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camera slider dollyTracking involves moving the camera through a location while maintaining a relative distance to the main subjects. Examples of this are when the actor walks down the sidewalk and the camera moves along in front of or behind the actor. The actual move could be executed using a dolly, or on some type of vehicle, or handheld. Steadicam shots fall into the handheld category, although the Steadicam rig allows for much smoother movements than simple handheld. Camera moves are in almost every movies and TV shows. When it is well executed you don’t easily notice them, but feel their impact. These are a few types of camera movements, but they make a lot of possible moves. The common camera position remains stationary while the camera’s orientation is changed in some manner. These are pans, tilt and zoom. The zoom shot was popular back in the day but has largely fallen out of fashion since it calls so much attention to itself. When such a change of composition is required today, most films opt for a push or pull move. The pan, tilt and zoom are essentially stationary shots since the camera doesn’t really move anywhere but is simply pointed in new directions. Moving the actual camera during a shot are categorized into dolly, tracking, crane, boom and handheld shots. Crane shots, as their name implies, move up and down and perhaps sweep around, at distances greater than a cameraman could do holding the camera. A boom shot is similar to a crane, except instead of raising or lowering the camera at the end of a long see-saw type crane, it is raised straight up or down on a center pole. A tripod can do this to some degree. The most subtle and powerful camera moves are accomplished on a dolly. Hollywood movies employ expensive, heavy dollies that hold the camera operator and assistant and are pulled or pushed along metal tracks by one or two grips. Think of a small train car and you get the idea. Handheld shots can go all over the place, and often times they do, calling attention to themselves or causing nausea in the viewer. Stanley Kubrick used it sparingly and to great effect in the military base battle sequence in Dr. Strangelove, while its most egregious overuses might be in The Blair Witch Project II, which could have won an award for best-sea-sickness-inducing camera work. With the popularity of smaller video camcorders and now DSLRs, ingenious designers have invented small, lightweight, cheap dollies that closely imitate the moves of camera slider dolly.