How to make the foreground closer without enlarging the picture when shooting?

You ask too many questions and need a long space. You can't answer all the questions at once. Please answer part of it first. What sports camera? By moving the camera position, or changing the optical axis of the lens, or changing the focal length of the lens, shooting in the lens is called sports photography. The photo taken in this way is a moving picture. Sports photography can be divided into: push photography, pull photography, shake photography, moving photography, follow photography, throw photography, lift photography, spin photography, and comprehensive sports using two or more methods.

All kinds of sports cameras have their modeling characteristics, functions and shooting precautions. First answer the modeling characteristics, functions and precautions of pushing, pulling and shaking.

1, the modeling features, performance functions and shooting precautions of the push lens.

Push shots have a clear subject goal, mainly to highlight the subject and details, and at the same time introduce the relationship between the whole and the part, the objective environment and the main characters in one shot. This subject and detail determine the direction and final placement of the lens. When the lens is pushed to the subject or detail, the field of view ranges from large to small. As the minor part keeps moving out of the picture, the subject or detail to be shown gradually becomes larger, which "forces" the audience's attention, and its left picture finally makes the subject or detail in the eye-catching visual center, giving people a distinct visual impression. For example, when shooting news, especially meeting scenes, we often make a panoramic view. Explain the environment first, and then push it to an important person who is speaking on the rostrum. This not only explains the environment, but also highlights the subject. For another example, when shooting an athlete standing on the podium to receive the award, it often advances from a panoramic view to a close-up of the athlete's face, so that the facial expressions and expressions that are not easy for athletes to see in the big picture or are excited or crying with joy are highlighted and emphasized, and the problem can be explained without words.

In the process of pushing, because the scene changes constantly, the subject changes from small to large, and the surrounding environment changes from large to small, so it has the function of continuously progressive montage sentences. Gradual montage assembly is an assembly method in which a large scene gradually jumps to a small scene, and the lens also transitions from a large scene to a small scene. With the advance of the lens, the subject in the picture changes from small to large, and can even fill the picture. At the same time, the environment around the subject has changed from large to small, from large screen space to smaller and smaller, or even disappeared. However, it also has the characteristics that montage assembly does not have: because the scene of the lens does not change at jumping intervals, it is constantly transitional and progressive, thus maintaining the unity and continuity of the time and space of the picture, eliminating the jumping and falsehood of the time and space transformation of the picture brought about by montage assembly, and it constantly changes from the big scene to the small scene, leaving the picture at the end, making the connection between the subject and the environment unquestionable authenticity and credibility. For example, in the TV documentary "Half a Century of Love", there is a scene depicting Guo Buliurunqiu and Jin Ruixiu, once imperial sisters, frying jiaozi in the kitchen. The picture begins with a close-up of them holding oil bottles and preparing to pour oil into the pot. Push the camera, and the left picture stops at the close-up of the oil bottle. We can see a drop or two of oil and then quickly put away the oil bottle. This shot vividly tells us that this pair.

Because pushing the lens makes the frame of the picture in motion, it directly forms the movement rhythm outside the picture, so the speed of pushing the lens can also affect and adjust the picture rhythm. For example, on a hillside, a Niu Gang ate a mouthful of grass and looked up at the distance while chewing. If you push the bull's head close-up at a slow and steady speed, it will give people a feeling of peace, tranquility and peace. The same picture, the same picture on the left, will give people a tense atmosphere if the speed of advancement is fast and short. Especially in a hurry, the subject becomes bigger sharply and the visual impact of the picture is extremely strong. For example, in the movie Lola Run, there is a scene in which Lola's boyfriend is chased and calls Lola for help in a telephone booth. At this time, the camera quickly pushed from the big view of a city to the close-up of a telephone booth, which showed his nervousness, terror and anxiety to the extreme and highlighted his loneliness in this big city.

Pushing the lens can also strengthen or weaken the sense of speed of moving objects. When we push and pat the person coming in the direction of the camera, the picture frame and the person form a reverse motion, and the picture runs towards the oncoming person. Two-way movement makes them meet in the middle, and its picture effect obviously strengthens people's movement, as if its movement speed is much faster. On the other hand, when pushing a person far away from the camera lens, the speed sense of the person far away will be slowed down by the same action.

When using the push lens to shoot the picture, we should pay attention to the accurate composition and focus of the left picture, the appropriate scene of the picture, the even speed of the push lens, which is consistent with the mood and rhythm of the picture.

2. Modeling features, functions and shooting precautions.

Pulling the lens is conducive to showing the relationship between the subject and the environment in which the subject is located. It gradually separates the picture from a subject, showing the surrounding environment or representative environmental characteristics of the subject, and finally stops in a space much larger than the subject, that is, in a continuous shot, it not only shows the image of the subject in the initial picture, but also shows the environment of the subject in the left picture. This expression from subject to environment is a kind of expression from point to surface, which not only indicates the position of this point on this surface, but also indicates the point and surface. For example, the picture begins with a reporter's report and ends with a traffic accident scene, which shows that the reporter is doing a live report on the accident scene. If the same scene continues to be pulled out and a family is watching this TV program, it seems that the focus of this report has shifted to the family's concern about this matter. In fact, only when the picture finally appears in a specific environment can the overall meaning of the picture be completed. It can be seen that the left picture with lens is the key to reveal the meaning of the picture.

From the beginning, the framing range and performance space of the shot-pulling screen are constantly expanding, and new visual elements are constantly entering the screen. The original main body of the picture and the constantly drawn image form a new combination, resulting in new connections. Every combination of images may lead to structural changes inside the lens. Some shots start from a part where it is not easy to infer the overall image, which is conducive to mobilizing the audience's imagination and speculation on the overall image. With the opening of the lens, the subject is from incomplete to complete, from part to whole. This mobilization of the audience's imagination itself forms the ups and downs of visual attention, making the audience actively participate in the understanding of the image of the picture, rather than passively accepting it. For example, the picture begins with a close-up cicada, and as the camera zooms out, a mantis appears, which immediately makes people worry about the fate of cicada. The camera continued to pull out, and a yellowbird appeared behind mantis, so mantis's fate changed. This kind of pulling lens not only gradually expands the visual space, but also gives the audience a brand-new feeling with the pulling of the lens. The change of the multi-structure of the picture urges the audience to constantly adjust their thinking with the movement of the camera, and to speculate on the change of the picture composition and the new meaning brought by the new plot. Different from the pull shot, the subject and the picture are shown in the picture from the beginning, and the audience is psychologically prepared for the relationship between the subject and the structure that has already appeared in the pull shot. Therefore, pulling the lens sometimes produces unexpected things, and it is easier to hold the audience tightly than pushing the lens.

Shot pulling is a form of vertical space change, which can form contrast, contrast or metaphor through the pictures in vertical space. Because the zoom lens can move through the lens, the distant characters appear first, and then the nearby characters and scenery, and then the foreground characters, scenery and background characters are all in the left picture, forming a structural echo. For example, the opening picture of a shot is a slogan on the wall, "No garbage here". As soon as the camera opened, the slogan was surrounded by rubbish. There is no doubt that there is a very obvious contrast between the images of these two pictures in front of each other, and the meaning of the pictures is clear at a glance.

When you pull the lens, the scene changes constantly, from small scene to large scene, which has the function of continuously montaging sentences backwards. In this respect, pulling the lens is just the opposite of pushing the lens, but they are the same, and both realize the change of the scene through lens movement rather than lens combination. Therefore, due to the integrity and coherence of time and space, it also has unquestionable authenticity and credibility in the performance of the picture. For example, in a news report, the picture is a close-up of a pen writing on paper. As the camera opened, the audience saw a disabled person who had lost his arms writing with a pen between his toes. The transition from close-up to panorama is uninterrupted, so the possibility of time-space and character transformation during picture editing and cutting is ruled out. The audience saw the real reality in the environment at that time through the full lens. Therefore, in the filming of documentary programs, we

The internal rhythm of pulling the lens is from tight to loose, which can play an emotional aftertaste better than pushing the lens. At the same time, because the expansion of the screen performance space reflects the distance and contraction of the subject, from the visual experience, there is often a feeling of shrinking, condensing and ending. In the last picture on the left, the subject seems to be an "exit" and a "curtain call" on the stage of drama. For example, a news story that reflects the lack of children's sports venues and green spaces in the city also ends with a shot: in the first shot, several little boys are playing football on the small lawn on the street, and cars are coming and going, and the camera gradually pulls open, and a panoramic view of a tall building under construction appears in the distance. At last, on the left, there are several boys chasing in the foreground and extraordinarily tall reinforced concrete buildings in the background. This shot also has some conclusive meanings, that is, one city after another is still encroaching on the already seriously insufficient children's activity space.

3. The modeling characteristics, functions and shooting precautions of the panning lens (panning)

There are various forms of panning, such as horizontal panning that moves the optical axis of the lens horizontally, vertical panning that moves the optical axis of the lens vertically, intermittent panning with several pauses in the middle, circular panning in which the camera rotates once, tilting at various angles and so on. Different forms of translation contain different picture words and have their own expressive meanings.

Panning is like turning your head and looking around, so you can break through the limitation of TV picture frame, and use the motion of the camera to expand the surrounding pictures, broaden your horizons and contain more visual information. Translation focuses on introducing the terrain, stories or events of the environment and showing a broader visual background. It has the functions of a large scene and a wider field of vision than fixed the picture's. It has its unique expressive power in representing vast and far-reaching scenes such as mountains, grasslands, deserts and oceans. This method of expressing space and expanding vision by shaking the lens is usually done by shaking the lens evenly and smoothly at the speed of the distant or panoramic scene. Its purpose is to give a complete impression through the whole process of shaking, not to describe an object in detail. It pursues the overall image of the picture, not the description of the specific image. Because it expands the performance space of the picture, horizontal panning can be used for wider objects, such as bridges and dams across the river, and vertical panning can be used for taller objects, such as skyscrapers and TV towers, so that the whole picture can be displayed completely and continuously. It is the development of translation movement, which shows the whole picture and form of the subject and forms a magnificent momentum. For some themes, such as long emblems and flagpoles, smaller scenes can be used according to the characteristics of the objects, so that the objects can fill the screen and the meaningless parts can be excluded from the screen, so as to achieve the purpose of distinguishing the big effects with small scenes.

Disks can introduce and explain the internal relationship between two subjects in the same scene, and can also connect two subjects with opposite or similar nature and meaning through disks to express some metaphor, contrast, juxtaposition and causality. If the connection between three or more subjects is shown, the lens will roll over or slow down or pause, forming intermittent jitter and connecting several subjects. In the movie "Crossing the Ocean", when Yahai and Yazhan just escaped from others and fled to the seaside, the camera shook them into the sea and saw two killers coming from the sea to shoot with airships, which made the audience feel nervous about the protagonist and the situation as soon as they were relieved. Another example is shaking from the slogan "No Smoking" to the person who is smoking; From a flower to a group of naive children, the contrast factors in life are connected by two independent images, which makes its significance far beyond these two independent images, and has less traces of artificial processing than montage, which ensures the integrity of time and space and makes the information conveyed by the pictures more real, so it has unquestionable power in documentary programs. In addition, panning can not only establish some connection between two objects by shaking the lens, but also further explain the front object by shaking the back object, thus standardizing the audience's thinking. For example, the picture shows a person walking into a gate, shaking the camera and the post office sign appears. The picture clearly tells the audience through visual images that the person walked into the post office, not anywhere else. Because of the back picture, the meaning of the front picture is clearer. This seemingly unintentional but intentional expression is often used in film and television dramas, laying the groundwork for the subsequent plot development.

It is also convenient to display the dynamics, dynamic situation, direction and trajectory of the subject. For example, in TV sports programs, athletes can often be seen running, and the camera shakes with the running direction; When playing volleyball, basketball or football, the lens usually shakes with the direction of the ball. Especially when panning with telephoto lens, it is easy to separate the subject from scenes with different directions and different moving speeds, thus achieving the effect of highlighting the subject. In addition, a group of the same or similar picture subjects can appear one by one through translation, which can strengthen people's impression of this thing and form the cumulative effect of quantity and emotion. For example, in a feature film about family planning, there is a scene moving in the street. From the beginning of the lens to the left, people who are constantly moving and repeating appear on the screen. This panning lens prolongs the audience's visual experience of the crowd and deepens the impression of "crowding". Tell people vividly that no matter "energy crisis" or "water crisis", there is "human crisis" behind it.

In the shot combination, the current shot shows a person looking in all directions, and the space displayed by the next shot with shaking is the space seen by this person in the previous shot. At this time, the panning shows the line of sight of the people in the play and becomes a subjective lens. In addition, when the picture shakes away from the protagonist and shakes into the space where the protagonist stares, this kind of shaking lens also shows a certain line of sight of the people in the play and also plays the role of subjective lens. At the same time, translation can also guide the audience's line of sight from one place to another through the transformation of space and subject, and complete the transfer of the audience's attention and interest points. For example, an engineer is shaking scaffolding to the ground and analyzing drawings, which is the transformation from one scene to another.

When shooting with a panning lens, we should pay attention to the accuracy of framing and composition of the left picture, the accuracy of focus and the uniformity of panning speed, which are consistent with the emotional atmosphere and rhythm in the picture. (To be continued)

4. Move the camera (move the lens)

When the camera is moving, shooting is called panning, and panning lens is called panning. There are two kinds of shifting: shifting and shifting. The vertical movement makes the frame of the picture in a moving state, and the objects in the picture will keep moving away from each other whether they are moving or stationary. Mobile phone photography opens up the modeling space of the picture through the movement of the camera, creating a unique visual artistic effect. Television art expresses the picture of life through TV screen, but the scope of TV picture is strictly limited by four borders. Mobile phone photography makes it possible for TV picture modeling to break through this limitation. For example, lateral movement breaks through the limitation on both sides of this picture frame and opens up the horizontal space of the picture. Vertical motion breaks through the limitation of the screen in the vertical direction, and directly expresses the depth space of the screen through motion in TV pictures, especially when it is used to express large scenes, large depths, multi-scenes and multi-level complex scenes, which has magnificent modeling effect. And for more complex spaces, it has integrity and coherence in performance. There are more and more aerial shots in modern film and television programs, which show a complete space in a wider range and give film and television pictures more rich and diverse modeling methods. In addition to the characteristics of general moving lens, aerial photography also shows scenes rarely seen in people's lives with its high viewpoint, new angle, strong movement and fast pace. For example, in the movie Looking at the Great Wall, the majestic momentum of the Great Wall is often expressed by aerial photography. For example, in the TV series "Pingyao, a famous historical and cultural city", a long ancient street is panoramic with the forward-looking lens of aerial photography. These aerial photographs bring the audience's viewpoint into the air, overlooking and overlooking, expanding the capacity of the picture performance space and forming a huge momentum.

Mobile phone photography makes the camera a dynamic and active object, and the scheduling of aircraft position directly mobilizes people's visual feelings in motion or on moving objects. For example, the lens frame is in a speeding train to shoot the scenery outside the window, and the picture is like the viewpoint of the protagonist in the car, showing the scenery flying outside the window. If shaking the camera is "looking around" in the same place, then moving the camera is to restore the visual feeling of "watching while walking" in people's lives.

Matters needing attention

Mobile phone photography requires special equipment (such as shock absorbers) except for some special occasions. In general, there are two main shooting methods. One is to install the camera on mobile equipment, such as special camera, mobile car, wheeled tripod, lift car, various tool carts, etc., and shoot with the movement of moving objects; One is that the photographer walks past the human body with a camera on his shoulder. Both shooting methods strive for a smooth picture. In addition, when moving photography, we always use a short focal length photographic lens to achieve a uniform and stable picture effect.

Shock absorber, also known as camera stabilizer, is a kind of shock absorber that uses the body to support the TV viewfinder, which can ensure the stability of the moving picture. 1976 was invented by American engineer Bloom, and 1978 won the 50th Oscar Film Technology Invention Award. Modern photography increasingly uses camera stabilizers for mobile photography, such as movies, TV plays and large-scale theatrical performances.

5. Follow the camera (follow the camera)

In fact, follow-up photography is also a kind of mobile photography. Compared with shooting and moving photography, the picture always follows a moving subject, and the scene is relatively unchanged during the moving process. Generally speaking, the camera moves at the same speed as the subject, so the moving object is in a relatively stable state in the picture, while the background environment is always changing. The camera movement of the subsequent lens is based on the moving subject, and the environment is displayed one by one. The focus of this subsequent shot is to draw the environment through the actions of the characters. For example, follow-up shots are often used in movies to express chasing, and the main body is relatively unchanged, while the background is the expressway for a while and the Panshan Highway for a while. Through this follow-up, the audience can see that the chase has passed through many places and feel the hardships of chasing and fleeing.

When following, the position of the subject in the picture is relatively stable, and the picture is relatively stable to the scene of the subject. If it is a close shot, it will always be a close shot. If it is a long shot, the purpose is to make the viewpoint and sight distance of the audience and the subject relatively stable through a stable scene form, and to continuously and meticulously express the subject in motion. This method can not only highlight the subject, but also explain its direction, speed, posture and relationship with the environment. For example, there are scenes of riding a horse and riding a car in the film, which makes the subject relatively stable, forms the static performance of dynamic characters or objects, makes the movement of dynamic bodies coherent and clear, and is conducive to showing the changes of characters' demeanor and personality characteristics in the dynamic. However, if you want to make the motion more intense through the change of the subject's motion in the spatial position of the picture, you need to use a fixed lens. For example, if you use telephoto remote control to tune a car coming from both sides, the car will vibrate up and down, left and right because of uneven road surface, and the car on the picture will vibrate more obviously because the picture frame is static.

Follow-up shooting from behind, because the audience and the person being photographed have the same viewpoint, so they can show a subjective shot. The lens follows the shooting in a backward way, so that the visual direction of the lens is the visual direction of the photographer, and the space of the picture performance is also the visual space seen by the photographer. This unity of visual direction can show a strong sense of existence and participation.

Follow-up shooting is a form of recording people, events and scenes, which has important documentary significance in documentary programs and news shooting. The subsequent action of the subject directly affects the action of the camera. The shooting mode of the camera following the motion of the person being photographed reflects the passive recording mode, in which the motion of the camera is caused by the motion of the person. This performance mode not only makes the audience stay in the event and become the "witness" of the event, but also shows an objective record attitude. Although the camera is moving, the expression is passive, which makes us feel that the photographer is not the planner and organizer of the event, but the "bystander" and recorder of the event.

Precautions for shooting

When shooting with the subject, you should follow it accurately. In order to keep the scene of the subject in the picture and the relative position with the picture unchanged, the moving direction and speed of the camera should be consistent with the moving speed and direction of the subject. In addition, the change of focus, shooting angle and light caused by the camera following the subject is also a problem that needs to be considered and paid attention to.

6. Lift shooting

Lift photography is a special way of sports photography, and it is difficult for us to find corresponding visual feelings in our daily life, except diving and skydiving. It can be said that the image modeling effect of the lifting lens is very visual impact, and even gives the audience a novel and unique feeling. Lifting photography can expand and shrink the field of vision of the picture, that is, "climbing high and looking far". When the position of the camera rises, the field of vision gradually expands in depth, which can cross the occlusion of some scenes and present a large-scale scene from near to far. When the position of the camera is lowered, the camera gets closer and closer to the ground, and the space range of the picture that can be displayed becomes narrower and narrower. This shooting method is often seen in war scenes and large-scale literary evenings. It uses the change of height and the transformation of viewpoint to

Lifting photography can enhance the visual depth of painting space and cause a sense of height and momentum, so it is often used to express the scale, momentum and atmosphere of an event or scene. For example, during the group dance performance at the opening ceremony of a large-scale sports meeting, the lifting lens rises from a small scene to show the group dance scene in a large scene, giving people a sense of the scene one after another and a wide range.

When a tall object is displayed vertically, the lifting lens is different from the vertical swing lens. The vertical swing lens may be deformed due to the change of fixed position and viewing angle. Lifting lens can accurately reproduce all parts of fixed focus and fixed scene in one lens. Take the shooting of the same giant vertical slogan as an example. If the vertical dithering lens is used to dither from the top word to the bottom word, the font of the same size in the picture will change from small to large. When shooting with a lifting lens, the words in the picture are still the same size from beginning to end. (End)