Every year, thousands head to Los Angeles, CA with the hopes of becoming icons for the film industry. Those that are in the mix will you tell you it’s certainly not as easy as one would think. Overnight success is a rarity, and very few find the gleaming lights of public notoriety and stardom. If one wants to navigate properly through the maze of connections he or she can find help from those who have already found some success in the business.
Enter, Hollywood Connect. Hollywood Connect (HC) exists to “[equip] creative artists and professionals to thrive personally and professionally in the arts, media, and entertainment industries” (HC website). HC hosted a well-attended Q&A with Mr. Mark Atteberry recently, and in this gathering, Shun Lee Fong led discussion and then fielded several questions from the audience to get Mark’s responses. I took notes feverishly and thought to share the wisdom – with Mark’s approval, of course.
Over the past few years, handheld, jerky, and erratic motion of the video/film camera has become widely accepted for use in documentary, thriller, action, and suspense films. I’ve tried to do some research into the purpose of the method and to glean a set of standards for how it should be done, but there is not really much to be found. Below are my own observations on the subject, realizing that there will likely be some objections to my thought process. This is welcomed, as I also want to learn how best to use the lens as effectively as possible. A sample video is provided, below, to go along with the discussion.
Here’s a great article from Phil Cooke on handling cantatas, dramas, and videos for special days effectively… Prevent ‘The Easter Pageant Nightmare’ | Phil Cooke The Change Revolution.