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Originally Posted by TimStannard  Similarly the million and one things that get in our way are immediately, almost subconsciously dealt with (either they're of no import - ignore or they need to be avoided/circumvented) |
I have the opposite experience. Granted you don't see the world a la Paul Radcliffe's bobbibng head, but when I want to get somewhere quickly, all I ever see is obstacles that I need to get around. And it's these obstacles that create the unexpected movements (these would normally be expressed by an alternate camera angle within video). What I was trying to say was that when you're running along, you don't see the world as you would through a steadicam, which overcompensates movement. So to create a realistic sense of intensity, you need to be skilled in creating that intensity through camera movement and editing.
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Originally Posted by TimStannard I can see absolutely no reason for the "sticking the talent on a turntable" shot unless you want to "reveal" something on the other side of the room or the talent's body (eg part of the head blown away revealing a robot underneath in sci fi, or another person having entered a room) |
It must be a personal thing, as I rather like these shots. I pressume because I feel like you're not just viewing the action. Perhaps it's part of growing up as part of the videogame genaration where fixed camera angles have become substituted for free movement. Who know's pretty soon we'll probably be a part of a film, being totally emersed in a virtual environment.