The streets are filled with wonder. The tradition of street photo journalism Magnum-wise creates some interesting challenges when applied to the real-time image. Static frame vs living frame vs follow frame, the anchors of the image, change form when capturing street scenes and infer the sensitivities of the maker(s). At this time composition in motion borrows much from the still tradition and the departure from the static to a movement has considerable motivation.
The democratization sales conscious availability of near cinema quality video capture and processing equipment has allowed remarkable access to compositional abilities. Ultra fast lenses, high dynamic range, high ISO/smooth grain, precise tonal control, ubiquitous design and portability let the video camera get into places it's seldom had access. As one photojournalist friend recently put it, "camera's can see in the dark." I've also heard, "they make light," however it's put we can now see/show new layers to life, so long as the camera can be there.
In the world of the hypersensitive image capture stabilization is key to creating an alluring image. As an operator, even if you can control your movements like a military sniper you're still bound to introduce some jitter somewhere. In the interest of allure and ridding the frame of evidence of the camera the arguments against hand-holding defeat it with a wallop. An alluring image strives to a windowness quality and welcomes greater focus free of confounds. The camera image, to borrow from the study of robotics, places the viewer somewhere in the uncanny valley. The alluring image, even with it's lens flares and smooth rack focuses or other ubiquitous flourishes, fails at confounding the viewer. The camera image serves in the interest wonder and strangeness.