My Sh*& Don't Stink and Yours Doesn't Either. What's the best shot you've done and why?

[Blaine Baker]

I've been a bit intimidated to post, but showed this to Janice the other day and she told me to throw it up here!

 

Probably my toughest shot in my young career. Finished putting together my rig in October, pulled this one mid november. Arri BL3, 50mm lens (if my memory serves me right...)

 

Started on an apple box, followed mom and son upstairs into bedroom and lock off. I think the biggest thing im dissappointed in was catching the end of the C stand by the fireplace, that video tap sucks and kept moving around so it might have appeared out of frame, when really it was in. Regardless, it was a fun shoot and the final product turned out great

 

https://vimeo.com/86280045

password: steadi

[Dave Chameides]

Blaine,

Thank you so much for posting that. I love that you did and like you said, your a professed newbie, but that doesn't mean you can't be stoked does it. Those were some tough frames my friend and lockoffs are indeed a pain in the arse. I liked how you played the corner on the stairs and also that you didn't try to pop up on head room with the mom but rather tilted up slowly and made it part of the move. Nice. DOn't sweat the flare and the gear. You're using a BLIII and moving tap for gods sake. Impressive. Keep up the good work, keep practicing, and keep posting!

[Matteo Quagliano]

I wasn't credited (since it was a sostitution) but all the moving shots are mine.

 

 

[Dave Chameides]

Sweet. Thanks for sharing. How great to be a part of something so awesome. I'm jealous. Good stuff.

[Matteo Quagliano]

Thanks Dave! I spent 5 amazing days in South Africa.

 

Another one: violence against women. Shot in Milan.

 

[Lars Erik]

Blaine,

 

I liked the shot. I think lock offs are difficult also. I usually start to sweat like crazy when doing lock offs. Probably due to intense focusing.

 

For a newbie shot that is great. I haven't posted anything I've done. Way too a coward. So respect to you.

 

PS! I didn't even see the C-stand.

[Mike Heathcote SOC]

Hey Dave,

 

First and foremost thanks for starting this great thread. I have really enjoyed everyone sharing their work and find it really inspiring. I would like to share two Steadicam oners from a TV series called “Remedy”. I was the B Camera/Steadicam operator. I hope to share more shots as the episodes are released over the coming weeks. I wanted to give a quick shout out to my amazing 1^st Assistant Rob Tagliaferri, we shot the entire series on Ultra Primes wide open and he kept everything sharp, a super talented guy and a great friend! I hope you guys enjoy the shots.

 

Thanks.

Mike

 

[Stig Indrebo]

Sweet operating, Mike :-)

[James Davis]

Beautiful work Mike

[Alan G. Kelly SOC]

One of my first shoots. One'r with a cast of small children. One big challenge was the height of the kids -that perilous height that required me to either drive the sled down the entire take or flip to hi-low mode. Problem was with hi-low mode I wouldn't clear the top of the door frame so drive it down I did ...my wrist loved it.

 

Between the kids hitting their marks, delivering dialogue and me hitting my marks we didn't get a print until take 17. Still did another 7 takes while everyone was in the zone.

 

There's lots of errors but I'm still proud of it.

 

Ultimately 24 takes -one print : )

 

Edited March 10, 2014 by Alan G. Kelly

[Lawrence Karman]

I'll throw in my 2 cents...

This video I DP'ed and operated Steadi for Chick-Fil-a was a very interesting concept: A oner going through a restaurant capturing different people, and then overlaying text with their personal situation.

In the fortune 500 world this became one of the most successful videos and copied by many other companies like Red Lobster and Dairy Queen.

On the technical side, it was a difficult shoot, as we had limited time, filming in a working restaurant. Getting the timing right with the actors that spanned from 8 to 80 years old wasn't that simple either, but all in all I think it turned out pretty good.

 

 

 

Been a while since I checked in on this thread. Great job Daniel!

[Dave Chameides]

Mike Heathcote, that was some crazy operating my friend. Absolutely solid. You make us all look better. Beautiful and thank you for sharing.

[Dave Chameides]

That's a tough one indeed Alan and I think we've all been there. Nicely done. It's tough keeping those frames sharp when your concentrating on slamming the rig down the low. Nice work and thanks for sharing.

[Alan G. Kelly SOC]

Thank you Dave.

[Charles Papert]

Well, I didn't really think I'd have anything to place in this thread, but last night I was skipping through the pay channels and happened across a shot from the final movie I operated, John Carpenter's "The Ward" (2010).

 

http://www.dailymotion.com/video/xrbx2y_john-carpenter-s-the-ward-2010_shortfilms

sequence starts around 9:00. Apologies if that site isn't available to overseas viewers. I don't think that clip is on Youtube.

 

A running shot master that is chopped up editorially. Had some very specific beats to hit in the midst of flat-out running. The semi-whip to reveal the ghost girl at 9:07 and again at 9:20, the latter being especially diabolical coming on the heels of a fast tilt down. And then, why stop at two pan reveals when we can do another one at 9:33.

 

I had a great time doing Steadicam for John Carpenter. Once I got him to stop referring to the rig as a Panaglide (!), we came up with a lot of fun stuff. The only thing he hadn't seen before, surprisingly, was the Garfield mount on the dolly, which we used a fair amount in shots like the one at :31.