Composing for motion, not stills
A frame that works as a photograph can still fall flat on screen. Here's how I think about movement when I compose.
A beautiful still and a beautiful shot aren't the same thing. Film happens over time, so the composition has to hold up while things move through it.
Every frame earns its place
Before I roll, I ask what the movement is doing. Is the camera revealing something, following someone, or simply holding still so the subject can move? If I can't answer that, the shot probably doesn't belong in the film.
Leave room for the move
I frame with the end of the movement in mind as much as the start. Space ahead of a subject, a door about to open, light that's about to change: these are the details that make a shot feel alive rather than staged.
Restraint is a choice
Not every shot needs a gimbal move or a drone. Sometimes the most cinematic thing is a locked-off frame and patience. Movement means more when it's used on purpose.