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Doug Walshe

Shots
Production Title Shot Name
Ayesha Ayesha Shot compilation
Outpost 11 Outpost 11
The Small Monty The Small Monty

  Q & A
Do you remember the first time you saw or heard of the Steadicam?
Yes, I was 9- I was watching Goodfella's. I was a bad kid.

 

What was it about the Steadicam that made you want to pursue it as a career?
Man, when I saw what you could do, where you could go and how you could emote feeling in a scene with this special instrument I decided to drop off the camera team and solely learn the art of Steadicam.

 

What were you doing prior to Steadicam?
Camera team, loading, focus pulling and low end DP'ing.

 

What were some of the biggest challenges you remember about becoming a Steadicam operator?
Learning how to keep the bloody thing steady.

Seriously though, pace, foot work, judging movement- long shots never pan out the same each time.

 

What are some of the biggest challenges now?
I can pretty much do everything on a rig, it's now about smoothing the 'lumps' out, getting my switch bang on every time and operating in Don Juan as well as I opperate in Missionary.

 

Did you ever have a "big break' moment? A career event that clearly changed or paved the way for everything to follow?
Being a new op', every talented Dop I meet is another break for me.

 

From whom do you take your inspiration? Has that changed over the course of your career?
I'm pretty much self taught, I have read a couple of books. I guess if I see a shot I really like I will innovate from it.

 

Is there a shot, film, or moment in your career that you can think of as your most proud?
As a new op, I get very excited when I achieve a new type of shot, be it longer, tighter or down a flight of stairs- however, recently I worked on a The Flyka (It's an electric dolly):

I used the Flyka on a BMX chase scene and was able to soft mount off the front of the kart in super low mode, travel along with the stunt man/BMX'er at speed then jump off and circle around him as he crashed and rolled, creating a fast and dynamic shot.

 

Is there a shot or film you can recall as being your most challenging? Why?
I recently worked on a Feature where they were asking for some really tight work, going through tight door ways which are up stairs and panning to make sure lights were not in the shot.

We got the shots, some were great, some were average. I think there's a limit, which I would now voice earlier on in production.

 

What work of your peers do you admire?
I'm a big fan of Richard J Lewis and Mike Scott in the UK, and from what I'v seen on this site- Chris Haarhoff, Larry McConkey and I really like Garret's staircase work in Bullworth.

 

Many people will say they've tried on a Steadicam once, and immediately thought, "absolutely not." What do you think is different about those of us that say "absolutely"?
I think some people are more suited than others, however, recently I've noticed your build doesn't negate the quality of an op'.

 

 

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