Does anybody here mix handheld with steady shots?

C

c.g._eads

Veteran
Never tried this before but has anyone shot a scene where they're mixing handheld with steady shots? For example, say two people are in a bedroom, one lying down and the other standing. When we're off to the side in a 2-shot, we're on a tripod. Then when we get into close-ups or medium shots, we're handheld. Then back out to a wider shot. Steady again. Etc.

Does this look weird? Or is it better to shoot individual scenes in the same style?
 
I do it often - exactly as you describe: establish on sticks and go hand held for close ups. I like it. It establishes the scene in a formal, expected way, then allows me to add tension as the scene progresses. However, once handheld, I don't go back - unless there is a narrative reason for it (i.e. reason or calm has been re-established or the conflict is over).
 
I do it all the time.

Interesting side note. I have found that I will often choose to go hand held then set up a shot correctly. The movement in the frame seems to mask poor composition and/or lighting. As such, I am forcing my self to remain on sticks for a while.
 
handheld

handheld

Nowadays nobody seems to care about handheld; i.e. you can do as much of it as you like. They call it "subjective camera" when they don't want to put me down sometimes :happy:

Ironically, I've been criticized when I don't use handholding at all. They said about one of my films, "it's very 70s." I don't know if that was a compliment?:badputer:

In the 60s many started using the zoom lens all the time (especially TV -- oh, how they used it?), but then things calmed down and good filmmakers didn't use the zoom lens or move the camera in the middle of the shot.

Then suddenly one day, after the commercials started to shoot like amateurs to gain "realism" (home movie look:shocked:), everybody started doing handholding galore. I couldn't believe the way NYPD did it. Not only there was no logical reason to move the camera, but it was like the cameraman was a circus clown shooting from atop a rolling ball.

Now I see it in major movies :violin:
 
I find that 90% of handheld is distracting. The stuff in the last BOurne movie where they are sitting at the table and the camera keeps dipping behind Julia Stiles head...how is that motivated?

I saw handheld in some commercial the other day...I think it's a sign of the apocalypse.

But I am digressing.
 
If the actors are simply standing there with dialog, then I wouldn't jump back and forth from handheld to steady shots and back. The actors should be able to carry any tension in the scene with their performance and jumping around in camera style would distract from that. Now if one character suddenly gets angry and charges out of the room, then cutting to a handheld tracking shot on him/her and then back to a steady shot of whomever is still in the room could work just fine.

Trust your actors.
 
at the risk of sounding like captain obvious, it all depends on how you do it. there is very little that is truly 'right' or 'wrong;' some rules are meant to be broken.

plus handheld is such a broad term.... is it actually handheld? or steadicam? or loose head? etc. cos there's potentially a huge difference. going from sticks to ultra-smooth steadicam, or from sticks to bourne-ultimatum-crack-addict-cam?

does the scene warrant it? is the handheld just a shortcut to convey tension or a legitimate reflection of the emotional tone? blah blah blah i could go on and on.... i guess what i'm saying is we can only give you theoretical advice, but what really matters is the specifics.
 
the scene calls for a guy to wake up to a girl sitting in his bed staring at him. I always imagined that the uncertainty of this realization motivated handheld shots on both of them. So that was always a mainstay. But since I'd like to establish the room first with a master (and occasionally cut back to it), I was wondering if, because I was using all handheld on their conversation, that meant I should use handheld on the master (or any other specialty shots/angles). Or should I go with a tripod? I'm just wondering, since I will be cutting back SOME to the wider shot, if that will look weird.
 
it will probably look weird to cut back to a static master shot in the middle of the scene without very specific motivation.

how big is your camera? maybe use a monopod to get a good static shot as the scene opens and then have your operator pick up the camera and hand hold once the tension begins. if the scene settles by the end, you could set the monopod down again. this would change the angle very slightly, but probably won't matter if you are pretty wide (35mm or wider for 35 equivalent)
 
is there a reason for going handheld?

shoot it on sticks if there is no real reason for it. Going handheld doesn't suddenly up the tension...

I like handheld shots when that is the style i have in mind... otherwise it will look odd cutting between the two.
 
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Remember Alien with Ripley in her undies?

Remember Alien with Ripley in her undies?

c.g._eads said:
the scene calls for a guy to wake up to a girl sitting in his bed staring at him. I always imagined that the uncertainty of this realization motivated handheld shots on both of them. So that was always a mainstay. But since I'd like to establish the room first with a master (and occasionally cut back to it), I was wondering if, because I was using all handheld on their conversation, that meant I should use handheld on the master (or any other specialty shots/angles). Or should I go with a tripod? I'm just wondering, since I will be cutting back SOME to the wider shot, if that will look weird.
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Hi CG,

This is all a matter of directing - we have no right answer without knowing what you're trying to accomplish (although the above is helpful). We've all noticed gonzo filmmaking started with Indies and began creeping into mainstream TV and major films. Anyway, regarding your shot sequence, if you are trying to to assert the staring woman in an assertive role, then yes, it would probably work well to use fluxuations in a hand camera from the bed (his POV or over the shoulder). Even better, let's say either he changes positions in the bed or she moves (slightly) while standing - here's a great opportunity use a pivot/reverse pivot.

But we probably wouldn't do a handcam shot without support. For instance, if you're trying to sell the superior/inferior - dominant/submissive theme, you'd probably have other subliminal cues as, camera angle (up/down), lighting (hard shadows/soft and perhaps supporting colors), wide/tight shots, costume (her fully dressed/him in underwear), mood music, etc.

Did you see the movie "Alien"? Recall the scene with Ellen Ripley (Sigourney Weaver) thinks she's finally escaped the mother ship and is safe. She gets out of her space suit and is in a soft, dark light in her underwear and then her worst nightmare happens - the Alien has made it aboard her ship - this would be a perfect time to use a POV handcam shot!

Enjoy, Michael
 
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