The importance of camera movements ( Serhan)

Camera movements give the audience a more intelligent understanding of what is appearing on the screen, a good example would be someone getting angry, the camera would move from a long shot to a close up of the man or woman's facial expression. This would express the situation in a more highlighted approach , conveying to the audience the actor rage and frustration, and try to get the audience engaged in what is happening in the screen and to also feel what is happening as if they are in the situation of the person playing in the film.

Camera movement is one of the most expressive tools available to a filmmaker. It alters the relationship between the subject and the camera frame, shaping the viewer's perspective of space and time and controlling the delivery of narrative information. As the camera frame orients the viewer within the mise-en-scene, movement of the frame provides the illusion of the viewer journeying through the world of the narrative. The camera height and angle, the distance to a subject, and the composition of a shot may change during camera movement, as the framing travels above, below, around, into, and out of space. Types of camera movement are distinguished by their direction and the equipment used to achieve motion this creates the realism in any soap or film, which also makes it interested to the viewers watching at home.

A tracking shot indicates the camera through space parallel to the ground and can travel forward, backward, from side to side, diagonally, or in a circle. Whereas a pan or a tilt reveals what one might see when standing still and rotating one's head, a track provides the impression of actually advancing into space. Tracking shots are often produced with the camera mounted on a dolly, a small, steerable platform with rubber tires. Tracking shots receive their name from the railroad-like tracks that are frequently laid on the ground to guide the dolly during long camera movements, again another thing which adds to the realism in a soap or film.

KENJI MIZOGUCHI
b. Tokyo, Japan, 16 May 1898, d. 24 August 1956

One of the most acclaimed directors of world cinema, Kenji Mizoguchi created elegant, precisely staged long takes in films that examined the circumscribed choices of women in Japanese society. His tightly controlled camera movement, recessed foregrounds, and depth staging served to subordinate characters to the overall composition, positioning the viewer as an observer to highly emotional yet distanced subject matter. (As you can see this is a well known director)

A tracking shot being filmed for the chariot race sequence in Ben-Hur (Fred Niblo, 1925). (director decribing opinion of his own film)

rises and lowers on a platform connected to a mechanical arm, much like utility company cherry-pickers. A crane enables the camera to traverse great distances up and down, as well as forward and backward and from side to side. Although in use as early as Intolerance (1916), crane shots became a signature of the 1930s musicals of Busby Berkeley (1895–1976) and multiplied following technological improvements after World War II. In the late 1970s the introduction of the Louma crane further increased shooting options. The Louma operates like an oversized microphone boom, with a rotating arm and a remote-control camera mount at the end. The Louma transmits the image from the camera to the operator in another location, enabling the camera to move through very tight, narrow spaces that were previously inaccessible.

Aerial shots taken from a plane or helicopter are a variation of crane shots. A camera mounted on an aerial support can move into space in all directions while achieving much greater heights than can a crane. Filmmakers began exploring ways to mount a camera on a plane during the 1910s, and in the 1950s helicopter mounts created additional shooting possibilities. An aerial shot may frame another flying object, as during the Huey helicopter battle sequences of Apocalypse Now (1979), or it may provide a "bird's eye view" of the landscape, as in the swooping helicopter shot of Julie Andrews in the Alps at the opening of The Sound of Music (1965).