Do Keep the Camera Reasonably Steady

We considered writing this chapter in only 11 words. It would have read: Watch The Blair Witch Project, and then do the exact opposite.
But our editors said that wouldn’t fill enough pages, and they got a little snippy when we recommended using 1048-point type.
Of course, what was most notable about The Blair Witch Project—after you waded through the hype—was the jerky camera movement. Of course, it was shot that way on purpose in order to make it appear to have been shot by an amateur. That probably helped to make it a successful movie, although we’re not sure how enjoyable it was, because we’ve never been able to sit through it completely because of all the irritating camera movement. (Seriously, BlairWitch certainly proves the rule about steadying the camera. It’s also notable because it’s a filmmaker’s idea of what amateur home video looks like.)
The first rule of videography is to keep the camera as steady as possible by using a tripod or similar camera-steadying device. Obviously, a tripod necessitates that you keep the camera in a single location, which brings us to our other first rule of videography—as much as possible, keep the camera in the same place while getting each individual shot. You might think that you are walking steadily with the camera, but it’s nearly impossible to prevent jarring movement in your moving shots without using the proper equipment and methods. Most of the time, the shaky cam is totally unnecessary, because it’s often unnecessary to walk and shoot at the same time. (Likewise, regardless of how light your camera is, your arm will get tired, which will increase the shaking effect, particularly if you don’t use stabilizing equipment.)
Instead, think in terms of panning the camera to follow action that takes place past the camera, ideally in a plane that brings the action to and from the camera’s position in a series of shots. (In English, that translates as “Have your subject walk toward—and then past—the camera.”) When the action moves out of your camera’s field of vision, end the shot and move the camera.

Remember that you don’t have to follow the action all the time. Instead, if you can, set up a series of shots in which you get the action moving past the camera. You can let the action go out of the camera’s frame and then move to another shot. If you can’t quickly set up in different locations, plan to be where the most dramatic action will take place (the finish line, the judge’s reviewing stand, the altar) and place your camera there.