When you want to stamp "this is the hero" big at the moment the protagonist first appears or resolves to stand up. A StudioBinder piece on Michael Bay's direction explains his '360 hero shot' separately.
The StudioBinder video explains that this shot swings the camera quickly around the actor while keeping the focus on the character all the way.
To recreate it: Direct the move around the character short, no more than a half turn, so the face and background change less.
The same video explains that this shot needs a telephoto lens of 70mm or longer, and that the background blurs heavily, which gives a cinematic feel.
To recreate it: Include 'telephoto lens, shallow depth of field, background blurred', and the background streams by quickly while only the character stays sharp.
StudioBinder explains that when the camera moves fast, parallax appears because the foreground and background move differently, which adds a sense of depth. It also notes that Bay stacks layers in the frame with signs, cars, buildings, and street lamps.
To recreate it: Place objects like cars and street lamps in front of and behind the character in the start frame in advance, so the parallax comes alive when the camera goes around.
StudioBinder says this kind of fast move is done most expensively on a dolly track, but it can be recreated with a DJI Ronin-S gimbal too, and in the end the version shot by a person walking with the gimbal looked better.
To recreate it: With AI, write it as a smooth circling move like 'smooth gimbal arc around the two men' to prevent shaking.
StudioBinder sums up the shot to recreate as 'a shot that goes from a tight close-up filling the frame with a character, around the actors, to reveal a second character behind'.
To recreate it: Set the first frame as a close-up of one face and the last frame as a two-shot with both people visible, and put in both the start and end images.
The StudioBinder piece explains that Bay likes to stack light in multiple layers, so silhouettes often appear. In the original scene at 0:00 of the video, too, the character hangs dark against the sky.
To recreate it: Use a low viewpoint with the sky behind and include 'backlit against a bright sky' to set up the outline of the character.
Cinematic multi-shot sequence, 13 seconds total. Shot 1 (2s): static ground-level shot on a cracked concrete runway at sunset as heavy boots step into frame and stop, dust swirling; Shot 2 (4s): low-angle tilt up slowly from the boots to the face of a tall woman in a worn flight jacket against an orange sky; Shot 3 (3s): static low-angle cowboy shot of her pulling on gloves, jacket flapping in slow motion; Shot 4 (4s): low-angle arc halfway around her as she stands still, a parked jet and the sunset sweeping behind. Consistent woman and runway, golden backlight with rim light and lens flare, warm 35mm film colors, heroic resolve.
Looking up from below makes a character look big and strong, and revealing them slowly from toe to face builds anticipation of "who is that?" If the camera finally circles the character while the background streams past, it feels as if the world revolves around that person.
Ground-level shot on a cracked concrete runway at sunset as heavy boots step into frame and stop, dust swirling around them. Static camera, wide-angle lens, strong golden backlight, long shadows, 35mm film grain, rising anticipation.
Low-angle shot tilting up slowly from the boots to the face of a tall woman in a worn flight jacket, standing against an orange sunset sky. Golden hour backlight, glowing rim light on her hair, slight lens flare, 35mm film look, quiet confidence.
Low-angle cowboy shot of the woman pulling on her gloves and looking toward the horizon, her jacket flapping in slow motion. Static camera, warm sunset backlight, rim light, dust in the air, 35mm grain, heroic resolve.
Low-angle arc shot circling halfway around the woman as she stands still in the center, the sunset sky and a parked jet sweeping behind her. Wide lens, golden backlight, lens flare, rich warm 35mm film colors, epic heroic moment.
Build anticipation with a slow reveal that hides the face to the very end, going from the feet up to the face, and time it so the face is revealed on the frame where the riser sound effect ends. Stretch out the moment of putting on gloves slowly with a speed ramp, and finish by laying a hit sound effect (sound design: hit, whoosh, riser) on the final arc shot.
First make a start frame of the character so the face and clothes don't change from shot to shot, and begin by testing a simple one-direction move like a tilt up. An arc around the character can change the face or shake the background depending on the model, so direct it short, no more than a half turn, and check with a 480p draft. Put slow motion in at generation, and speed up only the fast sections before and after in editing.