How to Build a Camera Dolly

  The camera's position is a key decision in the narrative, not just "a place that looks good," but also determines what viewers will see and where they look from. Since Griffith liberated the camera from a single fixed location, the movement of the camera has taken a larger share of the film's visual arts. Camera moving aid:

  1. Camera dolly (camera movement method started to be used in the early 20th century)
  2. jib arm (appeared in the 1920s)
  3. Camera stabilizer (first used in "Glory of the Road" 1957 and Kubrick's "Shining", commonly used in the 1970s)
  Kubrick and Steadicam operators
  In the filming of narrative films, the principle of camera movement is that movement must be purpose-oriented. Cameras move not just to move, but also to narrative techniques. There are two motives for camera movement:

  Motorized Camera dolly SK-MS01
  Sevenoak SK-MS01 is motorized push cart which offers your video with more dynamic movement but keep your budget low. It features double motor operation, Aluminum construction, 1/4” screw holes, 0.65mm connecting hole, power switch, forward-backward switch and speed control button. SK-MS01 is powered by two 1.5V AA batteries and can support up to 3KG. It can be easily attached to any camera dollies with standard 0.65mm connecting holes and moves smoothly at different angle. With 1/4” screw holes, LED light, Monitor or microphone can be added via articulated arms. With the forward-backward switch and speed control button, the movement and speed can be controlled easily.
  Size: 19*17*8 cm
  Product weight: 0.41 KG
  Max load capacity: 3 KG
SEVENOAK camera dolly
1. The performance itself requires the camera to move. For example, if a character gets up from a chair and goes to a window, it is quite reasonable for the camera to move with her. Although this movement is not necessary, but certainly one way to show the plot.

  2. Whether the car began to move, stop or Pingyao lens, should be purposeful, the motivation for moving may be just to switch the movie to a new screen to go. The new picture should include new information, and its method of making sense, not "the camera moved to this place." One of the important parts of this is that the camera should "settle" for a while at the end of any move, it must "show" the new picture and pause at the clip for at least a beat. If you want to attach a still shot behind this shot, pause is very important.

  The movement of the camera itself may also be purpose-oriented, for example, by moving a new perspective that can reveal new information and view the scene. The camera may move to shoot someone, or pull back to a long shot. Unobtrusive camera movement distracts the viewer, pulling the viewer out of the plot and realizing they are watching a movie. But such a move is also useful, especially in very stylized movies.

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