SteadiShots.org - Latest Shots

"Miami Rhapsody" - Mall Affair - Gerrit Dangremond

Wed, 03 Jun 2009 12:00:00 GMT

A great oner, incorporating our good old friend - the elevator. The most difficult element to shooting in working elevators, aside from the limited space, is the start and stop. When the elevator begins, the Steadicam wants to do its job and stay put. When it stops, it wants to keep going. Dangremond does a great job in this shot of actually fighting the function of the Steadicam for those two brief moments. Not allowing much, if any, movement to be introduced into the shot by the elevator. In McConkey's shot from "Bonfire", the sound crew rode up in the elevator next to the camera, allowing them to maintain radio connection with the mics. This shot appears to be completely ADR, and understandably so.

"Bad Boys" - Leaving the Train Station - Ted Churchill

Wed, 03 Jun 2009 12:00:00 GMT

I enjoy the suspense created when a film plays out the action in real time leading up to some climactic event. It's that age old feeling of knowing something the character doesn't and wanting to yell out a warning but can't. If you look closely, you will see the turnstile is missing, even though it makes a noise (thank you foley). Obviously, this was done specifically to allow the operator to move through behind the actor.

"Raising Cain" - Shot Commentary - Larry McConkey

Wed, 03 Jun 2009 12:00:00 GMT

In this video clip, Larry goes in depth, describing the process of choreographing and shooting the epic shot (watch it here) from "Raising Cain". Suddenly you see in order to make such a shot look effortless, a tremendous amount of thought and preparation must come first.... and also a legendary operator.

"Massive Attack" - Unfinished Sympathy - Dan Kneece

Sat, 30 May 2009 12:00:00 GMT

Before the digital age of unlimited takes, unlimited footage, and 6 pound cameras, music videos were still made... the old fashioned way. Starting with a very interesting closeup, backing up on a crane before settling back down to find the talent, much of what is interesting about this video is the action taking place in the background. Well choreographed and executed.

"Eurovision Song Contest 2009" - Performance Shot - Live - Karsten Jacobsen

Wed, 20 May 2009 12:00:00 GMT

This is the live to broadcast version of the behind the scenes rehearsal shot seen here. The specific shot in question can be seen at 2:05 into the clip. With this, we can see that not only is the operator focusing on the step off, not falling, and general framing. He is also performing dutch tilts and zooms during the shot as well. Very, very impressive.

"Eurovision Song Contest 2009" - Performance Shot - Rehearsal - Karsten Jacobsen

Wed, 20 May 2009 12:00:00 GMT

One of the most gutsy Steadicam moves ever caught on tape. The operator, mounted on a Segway, speeds down the aisle at a sprinter's pace. Upon reaching a small ramp at the edge of the stage, he dismounts and continues the shot on foot without slowing down. The live to broadcast version can be viewed here.

"Michael Clayton" - The Hit - P. Scott Sakamoto

Tue, 19 May 2009 12:00:00 GMT

An incredible oner this is, speaking for both the operating and the storytelling. The shot perfectly illustrates, in real time, the efficiency of the assassins as they carry out their task. By letting the scene and action play out, the audience is fully engaged with the action in its most raw form. No quick edits, intense closeups, or frantic camera movement to exaggerate the feel of the scene.

"Cellular" - Entering the Police Station - Gregory Smith

Tue, 19 May 2009 12:00:00 GMT

This shot begins as what we believe is a typical vehicle tracking shot, but continues to roll after the vehicle stops, the driver steps out and walks into the police station - all in the one take.

"Atonement" - Beach at Dunkirk - Peter Robertson

Tue, 19 May 2009 12:00:00 GMT

An incredible example of production coordination at its finest. Perhaps only bested by the 90 minute shot of Russian Ark - in terms of choreography and coordination anyway. There are elements of gunshots, animal cues, pyrotechnics, vehicles, special effects, and more that all had to both work perfectly and be timed perfectly. ...not to mention the majority of the footing was sand.

"Untouchables, The" - Police Headquarters - Gregory Lundsgaard

Tue, 19 May 2009 12:00:00 GMT

Although this shot doesn't cover a great deal of ground - primarily sticking in just the hallway, it is always very captivating when the audience knows of an impending climax and the scene is allowed to play out in real time. The anticipation created by using such a device is one that De Palma seems to love.

"Matt Costa" - Cigarette Eyes - Jacob Avignone

Tue, 19 May 2009 12:00:00 GMT

A very clever little music video shot in a single take. There has to be a great team effort behind the camera, constantly running around, resetting positions, props, etc in order to completely tell the full story within the span of the single song.

"Heroes" - First Day of School - BJ McDonnell

Thu, 05 Jun 2008 12:00:00 GMT

There are walk-and-talks, and then there are walk-and-talks. This here is the latter. Compositional consistency is spot on, but most notable are the pans from subject to subject. Especially from the daughter to father where there is a great change in height. To smoothly frame from one to the other without signs of correction takes a very skilled and confident hand.

"Running Scared" - The Playroom - Andy Casey

Tue, 03 Jun 2008 12:00:00 GMT

What starts out as a relatively routine Steadicam shot, ends up in an incredibly unique way. After circling the boy, the camera flies straight up, ending up high above the set looking straight down. Unlike in shots like Kill Bill Vol. 1, no wild walls or cranes were used in this shot. Instead, the operator was simply harnessed to some cables that ran through a hole in the ceiling. At the right moment, the cables were pulled and the operator, Steadicam and all, were hoisted up into position.

"Spiral" - The Artist's Apartment - BJ McDonnell

Mon, 12 May 2008 12:00:00 GMT

Similar to the other shot from this same film, any one of the moments in this shot could be used as a screengrab to represent the film - they're all visually beautiful. Although the Steadicam doesn't cover much physical distance, the movement is perfectly timed and orchestrated with the action.

"Spiral" - The Artist and the Model - BJ McDonnell

Mon, 12 May 2008 12:00:00 GMT

Each moment of this shot is excellent. It is essentially a collection of great compositions, each connected by very subtle, smooth movement. Great job by the focus puller in this shot also.

"Halloween" - Walk Through the Cemetary - BJ McDonnell

Mon, 12 May 2008 12:00:00 GMT

A nice oner covering a large amount of dialog and physical space. Some of the best moments of the shot include the subtle moves in and out of the dialog as the characters are talking close.

"Gabriel" - Hide and Seek - Andrew Johnson

Mon, 12 May 2008 12:00:00 GMT

Great cinematography in this shot. The continuous nature of this sequence really helps in establishing the space, and the position of the characters relative to each other. This is something that could certainly not be done as well with traditional cutting back and forth.

"In the Valley of Elah" - The Scene of the Crime - Charles Papert

Thu, 03 Apr 2008 12:00:00 GMT

Watch this shot a few times. Notice how the operator seems to be thinking one step ahead of the action at all times. Starting with a crane step-off, this shot is not terribly long, but contains a number of very specific cues, each one of which the operator lines up and hits every time. A very interesting cue to observe is as the actress rounds the police car, she is frame left with the paramedics previewed in the background, frame right. In an instant, the camera moves around, setting the paramedics as the focus of the frame having swapped sides with the actress. A similar "frame-swap" happens a moment earlier with the fellow in the police car.

"Third Watch" - Act 2 - Mike O'Shea

Sat, 01 Mar 2008 12:00:00 GMT

This episode of "Third Watch" features uncut takes for all of its primary acts. The operator, Mike O'Shea, was given the liberty of 45 minute breaks between takes. That amount of time between takes would normally be unacceptable, but considering the crew needed to reset for a shots that were 9 straight minutes, there was obviously a lot of work to be done. As well, the more rest given to the operator, the better his performance would be for each take.

"Third Watch" - Act 1 - Mike O'Shea

Sat, 01 Mar 2008 12:00:00 GMT

This shot features a very unique style of shooting a conversation in a moving vehicle. Instead of multiple camera setups, the single camera moves back and forth around the sides of the vehicle in one continuous shot.

"Thank You for Smoking" - The Captain and the Club - Tom Lohmann

Mon, 25 Feb 2008 12:00:00 GMT

A great use of Steadicam as a third-person observer of the scene. The operating down the large flight of stairs is excellent, even with a couple changes in composition. Amazing control is demonstrated toward the end as the camera circles around the captain sitting in the chair. Most likely, this was shot in "low-high" mode, which is often an awkward position to hold.

"Ugly Betty" - Zero Zero - Charles Papert

Mon, 11 Feb 2008 12:00:00 GMT

This shot is an excellent demonstration of the Steadicam becoming simply an extension of the operator's body. When the action is running at such a pace, as well as changing direction as many times as it does, anything but a 100% connection between operator and rig would lead to hesitations and imperfections that would clearly be seen in the shot. While any shot, regardless of pace, should be executed instinctually rather than reactively, this shot clearly demonstrates the importance of it. If the operator were to think about each move related to each action, the action would quickly get ahead of the camera, and the shot would fail. Muscle memory is one of the most important skills for an operator to develop. As we maneuver our bodies around our environments every day, even without looking, we're aware of where our feet, hands, knees, shoulders, etc are. We're generally aware of where the objects in our environment are relative to those parts, and we instinctually know how to move each part around the objects, avoiding collision. With enough time wearing the Steadicam, the operator will develop the same sense about the rig - knowing where it starts, where it ends, and what is around it, enabling them to move smoothly through the environment. ***The set designer would probably be displeased if a large heavy Steadicam had run into the glass table with the tall glass vases on it!

"Hoosiers" - Ejected - Randy Nolen

Sun, 10 Feb 2008 12:00:00 GMT

Some of this sequence's best moments are when the camera stops. Excellent composition when the ref and Hackman are arguing, with Dennis Hopper framed perfectly in the background. Another great moment is the final frame as the camera settles in the huddle on the sideline. Those final seconds of the sequence, the camera really takes on the role of one of the players on the court.

"Hoosiers" - Entering the Gymnasium - Randy Nolen

Sun, 10 Feb 2008 12:00:00 GMT

A shot in the same vein as a shot from The Terminal. We start out with subtle, quiet movement in the area outside the gymnasium. As soon as the gym door is opened, the noise, commotion and camera movement all kick in immediately elevating the emotion of the scene.

"Sinclair" - Sur le vif - Valentin Monge

Mon, 07 Jan 2008 12:00:00 GMT

An amazing physical feat of operating. A vast majority of this video is at speeds no slower than a jog, not to mention navigating stairs and other obstacles. The spaces in which they are shooting are too small for dollies, rickshaws or vehicles. It is 100% human, and 100% incredible.

"Garrett Brown, Thank You" - ...from Charles - Charles Papert

Tue, 30 Oct 2007 12:00:00 GMT

In 2003, the Steadicam Guild organized a "thank you" to Garrett for giving us all he has for the past 30 years. A number of operators participated in putting together short clips demonstrating their thanks. This was Charles's.

"Shining, The" - The Interview - Garrett Brown

Tue, 30 Oct 2007 12:00:00 GMT

One of the first notable Steadicam shots from the film. The wide lens and large amount of headroom helps to make the hotel appear very large cavernous. About this shot, Garrett will remark it's one of the first times he learned the importance of being able to land for a lock-off in a comfortable posture. Although 20 seconds might not seem like a long time, if it is take 30, and you're wearing 70+ lbs of gear, and find yourself in an uncomfortable position for a lock-off, that 20 seconds will seem very long.

"Full Metal Jacket" - Smokey Run - John Ward

Tue, 30 Oct 2007 12:00:00 GMT

Another shot running with the soldiers. There is a very clever device used in these shots from FMJ. Since the operator certainly cannot run as fast as the soldiers, and with the addition of smoke to the scene, it is not long before the subject would be lost. However, the operator places himself in the middle of the line of soldiers, so as one disappears, another is right there to take his place.

"Full Metal Jacket" - Let's Get it Done - John Ward

Tue, 30 Oct 2007 12:00:00 GMT

A great shot in low mode, running with the soldiers as they advance to their target. The inaccuracy of the frame at times, and shakiness of the shot was certainly deliberate to enhance the audience's experience as they run along with the soldiers. Additionally, Kubrick is known for being a perfectionist when it comes to his shots, and he didn't like something, we wouldn't be seeing it.

"Uptown Girls" - Serenade - Jim McConkey

Tue, 30 Oct 2007 12:00:00 GMT

Excellent control at slow speeds. The camera circles the couple on the bed. The motion is so well done, it can almost be mistaken for a dolly.

"King Arthur" - Circling the Horse - J�rg Widmer

Tue, 30 Oct 2007 12:00:00 GMT

This shot has some very interesting framing, almost creating an effect like the camera and actors are on a turntable. The subject of the shot, as well as the character dirty in the foreground are held perfectly as the horse circles the actor, creating a very interesting look.

"Harry Potter and the Prisoner of Azkaban" - Time Necklace - Alf Tramontin

Tue, 30 Oct 2007 12:00:00 GMT

Beginning with a smooth wraparound of the characters, the camera pushes in tight on a necklace, quickly pulling back for a visual effects sequence. When the sequence concludes, an excellent job is done running down the hall after the actors, even up a few stairs. At the end, the CG takes over again.

"Harry Potter and the Prisoner of Azkaban" - Nighttime Woods - Alastair Rae

Tue, 30 Oct 2007 12:00:00 GMT

Starting off with a well executed, fast run down the path, quickly changing to a nice, controlled slow movement wrapping around the tree as the characters catch their breath.