Cinematography: Handheld vs. Steady Camera Work

When to Use and when Not to Use Handheld 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