider with them in the middle of the screen. If the line they’re taking permits this I think it’s good to be able to see the whole line in the shots all the time and have them moving all around the screen. I think it places a lot of focus on the line they’re taking rather than how they’re taking it.
I really like to ride skinny stuff. I reckon it’s good to sometimes be able to see the line of the tyre along the rail or whatever it is. I also like seeing the whole rider’s body for things like that because there’s so much interesting movement goign in during rail rides. In the making part of the Into the Thunder Dragon DVD (I think that’s where it is anyway) there’s a great shot of Kris still standing on and riding along a really narrow railing. That shot really gave me an insight into the technique required for that sort of riding. The shot I’m talking about is from directly in front and shows, from memory, just up to the top of the seat. You can see him still standing there and the uni is often tilted to the side. It looks like he should be falling off at that stage but then he pops it back into place. I foudn that really interesting.
I like to see whole lines done in one go with trials pretty often. That way you know that they’re not cheating and making it look like that rider has done it all when they’ve actually done it in a few goes. Having said that, I think it’s also good to see one angle up until a drop for example and then a different angle for the drop.
Freestyle
I haven’t filmed much freestyle yet…any suggestions?
Okay, your turn!
Andrew