Something I'm very curious about -- how do you use your slider? What sorts of moves do you make? Wha

Something I'm very curious about -- how do you use your slider? What sorts of moves do you make? What sorts of opportunities do you hunt for? For me personally, the list of slider moves/opportunities in an events environment isn't large, and the slider is one of the first things to get left behind if I'm worried I'm taking too much gear. I'm very keen to see if you think about using your slider in different ways to this: 1. Reveals. g152 In practice, this seems to be how most people use sliders. Revealing brides

getting ready, revealing brides walking down aisles, etc. Tends to be placed at floor height, perhaps because of the visual interest added by low angles, but probably just as often because it's a pain to centre-mount sliders on tripods. Tends to be horizontal rather than vertical or diagonal. 2. Movement down a line, which in effect is a lot of little reveals. Eg: lining groomsmen's cufflinks up, or bridesmaids' shoes, and sliding down them. 3. "Keyframe to keyframe" -- moving from nice composition A to nice composition g152 B. Probably the main way dollies are used outside of an events environment -- the art of coordinating camera movement and actors' blocking. But given that events g152 are fast-moving and unplanned, I think you're only really going to see this sort of technique on staged shots, and probably only on furniture. 4. Pushing in and pulling g152 out. Very rarely: pushing through something, to make the shot more engaging, like a bead curtain or a fountain. You can, of course, create the illusion of pushing through something (like a fence) without actually moving through it. Given that any slider you have in an events envrionment is likely to be at the short end of the scale for ease of carrying g152 about,

you may need something to emphasise movement through space if you're going to push in or out -- objects g152 that you're going past as you slide. Pulling out can be a nice way to end a sequence, just as pushing in can be a nice way to start it. 5. Tracking a subject through something, with objects in the foreground to create perspective and interest. In a non-events environment, you might combine g152 this with a hand-off -- following a waiter who takes you from the protagonist's table at a restaurant to the antagonist's. 6. Combination move: combining the slider with a tilt/pan/focus pull, just for the sake of visual interest. For instance, coming around someone's letterbox and pulling focus to the house as an establishing shot. Doing a wide-angle low-angle of a dress, and dollying into it while tilting up to try to create

some sort of feeling of wonder. The ability to combine techniques in this way is a big advantage sliders have over Steadicams. Never actually seen anyone do a Hitchcock and combine a push in with a zoom out. 7. As a static composition substitute. Movement for the hell of it. For instance, you might slide next to an object, but pan subtly to keep it in the same position in the frame. I guess, g152 in almost all of these cases, the camera movement isn't as significant as in a movie. The psychology of the move isn't as careful, the meaning of the move isn't controlled. g152 Mostly, it really is just "visual interest", just icing on the cake...  
Never actually seen anyone do a Hitchcock and combine a push in with a zoom out. That's because we are not aiming g152 to produce a sense of unease in our audience:-) g152 BTW Thanks for the insightful postings analysing sliders & other tricks of our trade. __________________ _________________________________________________________ http://www.alicebarkerimages.com  
That's because we are not aiming to produce a sense of unease in our audience:-) BTW Thanks for the insightful postings analysing sliders & other tricks of our trade. Maybe it could be used on the groom while he's getting ready.  
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