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>> So Kevin, earlier we discussed the various types of sliders that are out there. Now, one of the things that I found sort of challenging in my own regard when I'm out there filming is sort of the technique of using a slider, right. Because, you sort of have this tendency to go oh wow, it slides back and forth. Let me just move it back and forth sort of willy-nilly. But, in your mind, what motivates the slide? >> Well, it just depends on the mood of the shot. I mean, what you're trying to achieve is different for different scenarios. Some shots, I will get in here, and I will do a straight tracking shot.
So, I'm on this stool right here, just as an example. And a straight tracking shot would we be when I'm just coming right across the picture like this. And my tripod's not panning or tilting, it's just coming straight across. So that's one technique. And these are good that in independent films, and, and music videos if you want to reveal one of your characters into the frame. You know, instead of simply panning over, you can actually dolly over. It also adds a lot of depth to the picture. >> So Kevin, a lot of times when I'm looking at slider moves, I'm sort of thinking of that like floating camera thing where the camera's never quite at rest.
It's moving back and forth. You see that a lot in like political advertisements, interviews, that kind of stuff. How does that technique work? >> Well, that's called a tracking shot. And essentially, what's happening is that your subject is in the middle of the frame the entire time, and the dolly is panning left to right or right to left and keeping that subject in the center of the frame. So, essentially, the subject is still, but the background is moving. And it's really, really good for adding depth to a picture really easily. The way that I do it.
And a lot of people will do it with the tripod pan bar all like this. And the problem that I seem to have with it, most of the time, is that it's really hard to get that consistence. So what I do, is I will man handle it. I will get in here, which gets you closer to your camera, which is advantageous. But what I like to do is actually just track, just like that. I'm gently turning the head, as I move around the subject. And that gets you really, really consistent. A lot more consistent than you would if you were using the pan bar. >> Cool.
So let me ask you one more question about slider movements. How do you feel about slider speed? because I see a lot of videos on, you know, online. And people are just kind of like, whoo, it's almost like a whip pan, right. They're moving' real quick. >> Right. >> Are you motivated by what's going on in the scene, by how fast you're moving? >> Oh, absolutely. So, if you're shooting a scene that involves a lot of emotion. You know, it's kind of a romantic comedy, and it's a serious scene. You know, I wouldn't just go, oh my god. So emotional right now, and that's not exactly how you would convey that emotion in the shot. The better way would be to have something subtle.
>> Okay. >> A subtle push or a subtle track. So tracking slowly will allow you to add a lot of depth to that scene and add a lot of emotion, especially with scenes like that where you have kind of, an emoted scene. >> Yeah. And I think one ting Kevin, is that, like anything else with filming, it's, you gotta practice, right? >> Oh absolutely. >> This is something that you don't just go out with a slider day one and expect to get fantastic results. >> No. Not at all. Practice is key. The last thing you'd want to do, especially on a professional shoot, is show up and not know how to use your gear.
So setting it up in the living room, setting it up in the driveway, do what you gotta do to learn that gear so that you're fast, ready to go, and things are good to go on set when you're there. >> Absolutely. Cool. So that's a little bit more about slider technique. When we come back, we'll talk about one last aspect of using a slider, and that's versatility.
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