Jump to content


Tracking sideways with lots of horizons

  • Please log in to reply
3 replies to this topic

#1 thomas-english


    Advanced Member

  • Sustaining Members
  • 1165 posts
  • UK

Posted 20 July 2005 - 04:58 AM

I had a nightmare music video the other day. 17hours long, one take at each shot with a lot of very fast action (parkour runners/free runners) and crazy french dancing.

Most of the shots consisted of tracking at right angle to the character, with loads of straight urban horizons (pavements etc) at a near run or run.

My first point is if you come in at a slight angle (in front or behind the character not dead 90' on) it can really spin you out thinking that your not level! I trusted the level but was really feeling stupid for having shot everything "wonky" especially when rewatching the clamshell. The perspective of the ground through the lens makes every thing look on the piss! I re-watched it yesterday on the big TV and thankgod you can see that its flat horizon and a perspective thing to my relief. But on the little framing screen whilst sweating it s really confusing.

When operating with the camera at right angles to your body, do you twist your wrist right round or do you keep the wrist straight and swap your wrists axis's (roll and tilt). I ve never really thought about it on simple tracking shots but this stuff was so fast with so many horizons I realised I needed to come up with my own "practise policy" . I think in the past I ve always swapped axis's and kept my wrist straight like what you practise when walking round the rig.

Thanks for your time.
  • 0

#2 benedictspence


    Advanced Member

  • Sustaining Members
  • 106 posts
  • London, UK

Posted 20 July 2005 - 03:39 PM

Hi Thomas!

Interesting point... I'd agree with you- I'd keep my wrist straight and just get used to the swapping of the axis; but not really thought about it before, think I might try the old reach around next time and see if it makes life any easier.
You're right about those 'approaching' 90 degree shots- they can be a bitch- I try and let the artifical horizon be my guide- one of the few times I really rely on it.

I did a job with La Parkour a couple of months ago- fucking funny guys; had a great time with them. Was it with Raymondo and his gang? I've never met anyone outside of me and my flatmates who make noises like The Predator; apart from them!

Ben Spence
  • 0

#3 Nicolas Rome

Nicolas Rome


  • Members
  • PipPip
  • 12 posts
  • Rome,Siena(Italy)

Posted 31 August 2005 - 02:03 PM

Remember that the level is a bubble which is influenced by acceleration wich makes it useles while moving!!!
The best thing in these cases is to check also the vertical lines. unless you're also tilted. And also if your angle is slightly preceding the perspective must be with the horizontal lines rising slightly from right to left in the shot and the oposite for the slightly following(depending also on the focal length of the lens).but the trick is to use one or the other because because if you are at a perfect right angle every imperfection on the horison will be caught!
Luckily in music videos there is usually some more elasticity for these things
Nicolas in Rome
  • 0

#4 Nicolas Rome

Nicolas Rome


  • Members
  • PipPip
  • 12 posts
  • Rome,Siena(Italy)

Posted 01 September 2005 - 11:01 AM

Sorry !!! I read what I wrote yesterday and realised that my explanation about the perspective is full of crap!! specialy because in what I said it depends also on what side of the actor your on! but I'm sure you know what I mean :)
  • 0

Varizoom Follow Focus

Paralinx LLC

GPI Pro Systems

Media Blackout - Custom Cables and AKS

Ritter Battery


Engineered Cinema Solutions

PLC Electronics Solutions

Wireless Video Systems

rebotnix Technologies

Boland Communications

Omnishot Systems

Betz Tools for Stabilizers

The Moses Pole - Steadicam Monopod

PLC - Bartech