Camera movement

And here, we had a different line originally, when we were still finding Hayley's character. That's right. And it was just too frivolous, and so we slipped this other line in, basically turned the sound off, read her lips, and said, what other words can I slip in there? This is getting exciting, is what you put in there. This is, now what you're gonna see here, the camera that we're using, we're using a combination of, that's a Rialto, it's a small handheld camera.

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There's Steadicam, and then there's a camera called a Stableye. We're gonna get real nerdy. We're talking about editorial. Exactly. Everyone loves this stuff, Chris. Stableye is like a handheld remote head. So you have somebody sitting at wheels operating the camera, and you have a camera operator who's carrying it, and the person operating the wheels, Chunky, is talking to Ross, the operator, who's moving the camera around while Chunky is panning and tilting the head.

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And you'll see there's some extraordinary camera work that you can't do with a Steadicam. Graphics on the bomb, again, very specific graphics that are exhaustive and really, you have so few frames to communicate so much information and you always want it to be fluid. And here comes one hell of a shot. This is done with a stable eye. Couldn't do that with a Steadicam. Yeah, going all the way down to the floor. To be able to jib down like that.

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Edward Berger

how we did it, we put the camera, we had this device called a Stabileye that we carried, that we hooked the camera up to and two grips carried it and then eventually to get it out of the trench we had to hook it on a techno crane who then lifted it out of the trench and then we created this diversion because it takes a bit of time for the camera to come off this

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Edward Berger

come off this crane, this techno crane. So we hooked it up. So we created this diversion, this explosion. And in order to gain three, four seconds in the time Heinrich Gerber could in the time sort of duck and be afraid of the explosion. And that was the time that the grips needed to get the camera out of the techno crane hookup and then carry it with this kit.

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Edward Berger

our actor and pan down at the right time. There's someone, the operator sits at a wheel and operates it from the wheel. Again, I think you can probably see it in the making of footage, how it works. And if not, Google a YouTube video of Stable Eye. They also used it on 1917. And that's where we actually sort of had the idea from to use this piece of equipment to be able to follow our actors in this mud. It's not a Steadicam territory.

30:48 · jump to transcript →

It was raining while we were shooting it. The snow is artificial, but you can't see the rain. But we were pushing the dolly down the hill, and then we had to then, at the very bottom of the hill, push it forward. And it took a whole lot of muscle to make that work. And then this camera move here...

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This was also a very difficult shot to achieve, and putting a dolly on a Viking longship is not easy. And the guys behind Alex had to, like, duck and throw his oar out of the boat in order to achieve this shot.

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worked so hard with me and Jarin Blaschke, the DP, on being able to articulate our vision. And with the horse falls and all this stuff, I mean, it was a nightmare. And we spent, I don't know how many times we visited this location with a viewfinder, restaking all these buildings so that they would all be built in such a way that we could achieve this shot and move the dolly through it and have enough room for the horses and see down the different alleyways to get enough depth.

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Nia DaCosta

So, there are a bunch of whip pans in this movie, which I don't usually do. But we have this rig, basically like a modified Trinity, that was really fun. And Simon Wood, our Trinity operator, who's amazing, he also does Steadicam, he does B-camera sometimes. But he basically changed the rig up because I'd asked for some different specifications and we ended up being able to do this really cool whip pan that sort of slams to a stop really directly on either side of the whip. So we thought, "Let's use that for the Jimmies," 'cause that's very much their vibe. Just madness and whip pans.

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Nia DaCosta

Cause the crowd all love Pulling Dolly

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Nia DaCosta

So, Jem Morton, my amazing key grip, he figured out how we could shoot, 'cause I wanted to shoot in front of them, but we were literally off of a cliff. So there was no way to, like, stand someone up in front of them to get a shot. So what he did was he built this amazing deck and he got the crane out there, like, as you can see, it's a drop-off there. So he got the crane out and had the arm out, and he gave us just a lot of flexibility here, which was great. So we're shooting a lot of these frontal shots off the crane. But that's like the least of what Jem Morton can do. He's just phenomenal. So I think this is our third film together, which is great. Aye, it

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Chris Lloyd with a shotgun. Chris was game, big-time, for this movie. He was just there for whatever you wanted to do. He was like, "Let's go." This is a very funny moment. Totally by accident, that thing was just there. Thank you, Roger Fires, production designer, for putting it there. - I think he was hinting. - Yeah? Because Roger also suggested... The ending that we had, I think, he didn't want to push. It was only when I went to hide there that David Leitch came up and said, "Hey, why don't you reach up and erase?" You know where David got it from? - Where? Rob, who was our dolly group. He was like, "That's a fun sign." I saw it in the morning, I'm like, "Kind of, maybe too cute." I was very cautious to not get too cute, but then Rob brought it up, David brought it up. At this point, everyone's reacting well. You'd be foolish not to embrace... If so many people are reacting to an idea, you gotta just take it, shoot it. You don't have to use it, but shoot it. - Yeah. And I'm glad that we did. I'm glad that Rob brought it up to public debate. Chris had a good time doing this. He's never done an action movie, and he's done every kind of movie. I don't think he's ever done one. Certainly not one where he... Wait. Blasting tens of people with shotguns. - Yeah. So he was game for it, big-time. Look at this guy. What a pro. What a great guy and what a pro. Super warm energy. Just... A very sweet man. And this is called Family Reunion, right here.

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