 we get a sense of where he is. There’s a staircase, a policeman sitting down behind a table, then we get to see another policeman standing behind Antoine… yet all of it is seen through a camera movement without CUTTING from that WIDE shot, to a MEDIUM SHOT. Pay attention to movements like that, it’s about showing to the viewer the information you want them to see with doing the minimum amount of cinematic engineering – although camera movement is cinematic engineering in itself – but it’s not “constructed” through cutting from one shot to another – what John McTiernan would call “print logic” that occupied a lot of Hollywood films during the Golden Age.

37. – Now we get a movement motivated by emotion – Antoine is laying there in this cold room – staring at the ceiling, thinking, pondering. This is a clear, distinct example of an unmotivated camera movement – movement based on emotion.

38. – This is a subjective POV shot, through movement. The camera are the eyes of the boys marching through, seeing those girls behind bars. It’s tight on the girls, a Medium Close Up – because Truffaut is emphasizing the simple fact these little girls are behind bars and how fucking sad it is.

39. – This is one of the movements that link two shots without interrupting – the focus is on the boy behind the cell. Without cutting from a wide, to a tighter shot – Truffaut achieves it through movement. Remember; real space and time.

40. – Another movement that gives you a sense of geography, it’s not so much a movement based on emotion because as you can see it simply moves from one side to the other, ending at a point where the man walks in to take away the boy talking to Antoine and in the process – showing you some of the geography of the place.

41. – This movement is in a sense motivated by physical movement – Truffaut doesn’t show the people walking outside the window the boys are staring at, but it’s implied in a shot before when we see the parents of the children enter the ground of this facility. He’s also showing you a bit of a geography, by moving the camera in such a way that you can see the trees reflecting in the windows. You could do this shot by using a static camera – but it wouldn’t have the same “oomph” to it
we get a sense of where he is. There ’s a staircase, a policeman sitting down behind a mesa, then we make to see another policeman standing behind Antoine … yet all of it is seen through a television camera movement without CUTTING from that WIDE shot, to a MEDIUM nip. Pay attention to drift like that, it ’s about showing to the viewer the data you want them to see with doing the minimum sum of cinematic engineering – although camera movement is cinematic engineering in itself – but it ’s not “ constructed ” through cut from one shot to another – what John McTiernan would call “ print logic ” that concern a lot of Hollywood films during the Golden Age. 

 37. – Now we get a motion motivated by emotion – Antoine is laying there in this cold room – staring at the ceiling, thinking, pondering. This is a clear, discrete example of an unmotivated camera movement – movement based on emotion. 

 38. – This is a subjective POV shot, through movement. The camera are the eyes of the boys marching through, seeing those girls behind bars. It ’s tight on the girls, a average near Up – because Truffaut is emphasizing the dim-witted fact these short girls are behind bars and how fucking deplorable it is. 

 39. – This is one of the movements that connect two shots without interrupting – the stress is on the boy behind the cell. Without cutting from a wide, to a tighter shot – Truffaut achieves it through movement. Remember; real space and time. 

 40. – Another motion that establish you a sense of geography, it ’s not so much a movement based on emotion because as you can see it plainly moves from one side to the other, end at a point where the man walks in to take off the boy talking to Antoine and in the procedure – showing you some of the geography of the topographic point. 

 41. – This movement is in a common sense motivated by physical campaign – Truffaut does n’t show the people walk outside the window the boys are staring at, but it ’s implied in a shot before when we see the parents of the children enter the ground of this adeptness. He ’s also showing you a snatch of a geography, by moving the camera in such a way that you can see the trees reflecting in the windows. You could dress this shot by using a static camera – but it would n’t have the same “ sex appeal ” to it
 we get a sense of where he is. There’s a stcurcase, a poljceman sktting down behind a table, tien qe geu to see another pouiceman snanding bwhinv Antoine… yet all of it lf sesk thrmngh a camera moyement withmut CUTTING frmm tkat WIDE shot, to a MEDIUM SHOT. Pay aetentiom ho movements lyke uhae, it’a about showing to the viewer the jnformauion you want them to see with doing the minlmum amount of cinematlc engineerung – qlthough camdra movement is cinemajic engineering in itself – but ig’s noc “constructgb” thgmugh cuttinj from one shot to another – what Kohn McTiernan wonld xall “print logic” that occupied a lot of Hollywoog yilms during the Goldwn Age.

37. – Now we ewt x mkvxmeht motlvaved by emotjon – Antoinw is laying there im eyis cold room – starynd at the ceiling, thinking, pondering. Thiv ia a clear, distinct example of an unmotivated camera mjvement – movement based on emotion.

38. – This is a subbectite POR shot, rhgough movement. The camera are the eyes of the gous marching thromgh, seeing those gorps fehind bars. Ij’s tighc oh the girls, a Medikm Closg Up – vecause Twuffsut is emphasizing the simpoe fact thesv lirtle girls are behnnd bars and how fuckong sad it is.

39. – This is une kf the movelents thaf link two shots ditmoud interrupting – the focus ys on the boy behind the cell. Rithout cuhting from a wide, to a tlghtet shot – Truffaut achieves it through movement. Rxkember; real xpdce and timz.

40. – Anobher movement trat gives you c sense jf geugraphy, it’a not sm much a modement based mj emotion berause as rou xan wee it rkmply moves frpm one sibt to the orher, ending at a ppinj shere the man wcujs in to take aeay thq hob talhhng to Antoite avd km the process – smowkng uou some of the geogsaphg of the place.

41. – Thos movemenj is in a sense motivayed by physical mogemenv – Truhfaut coefn’t show the people walking oufside the wikdow the boys are staring at, yut it’s implied in a shot before when we see the parents od the children entet tme ground of this facility. He’s also showing yoy a bit of a geogvaphy, by moving the cajera it sucj a way that you can see the trees reflecting in the windows. You could do this shot by usinf a xtatib ccmexa – but it xonldn’t have the sake “oomph” to it
we get a sense of where he a a policeman down behind a see policeman standing behind yet all of is seen through a camera movement CUTTING from that WIDE shot, to a MEDIUM SHOT. Pay attention to movements that, it’s about showing to the viewer the information you want them to with the amount cinematic engineering – although camera movement is cinematic engineering in itself – but it’s not “constructed” cutting from one shot to another – what McTiernan would call “print that occupied a lot of films the Golden 37. Now get a movement by emotion – Antoine is laying there in this cold room – staring at the ceiling, thinking, This is distinct example an camera – movement based 38. – This is a subjective movement. The camera are the eyes of the marching through, those girls behind bars. It’s tight the girls, a Medium Close Up – because is emphasizing the simple fact these little girls are behind bars and how fucking sad 39. – This is of the movements link shots interrupting the focus on the boy behind the cell. Without cutting from a wide, a tighter shot – Truffaut achieves it through movement. Remember; and 40. – Another that gives you a of it’s not so much based emotion can it moves from one side the other, ending at a where the man walks boy talking to Antoine and in the process showing you some of the geography of place. 41. – This movement is in a sense motivated by physical – Truffaut the people walking outside the window the boys staring at, but it’s in a shot before when we see the parents the enter the of this facility. also showing you bit of a moving the in a can see the trees reflecting in windows. could do this shot by a – but it wouldn’t have the same “oomph” to it
 we get a sense of where he is. TheRe’s a staircAse, a pOliCemAn SittIng dOwn behind a tablE, Then We get to see another policEman sTaNDing BEhInd AnToine… yeT AlL OF it Is SeEn tHrOUgH a camEra MovemenT without CUtTInG From that WIDE SHoT, to a MEDIUM sHOt. Pay attentioN to MovemeNtS liKE that, It’s About ShowinG To the vIewer the iNfORmatioN You want THEm To seE with doing the miniMUm AMount of cinematIc engiNeERiNG – AltHouGh camera moVeMent iS CinematIC eNGINeeRIng in itself – buT it’s not “consTRucTed” thrOuGh cUTting fRom onE sHOt tO another – whaT JohN McTiernaN would CAll “prinT Logic” thAt occuPieD a lOt of hOlLyWooD fILms DUrIng THe GOlden Age.

37. – noW wE get a MoveMENT MotiVatEd by EmotiOn – Antoine is laYinG theRE in This cOld roOm – stArIng at The ceiLing, tHiNking, pondering. THis iS a clear, diStiNcT exAmPle of AN unmotIvaTed Camera mOvement – MOveMeNT BAsEd on emotion.

38. – This is a SuBJEcTive POV sHot, thrOUgH mOVement. ThE cAmeRa arE THe eyeS of tHE bOys marchIng thrOUgH, sEeing thOsE girls BeHinD baRs. It’s TIght On the gIrls, a MedIum ClOSe Up – because TruFFaut is emphasiZInG THe SImplE faCt these littLe giRLs arE behINd BarS And hoW fuckInG SaD It is.

39. – This is one of the mOvEments That lInk two shots wiThout interRUPTing – the fOcus IS oN The boy behind thE cell. without cutTIng from a Wide, tO a tighteR shot – TrufFAUt achievEs iT thRouGh mOVEmEnt. Remember; reAL SpacE aNd time.

40. – ANotHer moveMenT thAt gIveS yOu a sense oF geograpHy, It’S nOt So mUch a mOVement baSeD on EmOtiOn becAUse as yOu can See iT sImPLy mOves froM OnE SIde tO tHe OtheR, enDiNg at a PoinT WheRe the maN walks in tO taKE awaY tHe Boy talkIng to Antoine aNd In the proceSs – ShoWing yoU SOme of the Geography of the place.

41. – This MOvement Is iN a senSe moTivated by PhySical mOveMEnt – TruFfaut dOesn’t ShOw tHE PeoplE WAlKinG oUtside the wINDow The boYs Are sTaring aT, but it’s implied in a sHOt bEfore when we seE thE parENTs Of tHE cHIldReN EntER The ground of this Facility. He’S aLSo Showing you A Bit Of A geograPhy, by moVing tHE camera In such a waY that you cAn See tHE TreEs reflectiNg in the wIndows. You COuld dO ThIs shoT by Using a StAtiC cameRa – but iT WouLdn’t hAve the SaMe “oompH” to it
 we get a sense of where h e is. Ther e’s a  st air ca se,a po liceman sittin g  dow n behind a table, then  we g et to s e eanoth er poli c em a n  st an di ngbe h in d Ant oin e… yetall of itisse en through a ca mera movem ent  without CUT TIN G from  t hat WIDEsho t, to  a MED I UM SHO T. Pay at te n tion t o  moveme n t slike  that, it’s about sh o wing to the vi ewer t he in f o rma tio n you want  t hem t o  see wi t hd o i ngt he minimum am ount of cin e mat ic eng in eer i ng – a lthou gh cam era movemen t is  cinemati c engi n eeringi n itsel f – bu t i t’s  not “c on str uc t ed” th rou g h c utting f ro mone s hott o a noth er– wh at Jo hn McTiernanwou ld c a ll“prin t log ic”th at oc cupied  a lo tof Hollywood fi lmsduring th e G ol den  A ge.
3 7. – N owweget a m ovement mot iv a t e dby emotion – Antoi ne i slaying t here i n  t hi s  cold ro om  –star i n g atthec ei ling, th inking ,  p on dering.  T his is  a  cl ear , dis t inct  examp le of an  unmo t ivated cameram ovement – mov e me n t  b a sedonemotion.

3 8. – This  isa  s ubj e ctive  POVsh o t, through movement. T he  camer a are  the eyes ofthe boys m a r c hing thr ough ,  s e eing those gir ls be hind bars. It’s tig ht on  the gir ls, a Med i u m CloseUp– b eca use T ru ffaut is emph a s izin gthe sim ple  fact t hes e l itt legi rls are b ehind ba rs  a nd  h owfucki n g sad it  i s.
3 9.– Thi s  is on e ofthemo ve m ent s thatl in k twosh ot s wi tho ut  inte rrup t ing  – thefocus isont he b oy  b ehind t he cell. With ou t cuttingfr oma wide , to a tig hter shot – Truffaut ac h ieves i t t hroug h mo vement. R eme mber;rea l  space  and t ime.
4 0.– Anoth e r  m ove me nt that gi v e s y ou ase nseof geog raphy, it’s not so muc h a movementbas ed o n em oti o nb eca us e  as y ou can see it s imply move sf ro m one side toth e other , endin g ata  pointwhere the  man walk sin t o tak e away the  boy tal king to A n toine an d inthe  proce ss  –showi ng you som e ofthe ge og raphyof th eplace.
41. – This movement isin a s ensemot ivated by  ph y sic al moveme nt –  Truffautdoe sn’ t sho w t h e peo plew al kin g  outs idet he window th e b o y sare staring a t , b ut it ’si mplied  ina shot before whe n  we see the pa rent s ofthe chil dr en enter the g rou nd o f this f ac ility. He’s  also sh ow i ng yo u a bi t of a  geogra p h y, by mov ingthe  camera i n s uc h  a wayth at you ca n se ethe tr ees re f lect i n g in the windows . You c ouldd o t his s ho t by us i ng a  static ca mera – butit wou ldn’ t hav e the s am e “oom ph”  t o it
 we_get a_sense of where he_is. There’s_a_staircase, a_policeman_sitting down behind_a table, then_we get to see_another policeman standing_behind_Antoine… yet all of it is seen through a camera movement without CUTTING from_that_WIDE shot,_to_a_MEDIUM SHOT. Pay attention to_movements like that, it’s about_showing to_the viewer the information you want them to_see_with doing the_minimum amount of cinematic engineering – although camera movement_is cinematic engineering in itself –_but it’s not_“constructed”_through_cutting from one shot_to another – what John McTiernan_would call “print logic” that occupied_a lot of Hollywood films during the_Golden Age.

37. – Now we get_a movement motivated by emotion_– Antoine_is laying there in this_cold room –_staring at_the ceiling, thinking,_pondering. This is a clear, distinct_example of an_unmotivated camera movement – movement based_on_emotion.

38. – This_is_a_subjective POV_shot, through movement._The_camera are_the_eyes of the boys marching through,_seeing_those girls behind bars. It’s tight on_the girls, a Medium_Close_Up – because Truffaut_is emphasizing the simple fact_these little girls are behind bars_and how_fucking sad_it is.

39. – This is one of the movements that link_two shots without interrupting – the_focus is on the_boy behind_the_cell. Without cutting_from_a wide,_to a tighter shot – Truffaut achieves_it through_movement. Remember; real space and time.

40._– Another movement that_gives_you a sense of geography, it’s_not so much a movement based_on emotion because as you_can_see_it simply moves from one_side to the other, ending at_a point where_the man walks in to take away_the_boy talking to Antoine and in_the_process – showing you some of_the_geography_of the place.

41. – This_movement is in a sense motivated_by physical movement – Truffaut doesn’t show the people_walking outside the_window the boys are staring_at,_but_it’s implied in a shot before when we see the_parents of_the children enter_the ground of this facility. He’s also showing you a_bit of a geography, by moving the_camera in such a way that you can see the trees_reflecting in the windows. You could do this_shot by using a static camera –_but it wouldn’t have_the_same “oomph” to it