Actually, a big chunk of the BPS for this course, was shot on a monopod. Because of its small footprint and portability, the monopod lends itself to run and gone camera work, such as documentary, quick interviews and event videography. The monopod is much more portable than the tripod, and it is easier to adjust the height. Another standard tool that can accomplish many of the same motions as a tripod, is a monopod with a fluid head. On the tripod version, the viewer is not distracted by the camera movement, and can concentrate on reading the body language and facial expression of the couple, especially hers. And it doesn't match the cozy mood of the cafe, and the happy exchange we see. The handheld version provokes a voyeuristic feeling, like the couple is being spied on. Notice the difference in the camera shake. We set up a tripod to eliminate any trace of camera shake. But unintentional and exaggerated shake, is often distracting, and pulls the viewer out of the story. Some intentional camera shake, which we'll discuss later, can really charge a scene with kinetic energy. But above all else, a tripod is used to eliminate shake. I have seen people using tripods as a shoulder rig, and even as a cheap version of a steady cam. This is especially powerful in combination with a wide angle lens. Like, for example, we could convert a tripod into a by simply lowering one of the tripod legs, and slowly moving the camera forward or backwards. We could use a tripod in many other creative ways. Now, to the right, back to the left, that's a pan. With it, we can very easily achieve two of the most essential types of camera movements, pans and tilts.

Let's begin by working with a tool we all know very well, the tripod.

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