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Great Steadicam Shots

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#1 Tammy Jones

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Posted 12 January 2004 - 04:47 PM

Could anyone share with me their opinion of great steadicam shots? I would like to do some research. Thanks.
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#2 JimBartell


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Posted 12 January 2004 - 06:49 PM

Here's a list of some of the most famous:

- Walking through migrant camp in "Bound for Glory" by Garrett Brown

- Running up steps in "Rocky" by Garrett Brown

- Tricycle riding & maze pursuit in "The Shining" by Garrett Brown

- Nightclub kitchen shot in "Goodfellas" by Larry McConkey

- Parking structure opening in "Bonfire of the Vanities" by Larry McConkey

I also recently stumbled across a great shot used as the opening of "Cradle Will Rock" by Jim McConkey

Jim "got here first" Bartell
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#3 Erwin Landau

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Posted 13 January 2004 - 03:02 PM

From the top of my head...

- The Walk through the Police station in "Raising Cain" (Larry McConkey)
- The Central Station in "Carlito's Way" (Larry McConkey)
- The Loading Dock scene in "Hoffa" (Larry McConkey)
- A couple of great running shots in "Out of Time" (Chris Haarhoff)
- The Bus scene "Fight Club" (Chris Haarhoff)
- The Cable car step off in "Mighty Quinn" (Jimmy Muro)
- The running shot on the Football field "Any Given Sunday" (Jimmy Muro)
- Long shoots on the base in "The Abyss" (Jimmy Muro)
- The Restaurant Scene in "Kill Bill" (Larry McConkey)
- The walk to the prision cell in "Murder in the First" (Kirk Gardner)
- Running shots in "Point Break" (Jimmy Muro)
- Long shots following Ed Norton in"American History X" Charles Papert
- Opening scene in "Snake Eyes" (Larry McConkey)
- a couple of grat shots in "Arlington Road" (Jim McConkey)
- Titles and credits in "School of Rock" (Jim McConkey)
- Opening plus many more in "Boogie Nights" (Andy Shuttleworth)
- Time square and many more in "Vanilla Sky" (Chris Haarhoff/Larry McConkey)
- Credits by Garrett in "After Hours" (Garrett/Larry McConkey)
- A couple of scenes in "Philadelphia" (Garrett)
- Whole film shot on steadi "Bulworth" (Garrett/Johnathan Brown/Dan Kneece)
- Again whole film shot on steadi "The Cooler" (Colin Hudson)

And many, many more...

Erwin "Yes, I actually do more then just watch movies" Landau, SOC
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#4 Mitch Gross

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Posted 13 January 2004 - 10:43 PM

How about the lovely work on this week's "Third Watch" episode #100? Commerical break to commercial break all one shot, so I guess 4 or five shots total for the show. Nice.
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#5 Brad Grimmett

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Posted 14 January 2004 - 04:07 AM

How about the lovely work on this week's "Third Watch" episode #100? Commerical break to commercial break all one shot, so I guess 4 or five shots total for the show. Nice.

I heard about that show but didn't see it. Who did it? Heard it was great.
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#6 David Allen Grove SOC

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Posted 14 January 2004 - 02:25 PM

Just one of my all time favorite Steadicam shots in a movie...

The last scene of "Much Ado About Nothing"

Length of shot: 4 minutes.
The Shot (summarized): Through a house, into a court yard, crane takes steadicam operator 90 feet into the air!
Number of takes: 19!
Operator: Andy Shuttleworth.
Difficulty: extremely
Job: Very nicely done!
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#7 Marc_Abernathy


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Posted 14 January 2004 - 03:43 PM

Blade II with Craig Fikse. this was his first feature if in not mistaken, and the Steadi shots he did in those tight spots were impressive IMO...
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#8 Anthony Hardwick

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Posted 15 January 2004 - 10:00 PM

Haven't seen it in years, but I seem to recall some very good work on DePalma's "The Untouchables." I can't recall if it was Ron Vidor or Larry McConkey, but I'm pretty sure it was one of the two. My apologies if I'm wrong altogether ;)
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#9 Will Eichler

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Posted 16 January 2004 - 08:23 AM


It was Larry on Untouchables.


Will Eichler
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#10 Tim Tyler

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Posted 16 January 2004 - 03:22 PM

- Parking structure opening in "Bonfire of the Vanities" by Larry McConkey

I was in the location dept on "Bonfire" and I remember watching the beginning of the first couple of takes that Larry shot starting in the parking garage in the Winter Garden building at the WFC.

Brian De Palma was in wardrobe as a security guard and riding on the back of the golf cart in the shot watching the shot on a small monitor.

I recall hearing later in the day that Larry got tripped up by a crew person mid-shot on a later take and got hurt pretty bad.

It's truly a fantastic shot, with credit due to both the camera and production departments. It may have been a record breaking shot too for it's length.
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#11 JimBartell


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Posted 17 January 2004 - 11:14 AM

It's truly a fantastic shot, with credit due to both the camera and production departments. It may have been a record breaking shot too for it's length.

Legend has it there was 5 seconds worth of film left in Larry's camera when "Cut" was called. Also, the part where Bruce Willis grabs the handful of fish and flings it against the wall was improvised to stall while waiting for the 1AC with the Seitz follow focus to arrive riding in the other elevator (not enough room in the elevator with the OP).

Jim "urban myth spreader" Bartell
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#12 Larry McConkey

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Posted 22 January 2004 - 11:29 PM

Well, the stories are close at least... I fell on the very first take, due to the introduction of an ice sculpture that extras were wheeling in front of the camera for the first time on the take. Up until then they had rehearsed with an empty cart to save the ice from melting. The extra weight slowed them up considerably. I was following the actors into the underground garage and I had choreographed the ice sculpture to wipe through frame between the actors and me before after which I planned to race in front of the group in time to back through a narrow doorway. Unfortunately there was an army of people trailing me who had to then race around and precede me through that doorway (Brian, Vilmos, AD's, sound, my assistant, etc.) and there really wasn't enough time. Someone tripped my AC, Larry Huston, who graciously offered his body for me to fall on top of. I was completely unharmed, as was the rig, but Larry H. had a nasty gash in his head. He refused a ride to the hospital so we could continue to work, and the nurse reopened his wound after every take to keep it from healing improperly until he could get stitiches. What a trooper!! Brian, who is a master tactician and strategist just hadn't considered this possibility: he stood over me, and after seeing I was OK said "I didn't think you could fall!" He had anticipated every potential disaster but this one. We did another 11 takes until dawn when Vilmos informed me that this last take "must be the one!!! The light at the beginning and end were perfect, and that WAS the one.

Each take was a full 500' and the shot was over when the end of the film flapped through the gate.

I wanted a device to let Bruce pass by me a little too close to the camera for focus in the elevator, and he came up with the idea of scooping up some Salmon Mousse, and twirling a little drunkenly past me. This also delayed the action enough for the rest of the crew (same group as before except for Larry H. and the boom woman with a wireless boom mike who rode with me) to exit the elevator next to us. They were timing their elevator to synchronize with ours on the way up to maintain a good RF link to the mixer. If the elevators rose side by side it worked fine, otherwise complete dropout. After exiting, I wanted to get back in front of Bruce so he came up with the Mousse Toss onto the wall thereby backing away from the camera enough to allow me to make a clean exit. There were many other devices like this throughout that I came up with to make the shot flow... I figure the more work everyone else does, and the less work I have to do, the better it will look...

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#13 IanMcMillan


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Posted 23 January 2004 - 10:27 AM

Well Larry,
I wont try and top that. But a great shot for its subtlety was done down here in oz by Ian Jones on Dead Calm. (Nicole Kidman, Billy Zane and Sam Neale) Its lo mode across the deck of the yacht shooting a rope. The rope trails off the side of the yacht and down into the water. Ian walks across the deck onto a plank that is supported in the water by a zodiac. he is lowered by the grips on a line from the mast. all the way down to put the camera inches above the water. Time and weather dictacted one take. its great. You'll have to watch the film to find out the importance of the rope. Buy the way Larry, at the SOA workshop I did with you in '90 you gave us a great lesson on dealing with directors. I'ts been invaluable. Thanks
Ian Mc Millan (macca)
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#14 colinhudson



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Posted 11 February 2004 - 04:11 PM

hey I finally figured this forum out, thanks to erwin sending the right link. I think I was stuck somewhere in 2001. Anyways, one of my favorite shots is from mark moore in the opening of outbreak. it flowed perfectly, and gave a real sense of what the film was about.

and thanks erwin for the nice compliment.

colin. (haven't put a picture up yet.)
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#15 guillermo nespolo

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Posted 11 February 2004 - 05:36 PM

ameli has great shots on low mode realy strange to see
it is a chase on the train station where she chasse the guy from the photo albulm
amelie freanch film i dont now the operators name
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