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How to use a camera crane to shoot a beautiful picture

Camera crane technology is often used to introduce enterprises' data sheets, such as the scale of enterprises and products of enterprises, which can give full play to the advantages of rocker arms. For example, when a continuous lens is required to show the large panorama of the workshop, the assembly line in the workshop, the work content of the workers and the spirit of the workers, the camera technology of the rocker arm is required. The image film is photographed in the same way. Rocker cameras, using vertical angles to shoot characters, can give people a strong visual impact.
With long arms, stents and rotating PTZ, the rocker has broken through the normal visual habits of human beings, and is an unconventional camera technology. The dynamic picture of the rocker has the aesthetic value, which lies in the movements of the rocker arm, which can always bring the audience's vision new and satisfy the audience's psychological expectation.

First of all, camera crane can bring the change of picture subject.

A rocker arm in front of the platform, its panning range can cover the wide position from the audience to the middle of the stage. Through the change of orientation, the rocker arm can be transformed from a group of actors to another group. In this process, the original picture body is drawn, and the new body of the painting is drawn, and the visual center of gravity of the viewer will be. Along with the transfer of pictures, the viewer has also formed the hope that the picture will continue to evolve to form a good new composition. Satisfying this psychological expectation has reached the aesthetic value of the picture.



Second, changes in the scene of the picture

When the camera crane is started above the audience, the whole stage and the audience are taken at the corner. As the camera moves forward, the dancers go on the stage, and the scene from the whole scene to the stage panorama, the part of the actors, the main actors, and the change of the scene, also satisfies the psychological preview of the audience who want to see the details of the actors. Period. In this lens, the end of the motion of the rocker can stay on the screen of the main actor, and also let the main actors draw, so that the guide or post production has a right point.


Third, the change of perspective relationship

When the camera takes the back of the stage as the center, or the actor is the main body, the camera shakes at the same time from the height, or when it combines the multiple movements of the flat and lifting and pitching, although the main body and the scene of the picture are basically unchanged, the relative relationship between the foreground, the middle view and the rear view, and the perspective relationship are always changing. The new visual hotspots that are constantly appearing to viewers also have aesthetic value.



Fourth, the presentation of grand scenes

Any fixed position can not be like the rocker arm, with a flying attitude, showing the grand of the whole scene, the crowd of the scene, the atmosphere of the meeting. Through the flight of the lens, the viewer seems to stand in a psychological high point of reviewing the lineup, thus feeling the satisfaction of beauty and the pleasure of emotion.

There are some mistaken ideas in using shake. If the main changes fail to connect to the picture, there must be interest points or picture subjects. When a group of pictures is drawn out, the main body of the new picture should have been initially painted and begun to attract attention. If a shot comes out of the dancer, the main actor fails to fill in the blank of the attention of the screen in time.


Do not change obviously

When the rocker arm shows the change of screen, the change should be at least one level. For example, from half body to big view is OK, from actor half body to actor's whole body is not proper. It is possible to have the whole body from the venue to the performers of a number of actors. The reason is that the audience wants to see more psychological changes.


No change in Perspective

When the rocker arm does not show changes in the main body and changes or changes in the scene, the change of perspective relations is particularly important. From the left to the right of the stage, or from top to bottom, there will be dramatic changes in perspective relations. However, if the distance from the 1/3 sides of the stage is only moved from the side of the stage, the audience will not produce aesthetic pleasure. Similarly, if the lens is to be taken up and down, the camera must be fitted with the rocker arm from pitching to the top or vice versa, in order to create as much perspective as possible.

Attention: at the same time, in the process of making perspective change by lifting or rolling, it is more reasonable to make the movement of the rocker arm more able to make the change of the main body of the picture and the change of the level if it can be used in the foreground or the main body with the use of the front of the platform or the side scene of the stage.


The grand scenes were small, and failed to show the scale and momentum.

For example, the audience in the big scene is so close to the audience that there are only three or four viewers in the screen, or the lens is close to the horizon of the audience, causing the audience to be indistinguishable from the front and rear audience. There are only a few faces in the picture. Such a picture will not create a "grand" sense of the audience's psychological pleasure. Get up.


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