Unchained camera technique

The Unleashed camera was a developed in the 1920s, leadership of the camera in the film. Whereas previously, camera movements were limited to vertical and horizontal panning a static camera or camera pans from cars or trains, and now the camera was moved by the surgeon himself or by technical equipment such as cranes or swings. The unchained camera added the aesthetics of the film in addition to the motion in front of the camera another raumerschließendes Add item.

The Unleashed camera was introduced by the German cinematographer Karl Freund in the 20s and rapidly gained acceptance. As one of the first movies with this camera technology is considered The Last Man by Friedrich Wilhelm Murnau from the year 1924. Friend assembled in this film, the camera, for example, on a bicycle, with which he drove out from an incoming elevator in the hotel lobby. In another scene, the camera was in a cable car. The subjective view, the lurching in one scene the main character began to be a friend by the camera strapped to his chest and the staggering imitated.

Abel Gance used the unchained camera in Napoleon ( 1927), by making them on a swing on the moving crowds of the National Convention or dancing ball swing away visitors. Even Alfred Hitchcock sat in his English films of the 1930s with fondness complicated, expansive camera movements.

Today, virtually all films are made with unchained camera movements. The term is therefore no longer in use and is run as a film- technical parameters of the camera - autonomy, which is set high or low depending on the style and requirements of the director. Dolly, hand-held camera and steadicam have become to create with rapid camera movements, zip pans, zooms and similar stylistic devices and dynamic voltage at least since the advent of video aesthetics of the fixed inventory of film productions.