Camera movement that circles a subject in a complete 360-degree arc while keeping it centered in the frame.
The 360 Shot (also known as a 360-degree move, 360 tracking shot, or more fully, an arc shot) is a camera movement where the camera circles the subject in a complete 360-degree circular motion. The subject typically remains stationary and in the center of the frame, while the camera moves completely around it. The term derives from the arc shot (from English arc = bow): while a classic arc shot describes only a partial arc, the 360 shot completes the circle entirely.
This movement is used to heroically elevate a subject, build tension in confrontations, establish the surrounding space, or create disorientation, dizziness, and emotional intensity in the viewer. By isolating the subject from the changing background, the continuous movement draws attention to the central figure.
For a clean execution, one of the following methods is typically employed:
The camera height can be varied during the move to enhance the disorienting effect; similarly, the direction of rotation can be reversed mid-movement. A well-known special technical form is the Bullet Time effect from The Matrix, where around 120 still cameras were arranged in a circle around the subject, and the individual frames were interpolated to create a fluid circling.
A proven approach divides the circling into four quadrants: by filling each quadrant creatively, the circular movement is emphasized. If the camera and subject move simultaneously, the execution requires precise coordination between the camera team and the actor. Due to the complete circling, the lighting must be consistent all around, and the set must be illuminated 360 degrees without stands, lights, or crew entering the frame.
As a cinematographer, I plan 360-degree moves meticulously because the lighting has to remain constant as my position changes by 360 degrees. I work closely with the Gaffer to place light sources so that no harsh shadows or overexposures occur, and I test the move multiple times beforehand to find the optimal speed and the perfect starting point.
I use 360-degree moves deliberately as a dramatic device to amplify emotional peaks or to immerse the audience in a character's psyche. The movement must always serve the story – an unmotivated 360-degree move feels like an end in itself and distracts from the actual drama. I discuss with the cinematographer exactly where the move begins and ends to achieve the strongest emotional impact.
For me, a 360-degree move means extra time on set because the setup is more complex and requires more rehearsals. I budget at least an extra hour for setup and testing, and I make sure the necessary equipment is available on time. For more complex moves, I plan for a second shooting day in case technical issues arise or the desired result isn't achieved on the first try.
1. Zu welchem Department gehört „360-Grad-Fahrt"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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