カメラワーク：それぞれの効果と、プロンプトで使うべき言葉

Dolly in. The camera glides slowly and steadily straight forward on a dolly, from this wide shot of the office toward the man at the desk, ending on a medium close-up of him counting the money. A real camera move, not a zoom: the perspective changes as the camera gets closer. He keeps counting; the woman stays at the window.

1990s film still on 35mm: a Manhattan executive office at golden hour. A young man in his twenties with slicked-back dark hair, in a loose chocolate-brown double-breasted suit over an open-collared cream shirt, sits at a large mahogany desk counting a stack of hundred-dollar bills; a young woman in a black satin strapless dress and long black opera gloves, platinum hair in soft waves, stands by the floor-to-ceiling window behind him, the skyline outside. Wide shot from the doorway, symmetrical, warm window light, true-to-life colour, fine film grain.

Dolly out. The camera starts close on his face and moves smoothly straight backward on a dolly, revealing the black sedan, the driveway and the fountain around him. A real camera move, not a zoom. He stays still and looks just past the lens. Slow and steady.

1990s film still on 35mm: close-up of a young man in his twenties with short dark curly hair and a light stubble, in a cream linen suit over a terracotta knit polo and gold-rimmed sunglasses, standing in a mansion driveway in bright Los Angeles afternoon sun; a black 1990 sedan and a stone fountain softly visible behind him. An ordinary, unfamous-looking person, not resembling any celebrity. True-to-life colour, fine film grain.

Pan right. The camera stays in one spot at the roadside and only turns horizontally to the right, following the red convertible as it drives from left to right along the coast road, so the cliffs and the ocean sweep past behind it. The camera does not travel or move closer. No camera equipment or people appear at the roadside.

An upright, correctly oriented vertical photograph, 1990s film still on 35mm, golden hour on the Pacific Coast Highway. The sky with a low sun is at the top, the ocean and rocky cliffs in the middle, and in the lower third the two-lane coast road runs horizontally across the frame from left to right. A small red convertible is at the far left edge of the road, driving toward the right. Shot from a tripod at the roadside. True-to-life colour, fine film grain.

Tilt up. The camera stays in one place and tilts slowly upward, from his polished boots, up his suit trousers and jacket, to his face as he straightens his skinny black tie: a young man in his twenties with chin-length dark hair. No sideways or forward movement, only the vertical tilt.

1990s film still on 35mm: low angle close on a young man's black Chelsea boots and slim black suit trousers standing on a marble hotel lobby floor, a brass revolving door and crystal chandeliers softly behind, warm morning light. Only his legs and boots are in frame. True-to-life colour, fine film grain.

Whip pan. The camera holds on the doorman for a moment, then swings very fast to the right with strong motion blur and stops sharply on the young man in the leather jacket walking toward the camera. One quick horizontal whip from left to right.

1990s film still on 35mm, at night: a Sunset Boulevard sidewalk outside a nightclub under warm tungsten streetlights and a brass entrance awning. A doorman in a black overcoat stands on the left; on the right a young man in his twenties with messy dark curls, a boxy black leather jacket, wide black trousers and a silver chain walks toward the camera. An ordinary, unfamous-looking person, not resembling any celebrity. Warm amber light only. True-to-life colour, fine film grain.

Crash zoom in. The camera does not move; the lens zooms in very fast, in under half a second, from this medium wide shot to an extreme close-up of her eyes as she smiles. A sudden, punchy zoom, then hold.

1990s film still on 35mm: a young woman in her twenties with long blonde waves and gold hoop earrings, in a black satin slip dress, leans on a polished wooden bar in a hotel bar, chin resting on her hand, looking toward the camera; brass lamps and bottles behind her, warm light. Medium wide shot. True-to-life colour, fine film grain.

Crash zoom out. The camera does not move; the lens zooms out very fast, in under half a second, from the close-up of the birthday cake to a wide shot of the whole dinner table, the man and his friends applauding. A sudden zoom, then hold.

1990s film still on 35mm: close-up of a pink frosted birthday cake with lit candles on a white tablecloth in a wood-panelled steakhouse; a young man in his twenties with a bleached buzz cut, in a black suit over a white tee, leans in behind the cake, slightly out of focus, warm lamp light. True-to-life colour, fine film grain.

Tracking shot. The camera moves sideways alongside her at walking pace, keeping her the same size in the same place in the frame, while the shop windows and palm trees slide past behind her. Smooth, like a camera on a dolly track.

1990s film still on 35mm: a young woman in her twenties with a sleek blonde low bun, in an oversized grey blazer worn as a dress with black tights and black loafers, a black handbag on her arm, walks along a Beverly Hills shopping street past boutique windows in bright morning sun, seen from the side at walking height, medium shot. True-to-life colour, fine film grain.

Handheld camera. The camera is held by a photographer in the crowd: small natural shakes, slight drifts and quick reframes as the man steps out of the car and pushes through the flashing cameras. Documentary feel, not smooth.

1990s film still on 35mm, at night: paparazzi with flash cameras crowd a nightclub entrance as a young man in his twenties with a dark buzz cut and a small silver hoop earring, in an oversized black puffer jacket over a grey hoodie, steps out of a black town car; warm streetlights and camera flashes. An ordinary, unfamous-looking person, not resembling any celebrity. Seen from inside the crowd at shoulder height. True-to-life colour, fine film grain.

Orbit. The camera circles around her in a smooth half circle from left to right at the same distance, keeping her in the centre of the frame, so the red car and the palm trees swing past behind her. She turns her head slightly to follow the camera.

1990s film still on 35mm: a young woman in her twenties with platinum waves, in a cropped white faux-fur jacket, a pale pink top and wide white cargo trousers, stands beside a red 1990s sports car in a sunny palm-lined Beverly Hills driveway. Full-length shot, subject centred. True-to-life colour, fine film grain.

Dolly zoom, the Vertigo effect. The camera moves backward along the corridor while the lens zooms in at the same time, so the man stays exactly the same size in the frame while the corridor behind him stretches and the far door seems to rush away. Slow and unsettling. He stays still and stares at the camera.

One single continuous photograph, not a collage or split image. 1990s film still on 35mm, vertical frame: a young man in his twenties with short brown curls, in a navy suit over a pale blue knit, stands in the middle distance of a long hotel corridor, seen from waist up to above his head, centred. Behind him the corridor recedes in symmetrical one-point perspective: wood-panelled walls, brass wall sconces on both sides, patterned carpet, a closed door at the far end. Warm light, true-to-life colour, fine film grain.

Bullet time. Time stops completely: she and the poker chips are frozen in mid-air, perfectly still, while the camera alone travels smoothly in a quarter circle around her from left to right, showing the frozen chips from a new angle. Nothing in the scene moves except the camera.

1990s film still on 35mm: in a pool hall, a young woman in her twenties with sleek dark hair, in a cropped black leather jacket, flings a handful of red, white and blue poker chips toward the camera; the chips are mid-air, warm lamp light over the green felt table. True-to-life colour, fine film grain.