steadicam operator


Adam Arkapaw: We used half a day to light and rehearse it, and then shot it for the rest of that day and half of the next day. We built replicas of the houses on our stage so the stunt team could rehearse it. Then we did a couple of scouts of the neighborhood to make plans, rehearse and see what equipment we’d need. The challenge of a long take is always to figure out how to light it without making too many compromises on the aesthetic you are going for. For that reason, we were pretty specific about what the camera would and wouldn’t see. There were small lighting units hidden almost everywhere offscreen. Getting the camera over the fence at the end was a fun thing to figure out. We ended up going with the age-old ‘grip jumping off the crane platform as the steadicam operator jumps on’ trick. (x)

Too many people to thank and praise for pulling this one off.  So instead here’s a moment that sums up why we love making this show: It’s 4AM in Bedford Stuyvesant, Brooklyn, and 8 below.  And we’re screwed.  Massively, unforgivably late after filming the shootout inside.  So we need to get the next scene in a oner – one big crazy shot to take us to commercial, which we’ll break up later with little additional pieces.  Stunt performers Nitasha and Declan sail out the second story window of a rickety old townhouse (with Nitasha breaking her collarbone but keeping it to herself until the take is done).  The amazing Shahi steps out, fires off a few rounds, walks up the sidewalk with steadicam operator Ron Baldwin in tow, admires a couple kneecapped guys, engages in a firefight with Paul Sparks and disappears.  Cut.  Amanda, Richard, Manuel, Mike and I look at each other.  Did we get it?  Then I hear it – a strange roar.  Even Brooklyn is silent at 4AM when it’s this cold.  What the hell is that?  We turn around and it’s the huge apartment building behind us.  The stairwells are filled with people watching the whole, bizarre enterprise.  And they’re applauding.

Jonathan Nolan, Production Notes, Relevance 2x16

Source: poirewatch