http://www.steadishots.org/ The latest shot additions to the growing Steadicam shots library. en-us Wed, 20 Apr 2011 08:35:33 GMT Wed, 20 Apr 2011 08:35:33 GMT afton@steadishots.org 300 300 http://www.steadishots.org http://www.steadishots.org/images/itunesgraphic.jpg Preceding his shots from Elephant, Mesa teams up with Van Sant and Savides to create wonderful, calm, serene shots that are beautiful to watch. Like the others, this one is no less amazing in its physical and technical accomplishments. Shooting profile, at such speeds with little to no horizontal roll is operating perfection. http://www.steadishots.org/shots_detail.cfm?shotID=329 Wed, 20 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=329 What a fantastic example of using the Steadicam to enhance the emotion of the scene. The pronounced, slow, disorienting use of dutch and odd angles throughout this shot help engage the viewer in the noisy, drug riddled experience that was Jim Morrison at a high class party. Further enhancing the feeling is a great use of different frame rates to play with the perception of time. http://www.steadishots.org/shots_detail.cfm?shotID=328 Tue, 19 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=328 Crane step-offs are relatively common compared to the vehicle step off. You trade the height of the crane for the speed of the car to add that deceptive element to the Steadicam shot. Great composition all the way through on this one.. http://www.steadishots.org/shots_detail.cfm?shotID=327 Tue, 19 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=327 Simply a classic shot from cinema history. This shot will undoubtedly appear in any montage featuring Patrick Swayze, Jennifer Grey, or just plain great movie moments. http://www.steadishots.org/shots_detail.cfm?shotID=326 Tue, 19 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=326 The speed combined with the distance the operator moves backward on this shot is remarkable. If the operator was able to get his or her way, hopefully there was a vehicle, rickshaw, dolly, segway, or something they were able to step on at the beginning in order to finish the shot. If not, in order to maintain a shot at this speed for this long traveling backward, would be a feat of physical endurance few of us would want to sign up for. ....perhaps there was some other incentive..... This video gained so much notoriety, it inspired a number of spoofs, including this amusing commercial for Guitar Hero. http://www.steadishots.org/shots_detail.cfm?shotID=325 Thu, 14 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=325 One of those shots that is near impossible to look away from. It's difficult to even know where to begin a discussion about a shot such as this. Perhaps the video should just speak for itself. There's some great behind the scenes information on the video here. http://www.steadishots.org/shots_detail.cfm?shotID=324 Thu, 14 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=324 One of those shoots we all hope to get someday. I'd like to say the featured element of the video is the camera crew, but I'd be very surprised if any of the naked women are Local 600. Behind the scenes of the shoot can be seen here. http://www.steadishots.org/shots_detail.cfm?shotID=323 Thu, 14 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=323 Similar to Garrett Brown's shot from Wolfen, Lundsgaard gets to put on his acting hat and play the predator stalking the prey. He kicks the whole thing off with a very cool step through a window... I wonder if it's Greg's hand we see pushing the window open... http://www.steadishots.org/shots_detail.cfm?shotID=322 Wed, 13 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=322 One of the rare times the operator could argue for an acting credit in a film... Garrett and the Steadicam assume the mind and eyes of the wolf as it stalks its prey. Great use of the elements in the park to maneuver around, heightening the tension of the scene. I'm very curious to know what faces Garrett might have been making while shooting. http://www.steadishots.org/shots_detail.cfm?shotID=319 Wed, 13 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=319 One of those shots that, as an operator, you REALLY don't want to mess up. Imagine the level of coordination involved in setting up such a shot. Background extras, camels, and a locomotive! Garrett is riding along as the train comes in, only to then step off whatever vehicle is carrying him and continue the shot. http://www.steadishots.org/shots_detail.cfm?shotID=321 Wed, 13 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=321 A great, subtle shot contrasting with the high paced action of the preceding battle. It's always a great crane step on when you don't realize until halfway through the shot that there's been a crane step on. http://www.steadishots.org/shots_detail.cfm?shotID=320 Wed, 13 Apr 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=320 A clever single-shot music video utilizing a number of effects, all of which done practically - i.e. no cuts or CGI. Although the shot doesn't cover much physical distance, the difficulty level is heightened by the specific cues, one after another, that needed to be hit. http://www.steadishots.org/shots_detail.cfm?shotID=317 Thu, 31 Mar 2011 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=317 As has been discussed in multiple shots on this site, some of the most challenging Steadicam operation is not the complex, fast paced movement of an action sequence, or dramatic scene of dialog. To the contrary, the Steadicam Operator's biggest challenge is the slow, delicate, intimate scenes such as this one. http://www.steadishots.org/shots_detail.cfm?shotID=308 Sat, 12 Sep 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=308 Any one of the elements in this sequence would be enough to frighten most Steadicam operators. Running, stairs, low mode, don juan, and more can all be seen both individually and simultaneously in this shot. The speed in this shot rivals the music video Sur Le Vif, yet it (and the equipment) predates it by about 8 years. http://www.steadishots.org/shots_detail.cfm?shotID=307 Wed, 15 Jul 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=307 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. http://www.steadishots.org/shots_detail.cfm?shotID=305 Wed, 03 Jun 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=305 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. http://www.steadishots.org/shots_detail.cfm?shotID=304 Wed, 03 Jun 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=304 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. http://www.steadishots.org/shots_detail.cfm?shotID=306 Wed, 03 Jun 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=306 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. http://www.steadishots.org/shots_detail.cfm?shotID=303 Sat, 30 May 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=303 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 2:35 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. http://www.steadishots.org/shots_detail.cfm?shotID=302 Wed, 20 May 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=302 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. http://www.steadishots.org/shots_detail.cfm?shotID=301 Wed, 20 May 2009 12:00:00 GMT http://www.steadishots.org/shots_detail.cfm?shotID=301