Cinematography: Handheld vs. Steady Camera Work

One of the most controversial topics in modern cinema is handheld camera work. Some people hate it, some people love it. Handheld camera work has a great psychological effect and can be a great thing when it's used with purpose. A film with great cinematography will usually have both "hands" of the spectrum, handheld camera work and steady tripod, dolly, steadicam, etc. camera work. Let's take a moment to look at the basic factors of when handheld camera work should and should not be used in a film production.

When To Use It

The most justified place to use any form of handheld work is in scenes with intense physical action. If someone is getting chased, it is quite logical to assume that they are in mentally in "frantic" mode and looking every which way to decide on their next move and where they are running to. To use handheld camera work in a scene like this will usually make the audience feel that they are in the action with the character in the film. It brings a new life into the scene that may have not been there otherwise. This concept was used in all of the Bourne films - Especially the second and third films. Many will argue that the Bourne films had unnecessary handheld camera work and to some extent it really did but it was there to set a mood. It was there for a purpose.

Another great example of when to use handheld camera work is if you are trying to get the effect of someone being spied on. Using handheld camera work with telephoto lenses to portray a "first person" or "perspective" shot from far away will give the feeling that the audience is spying on the person they are watching just as a spy would be as he hides from a distance and watches through binoculars.

When Not To Use It

On a basic level, it is unnecessary to use handheld camera work during scenes that are slow, not physically intense, or have no (or subtle) character movement. An example of this is if two characters are sitting at a table talking with each other. If the characters begin talking about really important things in the film, it is not only nice on the eyes to have a steady camera, but to have a steady camera that tracks in slowly toward the character to visually say to the audience, "Hey, this is important, pay attention."

A film that displays as a fabulous example of how not to use handheld camera work is The Blair Witch Project. This film, and films just like it, caused many people to vomit, or get sick in one way or another due to so much unnecessary camera motion. A real question to consider: Would you rather someone be watching your film the entire time... or be too busy vomiting their guts out to even notice that your film is playing in the background?

It is also a great idea to use dollies and smoothly track as two (or more) characters talk as they walk. It can be confusing to the audience if you shoot scenes like this with handheld camera work. They may think that the characters talking are being stalked, hunted, or other similar activities that psychologically portray something just as intense.

Notice:

If you can shoot an intense scene using steady camera work but can also still captivate the same sort of tension that handheld work displays by default, then you should consider shooting it with steady camera work if your budget allows. It will raise the production value of the scene and will also cause a lot less seizures in the audience.

In Conclusion

Keep in mind that these methods of when to use and when not to use handheld camera work are strictly on a logistical level and can vary depending on the mood you want to set for your film and the vision you want to portray to your audience. The important thing to remember is to always put purpose behind every shot you shoot.