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Knowledge of camera movement, shot size, and angle is essential for all skilled matchmove artists. When directors, editors, and cameramen refer to particular types of camera shots, the terminology can sound like a foreign language if you’re unfamiliar.

Understanding the language used for shot size/camera angles and combining them with the terms used for camera motion can help you identify and communicate the type of shot you have been assigned.

In this article, we focus purely on the lens, a component many consider to be the most influential factor in a film's look. But how does it influence the way we matchmove?

Matchmoving is becoming more and more of an automated process of tracking and solving. But there are still cases where the keen eye of the matchmove artist can save time by spotting potential issues that could derail your tracks and solve them.

In this article, we examine some of the camera acquisition types commonly used for film, television, and VR and outline some key factors and limitations that can make a seemingly straightforward matchmove take much longer than expected.