Five popular videography techniques that you should know about

In the last few decades, videography techniques have enormously evolved comparatively the first day this concept came into practical life. Several visual methods like jump cat and whip pan were adopted in early ages movie making. Today, these techniques are now increasingly used on a broad scale.

The viewers' preferences have also changed over this evolutionary period; people mostly like to watch quality content that has a pleasing effect on sight. Many tremendous innovations such as Dolly shot and Hitchcock shot allows the cameraman to shoot excellent clips that reflect the scene's reality. Moviemaking is a trillion dollars industry across the World, and any individual or group can earn a sufficient amount through the skills. The right tools for this purpose are explained below. 

The Dutch tilt

This technique also refers to an oblique angle shot. The camera movements are fixed at an angle (rotated or tilted) about its vertical and horizontal axis lines. It is an old but evergreen technique that still has identical outputs for the videographers. For a few peoples, it is considered a disoriented motion to visualize. Sometimes the situation requires to show unpleasing acts through your videography that distorts your audience.

 In real life, we are habitual to look the World with straight head and eyes on the scene; we don’t tilt off our face or want to move around the view to see it. The particular shot has an advantage when shooting for cinematic video and wants to express grief. It was a misconception that this tool has significant results only in horror films that proved misleading. It can efficiently work on any category such as dramatic, live telecast, genre, etc. 


Slow-motion shots

Video makers consistently practice slow-motion shots in their career, as it highlights the importance of that particular scene in your whole movie. It is wise for the directors to alter the playing video-rate instead of showing wider angles or delivering a higher frame rate. At several stages, the cameraman desires to catch the viewers' complete attention. For that, he slowdowns the video's speed until a few seconds and back again to the original movie speed. These are sporadic shots in videography; otherwise, showing excessive slow-mo shots might lose your audience.


Character involvement in the camera frame

Countless movie makers avail of this tool while shooting for their video. At multiple moments you have to show character entering or leaving the frame. The videographer has to manage it in exciting ways. It is quite awkward to focus the camera every time on the center of the scene. It would be best to move it right, left, back and forth to go with the character's flow and pace. This technique allows the audience to watch the scene in a symbolic view objectively.


Deep depth of field

Through a deep depth of field, a videographer can focus on broad areas to shoot. Shallow and deep depth techniques are pretty productive tools when used for the right perspective. The camera lens, usually of a small aperture, is utilized while shooting such extensive views. To deliver the sharpness or clarity of pixels for the wider frame, deep depth of field is largely used by filmmakers to draw the public's attention towards the environment. DOF assures the art of realism or reflects originality in the scenes. 

This very technique was used primarily to create the dramatic effect in a video or a film and that was how it was quite a popular technique back in the days but now videographers avoid DOF in shooting as additional lights, time consumption, and production areas ask for unnecessary expenses


Telephoto shot

One of the practical approaches for the videographers aims to shoot the far away distant object. It traces down the movement at a distance and delivers an intensive quality picture of the scene. For chaotic moments such as the fighting scene in films, wrestling videos, and wildlife videography, telephoto shots or lens can give the desired results.

This technique was significantly used by many filmmakers including Akira Kurosawa, in which they would tend to use a longer than usual telephoto lens to track the movement from considerably large distance.