In essense, objective technique is about creating passive transparency for the viewer. Angles used should be at logical eye level for a viewer, from a typical vantage point and covering a field of view similar to that of the human eye. For example, if a scene is taking place on a fire escape, an objective view might be from a building across an alley or looking up from the street. A crane shot would not be logical, and a camera on the fire escape suggests involvement of the viewer in the scene.
Motion picture lighting is an art all its own, using many special effects to make scenes seem natural. Once again, the objective approach suggests neutrality, to present scenes as one might find them, looking through an imaginary window into the scene. Deliberate lighting effects compromise the objective principle, thus lighting should create natural results: dark and hard to see at night and bright and well-lit during the day.
Camera movement is a powerful technique, used to imply motion, speed and a sense of immediacy. Objective techniques clamp down on a lot of cinematic staples. The camera cannot, when shooting objectively, pan or sweep in a way that is not consistent with an impartial observer. This argument can get extreme, since the imaginary window is not likely to be useful as the only impartial vantage point. Practically, camera movement should be discrete and smooth.
Once again, "neutral" and "natural" are key to objective technique. Unless one hour of screen time is going to represent one hour of the real world, the perfectly objective passage of time, thought must be given to edits and scene transitions. For instance, this might have a scene end at night in a bedroom, and the next starts with the same view the next morning. Similarly, wipes and dissolves should remain neutral, and not call attention to themselves.