# Locked Off — camera technique | AIM Previz

https://aimpreviz.com/learn/techniques/static-shot

[Previz](https://aimpreviz.com/) / [Techniques](https://aimpreviz.com/learn/techniques) / Camera · Basic

# Locked Off

Locked Off is a camera technique: The camera does not move at all. A deliberate choice, not an absence of one — stillness reads as composure or as unsettling patience. In PREVIZ picking it sets the camera motion in Director and Infinitum.

Published 29 Sep 2026Updated 4 Oct 2026by the PREVIZ team

What it does to the frame

The camera does not move at all. A deliberate choice, not an absence of one — stillness reads as composure or as unsettling patience.

- **Reads as** — Artistic, Documentary
- **Difficulty** — Basic
- **Runs in** — Director · Infinitum

The control it moves in PREVIZ

- Camera motion Director

  Static Lock

  Perfectly locked tripod shot, zero movement.

  Speed: very slow · intensity: subtle · motion: static

  Best for: Dialogue scenes, establishing shots

Picking the technique sets these controls; it does not paste text into a prompt. The setting can be re-run, checked against the settings beside it, and carried into the next shot.

## Also in camera

Where the lens sits and how it moves: angle, distance, and the moves that carry a shot through time.

- **[Low Angle](https://aimpreviz.com/learn/techniques/low-angle)

Basic · Dramatic, Cinematic** — The camera sits below the subject and looks up. Reach for it when someone should read as powerful, imposing, or in control of the room.
- **[High Angle](https://aimpreviz.com/learn/techniques/high-angle)

Basic · Dramatic** — The camera looks down on the subject. The inverse of a low angle — it diminishes, and is the standard way to make someone read as vulnerable.
- **[Bird's Eye View](https://aimpreviz.com/learn/techniques/birds-eye)

Intermediate · Artistic, Cinematic** — Straight down from directly overhead. Flattens the scene into pattern and geometry, and detaches the viewer from the action entirely.
- **[Steep Overhead](https://aimpreviz.com/learn/techniques/overhead-steep)

Intermediate · Dramatic, Artistic** — Steeply down but not fully vertical. Keeps faces readable while a true bird's eye loses them — the usual choice when you want the detachment but still need performance.
- **[Profile Shot](https://aimpreviz.com/learn/techniques/profile-shot)

Basic · Artistic, Dramatic** — Dead side-on, ninety degrees to the subject's facing. Reads as formal and observational — you are watching rather than being addressed.
- **[Three-Quarter Angle](https://aimpreviz.com/learn/techniques/three-quarter)

Basic · Cinematic, Documentary** — Between straight-on and profile. The default flattering angle for faces — it gives the head volume that a square-on shot loses.
- **[Behind the Subject](https://aimpreviz.com/learn/techniques/behind-subject)

Intermediate · Cinematic, Dramatic** — Directly behind, seeing what they see. Puts the viewer at the character's shoulder and makes the environment ahead the subject of the shot.
- **[Over-the-Shoulder](https://aimpreviz.com/learn/techniques/over-the-shoulder)

Basic · Cinematic, Dramatic** — From behind and to one side, with the near shoulder in frame. The workhorse of dialogue coverage — it fixes who is looking at whom.
- **[Extreme Close-Up](https://aimpreviz.com/learn/techniques/extreme-close-up)

Basic · Dramatic, Horror** — A detail filling the frame — eyes, hands, an object. Removes all context, which is exactly why it reads as intense or claustrophobic.
- **[Close-Up](https://aimpreviz.com/learn/techniques/close-up)

Basic · Dramatic, Cinematic** — Head and shoulders. The standard shot for performance — close enough that the face carries the scene.
- **[Medium Shot](https://aimpreviz.com/learn/techniques/medium-shot)

Basic · Documentary, Cinematic** — Waist up. Holds the figure and enough of the room to read body language — the neutral shot most scenes are built from.
- **[Wide Shot](https://aimpreviz.com/learn/techniques/wide-shot)

Basic · Cinematic** — The whole figure with the space around it. Establishes where everyone is standing before the scene tightens in.
- **[Extreme Wide Shot](https://aimpreviz.com/learn/techniques/extreme-wide)

Intermediate · Cinematic, Artistic** — The figure is small against the landscape. Scale is the subject — the person is there to give the environment a size.
- **[Dolly Zoom](https://aimpreviz.com/learn/techniques/dolly-zoom)

Advanced · Horror, Dramatic** — Track in while zooming out (or the reverse). The subject stays the same size while the background rushes — the standard visual for dread or realisation.
- **[Push In](https://aimpreviz.com/learn/techniques/push-in)

Basic · Dramatic, Cinematic** — The camera moves steadily toward the subject. The most reliable way to tell an audience that this moment matters.
- **[Pull Back](https://aimpreviz.com/learn/techniques/pull-back)

Basic · Cinematic** — The camera withdraws, revealing context that was outside the frame. The reveal is the point.
- **[Crash Zoom](https://aimpreviz.com/learn/techniques/crash-zoom)

Intermediate · Action, Horror** — A violent snap to a tighter framing. Punctuation rather than movement — it hits a beat.
- **[Whip Pan](https://aimpreviz.com/learn/techniques/whip-pan)

Intermediate · Action** — A pan so fast the frame smears. Usually used to cut between two places without cutting.
- **[Orbit](https://aimpreviz.com/learn/techniques/orbit-shot)

Intermediate · Cinematic, Action** — The camera circles the subject while holding them centred. Shows an object from every side, or builds pressure around a person.
- **[Crane Up](https://aimpreviz.com/learn/techniques/crane-up)

Intermediate · Cinematic** — The camera rises through the shot. Conventionally an ending — it lifts away and lets the scene go.
- **[Steadicam Float](https://aimpreviz.com/learn/techniques/steadicam-float)

Intermediate · Cinematic, Documentary** — Smooth walking movement with none of the jitter of true handheld. Follows a subject through space without calling attention to itself.
- **[Handheld](https://aimpreviz.com/learn/techniques/handheld)

Basic · Documentary, Action** — Visible operator movement. Reads as immediate and unstaged — the reason news and vérité look the way they do.
- **[Tracking Shot](https://aimpreviz.com/learn/techniques/tracking-shot)

Intermediate · Cinematic, Action** — The camera travels alongside a moving subject, holding them in frame. Keeps them the fixed point while the world moves past.
- **[Rack Focus](https://aimpreviz.com/learn/techniques/rack-focus)

Advanced · Dramatic, Cinematic** — Focus shifts from one plane to another mid-shot. Redirects the viewer's attention without moving the camera or cutting.
- **[Dutch Angle](https://aimpreviz.com/learn/techniques/dutch-angle)

Basic · Horror, Dramatic** — The horizon is tilted. Signals that something is wrong — the most legible unease cue in the language.
- **[Snorricam](https://aimpreviz.com/learn/techniques/snorricam)

Advanced · Horror, Dramatic** — The camera is rigged to the actor, so they stay locked in frame while the world lurches behind them. Disorientation, or dissociation.

## Reads the same way

Other techniques that read as artistic or documentary — a light or a lens to pair with this move.

- **[Chiaroscuro](https://aimpreviz.com/learn/techniques/chiaroscuro)

Advanced · Dramatic, Artistic** — Extreme contrast between light and dark with very little in between. Borrowed from Baroque painting; the darkness does as much work as the light.
- **[Silhouette](https://aimpreviz.com/learn/techniques/silhouette)

Intermediate · Artistic, Dramatic** — The subject is unlit against a bright background, reduced to outline. Identity withheld — shape carries the whole shot.
- **[Blue Hour](https://aimpreviz.com/learn/techniques/blue-hour)

Intermediate · Nostalgic, Artistic** — The twilight window after the sun is gone but before full dark. Cool, even, and just bright enough to hold detail in the sky.
- **[Harsh Noon](https://aimpreviz.com/learn/techniques/harsh-noon)

Intermediate · Documentary, Dramatic** — Overhead midday sun. Short hard shadows and blown highlights — usually avoided, which is exactly why it reads as unglamorous and real.
- **[Practical Light](https://aimpreviz.com/learn/techniques/practical-light)

Intermediate · Cinematic, Documentary** — The scene is lit by lamps, screens and signs that are visible in the shot. Motivated light — the viewer can see where it comes from.
- **[Neon Lighting](https://aimpreviz.com/learn/techniques/neon-lighting)

Intermediate · Cinematic, Artistic** — Saturated coloured light from signage, usually two clashing hues. The look of a city at night in almost every film made since 1982.
- **[Moonlight](https://aimpreviz.com/learn/techniques/moonlight)

Intermediate · Horror, Artistic** — Cool, dim, directional light with deep shadows. Cinema's moonlight is a convention — real moonlight is far dimmer and has no colour at all.
- **[High Key](https://aimpreviz.com/learn/techniques/high-key)

Basic · Romantic, Documentary** — Bright and evenly lit with almost no shadow. The look of comedy, commercials and daytime television — nothing is hidden.
- **[Deep Focus](https://aimpreviz.com/learn/techniques/deep-focus)

Advanced · Dramatic, Documentary** — Everything from foreground to horizon is sharp. Lets action play out on several planes at once instead of directing the eye by focus.
- **[Tilt-Shift](https://aimpreviz.com/learn/techniques/tilt-shift-miniature)

Advanced · Artistic** — The focus plane is tilted off perpendicular, leaving a narrow band sharp across the frame. On a wide view it makes real places look like models.
- **[Film Grain](https://aimpreviz.com/learn/techniques/film-grain)

Basic · Nostalgic, Documentary** — Visible photochemical texture. Reads as film rather than video, and hides the plastic smoothness generated images tend toward.

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