Hand-Holding Technique
Video 1 – Hand-Holding Technique
Video 1 Transcript:
As demonstrated in previous modules, the tripod is our friend, and with practice, its efficient use becomes second nature. In most situations, the tripod is essential for capturing the variety of steady Shots that we need. This is especially true when zooming in for crucial detail Shots that immerse the viewer in the story. Without the stability of a tripod, these Shots would be shaky, distracting the viewer and pulling their attention away from the narrative.
Here’s a scene that I shot both with and without a tripod. The tripod allowed me to capture a variety of steady Shots from the living room. After holding on a Medium Shot (MS), I reframed for a Long Shot (LS). I hold each Shot for as long as it needs to tell its story. I then reframe for a Medium Close Shot (MCS) and wait for any movement or additional activity. Allowing subjects to move in and out of the frame maximizes opportunities for creating continuity in the edit.
This Coverage from the living room would not be possible without a tripod. But it also leaves us wanting more, including face Shots, details of what’s being cooked and the interaction and Points of View (POV) of the subjects. To get this Coverage, I must shoot from inside the kitchen. With limited space to set up a tripod and the risk of it interfering with the activities of the subjects, I have to hand-hold the camera.
To capture steady hand-held Shots, I zoom-out to a wider angle and position myself closer to the subject. If I stay too far away and zoom-in, the Shots become shaky. Instead, I keep the lens as wide as possible and move closer or further away from the subject to frame different Shot Types. As we’ve learned, detail Shots are essential, and face Shots are crucial. Because hand-held shooting allows for easy movement, it’s especially important to hold each Shot rather than constantly moving or adjusting the camera. All the principles of Shot Types, Coverage and composition still apply when shooting hand-held.
The edit of this Scene combines footage shot with the tripod as well as hand-held.
Let’s review what we have covered by shooting a new scene to further demonstrate tripod and hand-holding technique.
Video 2: Hand-Holding Demonstration
Video 2 Transcript:
As previously emphasized, using a tripod gives the cameraperson the best chance of rapidly capturing a variety of high-quality, essential Coverage.
In this situation, I use a tripod to capture a Long Shot (LS) that establishes the environment and both people. And from this same position, I cover the activities of both subjects with a variety of other Shot Types. However, with these Shots of Laura – as with the cooking scene we studied in the last video – it feels like we’re missing the action. To fully visualize this scene, I need Shots of Laura’s face and what she’s working on. To capture these Shots, I hand-hold the camera so that I can get it in front of her by leaning over her workbench.
When hand-holding, I use my body like a tripod, spreading my legs, and pressing my elbows against my torso to maximize stability and minimize shakiness.
I hold the camera firmly with both hands, in a position where my fingers can easily reach the controls. With this camera, my left hand supports it from underneath, allowing my thumb to access the focus and exposure controls. My right hand grips the opposite side of the camera, with the thumb positioned to press the record button and the fingers in a position to finely tune the framing of Shots using the zoom toggle.
Remember that while hand-holding, if I move away from the subject and zoom-in to frame Close Shots, the Shots will be shakier. Therefore, when shooting hand-held, I make it a habit to get in close and use a zoomed-out, wider angle of view to help keep the Shots steady.
I almost always shoot at the Eyeline of my subjects. Therefore, when I turn to shoot Hannah, I do so at her eye level by kneeling on one knee while keeping the other leg raised. I brace my arms against my sides to stabilize the camera. If I kneel on both knees I’m less stable and it’s harder to move quickly for the next Shot.
And, as introduced in the Composition module, a cameraperson shouldn’t stand and point the camera down at a subject, as I’m doing here. This angle distances the viewer from the subject and can read as lazy camerawork. Keeping one leg up provides greater stability and allows me to move with ease. I shift my position as needed to get different Shot types.
All aspects of shooting – including Coverage, composition, and manual camera control – are easier to practice when you make full use of a tripod. Hand-hold the camera only when necessary, using a wide-angle view and moving your body to frame Shots and maximize stability.
Credits for Film Samples:
– Video 1: “Home Sweet Home, Minnesota” by Michael Sheridan for for Technical Assistance Collaborative (TAC) and US Department of Housing and Urban Development (HUD)