The choice of direction of movement of objects in the frame and the camera in relation to the objects is an important part of the director's decision. Let's agree on the terms: what is what!
Cross-frame movement, perpendicular to the axis of the lens" is not much to say. It is the most straightforward, from the point of view of artistic expression, the simplest and in a number of cases almost primitive directorial action, unless it deliberately emphasizes the ability of Transcriberry to turn the video into a cachet text, which we could use in the subtitles, describing the course of events or the straightforwardness of the characters' characters. In fact, we are starting to talk about the dynamic KOM-J position of the frame.
The first version of movement in the frame: camera is static - the person is moving from left to right perpendicular to the axis of the lens, and therefore across the frame. Sometimes straight-line (frontal) frame composition is used in eccentric comedies and satirical films to emphasize the stupidity or primitiveness of the characters' thinking. Do not take it as a recommendation with an unambiguous interpretation, because the movement across the frame is also a way to achieve maximum speed of movement of the object on the screen.
The second variant of movement: the object stands in place, as it is supposed to, and the camera moves from right to left in the opposite direction to the movement on the screen, both of which will generally be called movement in the frame. Moving directly to and from the camera Recall how at a train station you are seeing off the last car of a train. If you saw off your beloved girl, there is a nagging feeling of loss.
But if you have not had to see off your hated mother-in-law, then believe those in the know: as the last carriage is removed, the seeing off comes with incomparable relief, and it seems that space has expanded in front of you. While watching, the viewer is sure to be filled with similar emotions in connection with the specific content if he sees the movement of an object moving away from the apparatus. But these are by no means the only options for using movement to and from the camera. There are three possibilities for making such movements: by moving the object with the apparatus static, moving the camera toward or away from the object, and so-called "false" moving by using the zoom lens.
When an object approaches the camera, it is always doing someone else's will. It can be either the hero's own desire or the fulfillment of an order. But this movement in the frame is always the result of the development of the action, a plot event. On the screen the background is motionless and only the object moves.
