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Six minute oner for Johnnie Walker by George Richmond


Ed Moore
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Nice, but I agree a bit boring. I think timing out the props locations so they were in the perfect spots was the most difficult part of that commercial.

 

As he pans around at the end you can see a bit of the wobble then suddenly the frame is frozen, to me it's a clear indication that image stabilization was used at the head and tail of the shot.

As the voice and mouth (and some of the hand gestures) do not match up, I can only assume they did studio voice over for an English version.

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from the operator himself:

 

"thanks for the email, alway a surprise to find out that shots are being discussed like this. i'm not a member of the forum, and have to confess this is only the second time i have looked at any of the discussions.

 

the shot was a steadicam shot, operated from a rickshaw and garfield mount. it was shot on red cam, there were two optical zooms during the shot and only the end frame was stabilized in post. ad agencies do some weird things because the original image was far more organic than the final piece.

 

nice to hear from you, very interesting to read the conversation on how the shot was done. i noticed that some had referred to the use of the xr stabilized head from wescam. unfortunately that head is not allowed to leave the shores of the usa unless it is going to war.

 

many thanks,

 

george"

 

I got in contact with George as this was keeping me awake at night. This was his answer

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Rickshaw, of course, would have been my choice for this shot too, obviously. (absolutely shameless plug) It really does allow you to concentrate on the shot.

 

Only the end was stabilized in post? Was the frontend? I'm just asking because dang, that was rock solid too. I didn't see ANY movement at the front. Very nicely done if no post in the front end!

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Great steadicam operating... what I miss is the sound of his steps, it's obviously dubbed but a part the out sinc also the ambient sound is missing in my opinion.

I mean I feel like I'm in the room with him and headphone set on our heads

Edited by Matteo Quagliano
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