62 chapter 3 the Visual Language and aesthetics of Cinema in practice For video examples of pivot and dynamic cam- era moves, go to www.voiceandvisionbook. com. Review pan and tilt (with and from/to) at interactive Figure 3-27; track, dolly and boom at interactive Figures 3-33, 3-34, and 3-35; and a panning versus tracking comparison at interactive Figures 3-36 and 3-37. motivation and the moving camera Camera moves can look very cool, and because they do, they are one of the most over- used techniques in film. Your film, after all, should be about what happens to the char- acters and not about what's happening with the camera. So like all film techniques, you need a good reason to employ a moving camera. Camera moves should be motivated in two ways. First, conceptually speaking, a camera move must have a narrative func- tion, meaning that it serves as an important storytelling technique. If it is included just because it looks snazzy, then it will be a distraction rather than and enhancement. Second, the moment the physical camera move actually begins needs to be motivated within the scene. narrative motivation: reveal, conceal, or dramatic punctuation A camera move, whether it's a pan, track, or zoom, is a promise--it promises the viewers that they are going to get a new piece of information, a new perspective or