Road to perdition
Posted 12 February 2005 - 10:26 PM
Posted 13 February 2005 - 12:21 AM
Posted 13 February 2005 - 03:02 AM
Posted 13 February 2005 - 07:00 AM
The very last thing anybody could say about the late Conrad L. Hall ASC, is that he devised shots just for the sake of moving the camera in an interesting or spectacular way. Conrad was a purist in the most traditional way, and if he felt that a camera move wasn't appropriate for the story, he surely wouldn't do it.
Personally, I absolutely love the spirit-like POV in the beginning of the shot, as Hank's character is about to commit his last murder and finish this war. We are watching from above now, the pieces have fallen into their places, it is out of our hands now. Although the camera eventually gets lower, we never clearly see his face, simply because there is no emotion to see there. He is a killing machine, efficient and cold, and the camera move accentuates that with its precision.
Scott Sakamoto was the steadicam operator riding the crane, and you can see how tight his headroom is on Hanks, as the ceiling pieces are rushed into position when the crane comes lower and lower. A pan is always the best moment to hide the step off from a crane, and Scott's step off is simply perfect.
PRO vest, PRO arm and PRO 1 sled. The lens was a 21mm on a Millenium XL.
A brilliant shot, in one of the best photographed films of all times.
Posted 13 February 2005 - 12:15 PM