3 best camera move scenes?
- Thread starter Jono
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Agree with most mentioned.
Would add the scene in the restaurant in Kill Bill in O-Ren's Tokyo club. Camera sweeps behind the band, then follows the Bride through a few corridors, up and above here past the kitchen/toilets etc. including the silhouette of her in the cubicle. Fantastic.
Absolutely fantastic, draws you into the scenario so so well.
Would add the scene in the restaurant in Kill Bill in O-Ren's Tokyo club. Camera sweeps behind the band, then follows the Bride through a few corridors, up and above here past the kitchen/toilets etc. including the silhouette of her in the cubicle. Fantastic.
Absolutely fantastic, draws you into the scenario so so well.
Great shot.
If you search on youtube for 'jaws get out of the water' you'll get a nice HD clip of the whole scene.
Soldato
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Not sure if this fits into the topic, but Saving Private Ryan beach landing has some of the most realistic war movie cinematography I have seen.
I also liked the use of camera angles and movement in Terminator 2. A lot of the chase action sequences are some of the best, especially the Truck sequence at the start with John on his bike, and the last one with the Fuel Truck with the stunt man stood on the side of the sliding truck.
As for the The Matrix who can forget the 360 degree camera trick they used with over 100 cameras to do the bullet dodge with Neo on the roof top? That scene alone changed the way a lot of action scenes were filmed.
Also let's not forget Inception with the tricky camera work in the corridor at the end, and while on the subject of Nolan films; the camera movement with the IMAX footage in the beginning of The Dark Knight.
There's a lot of other great, great, camera movement scenes in most of the top films - it's part of what makes them stand out from the rest. You'll be hard pressed to find a decent film with horrible cinematography - although I really am not a fan of shaky cam stuff that doesn't necessarily mean it is horrible or rubbish.
I also liked the use of camera angles and movement in Terminator 2. A lot of the chase action sequences are some of the best, especially the Truck sequence at the start with John on his bike, and the last one with the Fuel Truck with the stunt man stood on the side of the sliding truck.
As for the The Matrix who can forget the 360 degree camera trick they used with over 100 cameras to do the bullet dodge with Neo on the roof top? That scene alone changed the way a lot of action scenes were filmed.
Also let's not forget Inception with the tricky camera work in the corridor at the end, and while on the subject of Nolan films; the camera movement with the IMAX footage in the beginning of The Dark Knight.
There's a lot of other great, great, camera movement scenes in most of the top films - it's part of what makes them stand out from the rest. You'll be hard pressed to find a decent film with horrible cinematography - although I really am not a fan of shaky cam stuff that doesn't necessarily mean it is horrible or rubbish.
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Of course it's telling the story. The bullet time feature is used to highlight the increased speed and reaction time of those bending the rules of the matrix.
So going underneath a truck is telling what part of the story?
EDIT: don't get me wrong, I think that's some great direction and cinematography, I just couldn't argue that it was necessary to the story. Which is fine, really. Just a bit superfluous in my eyes.
Sometimes it's hard to separate the kid in me that's attracted to the magic of film (the reason I love film and why I started studying it) and the critical analysis guy in me (a result of the aforementioned study).
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I think the best recent example of the sort of "show the money on screen" attitude is definitely in The Avengers. Some totally baffling camera angles and shots in that which look cool but tell us nothing.
Soldato
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Still, 35mm with full-screen 1:85:1 aspect ratio, definitely gave IMAX a run for its money. The quality was pretty damn phenomenal.
There's nothing inherently wrong with shots that "just look cool", provided that they don't detract from the story and that there actually is some substance somewhere. Sin City is highly stylised but that's the entire point. The Man Who Wasn't There is shot in a very particular way as an homage to noir films.
I agree, to a point. A lot of big budget Hollywood films need to find a way to show where all that money on CGI is being spent. There's a good article on it here which is an interview with Wally Pfister who talks a little about that sort of thing.
THIRD GODDAMN EDIT: Woah, they've edited out his comments about the film since I last read. This is the best article (and the one I was trying to find all along) which talks about it: http://blogs.suntimes.com/scanners/2012/10/wally_pfister_the_avengers_and.html
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Soldato
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No no no. These types of shots were unique to the Matrix at the time of filming, and totally went mainstream after that. Innovative.
And this is the one I was referring to above. I don't think it is the same as panning the camera, Eames.
@ the 48 second mark, after Morpheus says "Freeze it!"
I've seen modern TV commercials now that have taken that to the next level with the camera in full motion the entire time (can't think of an example right now) instead of doing a cut-screen, and I just think it is one of the neatest tricks.
Yeah, I know that. But it's just a flashy shot. Style over substance in my view. Adds nothing to the film's narrative.
It depends on how it's used. And not everything has to add to a film's narrative. A well shot car chase doesn't add anything much to the narrative of a film, per se, but if it looks good and it's exhilarating, then that's a good thing.
Associate
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I like some of the Lock stock and Snatch camera stuff. The Desert Eagle scene springs to mind first