Reading Hamlet Act IV an hour ago and thinking of that Derek Jacobi slap--and here it is!

NOPE. Your "nothing" camera is actually a floating camera and it's a lot more pleasing and dynamic than static shots. Movies in my country (I won't say which) suffer from excessive static camera to the point that I exhale in relief when I watch floating camera throughout foreign movies. NEVER dismiss the bliss of heaven you have. You'll get it when new cinematographers simply decide to stop moving their cameras altogether. It's one hell you don't know yet.

In Cool Runnings I believe there is a shot following the bobsled and it enters a tunnel but does not come out the other side. That might be an example of x-Ray vision where the COAT doesn’t re-emerge after being obscured.

Any plans to talk about Villeneuve's Dune? Part One has some spectacular interior compositions, but Part Two is marred so hard with muddy, mediocre composition rooted in the shooting "both ways" IMAX/scope approach (inclusive for both, but focus for neither; neither ratio can include important information outside of the shared frame) you've already spoken about with Nolan. I think Villeneuve handles it better than Nolan - there's never unmotivated ratio switching as egregious as the "visual glitches" we see in Oppenheimer (Kitty getting off the horse, Senate Aide & Strauss opening the door are the two worst examples) but I think the film severely struggles from its inability to make strong compositions, so necessary to frame a character like Paul. I understand the inclination to shoot the landscape of Arrakis in wide shots, but honestly think it would be better (especially for framing the sandworms, and Paul) if the film was fully committed to a vertical ratio throughout. Would have loved to see the film take an actual audience risk like that.

The last shot would be a Seeking with a sprinkle of an Arcing as the camera turns away from one COAt to show another COAT while also reorienting our eyes to a new composition

Thank you for your efforts man, it's an opportunity to learn and appreciate the classics. I would love to see you analyze "Lawrence of Arabia".

A seeking camera makes the setting the center of attention.

Paul shredder film Dog eat Dog in minute 27 there is X Ray tracking when the character doesn't come out

The nothing camera movement is often just a way to stabilize the camera making for less shaky shots when shooting handheld

Another day, another banger from Moviewise. In another news, sky is blue. Hope this channel gets more views.

Very interesting. And if you'd wanted, you could have exclusively used Hitchcock and his masterful use of camera movement. At least in his earlier films. And editing? A joy to watch, even in lesser efforts like "Torn Curtain".

The danger with searching is that you get more shutter strobing. You can see it in the second shot, right at the beginning. When you’re not following a subject, everything is essentially background, and 24p gives you strobing. It’s one reason we follow subjects through lateral movements.

He might be a good director at times but he's a mediocre writer and a crappy person.

Always love your videos. Makes me feel like I'm in film school.

Are you looking for something or are you looking at something? If you are looking for something, what do you see while you are looking for it? If you are looking at something, how are you looking at it?

many thanks for your insights brother

I’m a simple man. I see a new video from MovieWise and click immediately.

I looove the humor in your videos!!! The subscibe joke was peak comedy! You should teach classes on how to make education an absolut delight

''What shall we hang? The holly or each other?''

Thank you for being the best thing on the internet! Regarding the x-ray vision shot where the character doesn't show up on the other side, technically I think we get that in the Owen Wilson part of The French Dispatch right at the end when he's being chased by the school boys and falls of the bike while out of view. Would that be correct?

Are there any books you would recommend on Filmaking?

Aaaaa poland metioned!!!

10:28 in the opening of The Conversation, on what seem at first like snipers, but are actually just sound spies or whatever, there's a high shot from the "sniper's" POV where it's following the two people they're supposed to spy on, and when they go behind some bushes, the camera X-RAYS, making the viewer anticipate for them to come out of the other side, but an old man does instead, and they never do come out.

Greatest KZbin video ever. ;)

In The Conversation in the opening scene where the camera follows the couple there’s a moment where they pass behind a tree and the camera does the x-ray movement but they don’t come up on the other side. Great video!!

This channel wont last much longer, surely such talent will be scooped up to make a film

Incredible way of breaking down the rationale and translating technobabble

Great way to call it. Following or seeking, that's the question!

Enlarge/X-ray as an unreliable narrator: the beginning of The Usual Suspects.

In answer to your question, you can find the exact shot you're describing in Lubitsch's 'The Student Prince In Old Heidleberg' (a great film) - kzbin.info/www/bejne/jpfGdmCahNtsgas - you can see it from about 49:13, though I'd recommend the entire thing.

What accent does Moviewise have. No motive, just interested.

Does X-men 2 count? We follow a shapeshifter who goes behind a wall as a middle-aged man and walks from behind the wall as a hot woman.

I thought Moviewise was Polish until he pronounced "Andrzej Wajda"

What film is at 6:02-03? Band /Orchestra shot zoom in

It looks like I'm unrefined. I enjoyed his first movies and I remember more from them than his masterpieces. I don't even remember when I stopped giving his movies a shot to bore me. Maybe I was too young when he was maturing as a director. I actually discovered him with after Annie Hall. Then I went back, laughed out loud with his earlier movies and when I came back to the "great" ones, they were so dull and depressing by comparison. I definitely didn't watch anything from the era in which huge Hollywood stars ran to his movies to seem deep and serious actors. I get the mastery of these movies, from watching this video. Doesn't make me want to watch them 😢

I can't thank you enough you change my whole career

Great channel. Always enjoy your stuff even when I disagree ... which is rare. The floating or buoy camera Altman employs is meant to be experienced as a "non-movement movement" or to put it another way, to read as largely imperceptible. Yes, it's probably overused nowadays, but when it is used correctly it can add vitality to an otherwise listless frame. It asks that the viewer subconsciously follow without insisting that they seek. There's a conversation about shot length here because I think it tends to work better in long-take situations. It's especially handy in talkie dialogue-driven movies where you don't wish to over-cut the action or over-stimulate the viewer (like most Altman films where you're also having to contend with a dense soundtrack). Another good example is the Winkie’s Diner scene in Mulholland Dr.

7:23 That arcing shot in Killers really jumped out to me actually while watching it… it seems to me those shots are only really effective when they can provide the audience with more information on top of being visually “appealing”… some directors just rely on sets with plenty of vertical lines in the background to give the static blocking some extra visual stimulation, when the “tensions building” and the “situations almost going out of control”, but unless it’s controlled or properly timed at the very least to reveal actors faces at the right moment, the shot really only does one thing… draw attention to itself. That Scorsese shot does at the very least reframe to show key characters but I feel like it’s also maybe a way to visually set up that shot later in the pool hall when Ernst gets taken away, regardless it was one of the few instances in that movie where I thought maybe he was doing a little too much, tho the alternative choice of some sort of cutting back and forth does feel worse and wouldn’t fit with the rest of the film

in terms of raw craft this is the best movie channel

You just convinced me to watch Spielberg’s west side story

I feel like if there’s going to be the xray seek that ends without a subject, it’d probably be in rear window, but you have a clip from that in this…

The Truman Show had something like what you're talking about. When Truman & Lauren are trying to sneak away from the cameras after the highschool dance.

I propose to call the "nothing" camera, the "vibing" camera

Maybe on the truman show but i dont know im not rewatching so see if there is a xray on it

I believe Rear Window has an X-ray vision shot where the person goes from one room to another, but never appears in the other room.

every time I watch a film now, I'll be looking for a shot where we follow character with x-ray vision without him coming out in the other side

MW, when will you learn not to impress me?

'The Passenger' by Antonioni has several shots in which the camera abandons the COAT, apparently seeking another but never does (stopping on a wide shot of the environment instead), this could suggest the film's theme of dissolving identity. It also ends with an elaborate "wandering" shot which leaves the main character in a hotel room, travels out the window and around a courtyard before returning to the room from outside to reveal, via the arrival of a new COAT, that the main character has died while we were "away". 'Blow-Up' also plays with obstructing our view of the COAT in several shots to create a sense of frustration at not being able to "see the full picture" at times, in keeping with the films themes of the subjective inadequacy of knowing the truth.

The Nothing camera movement is actually a combination of following, seeking, including, excluding, arching, revealing, enlarging, and reducing. It's the equivalent of kindergarten kids learning how to make the colour brown by mixing all the paints together.

This really is my favorite species of video that you make. Anything related to blocking and cinematography is always welcome.