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How did the filmmakers get this shot back then?

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ryan elder
How did the filmmakers get this shot back then?
on Jul 30, 2018 at 4:27:42 am

My DP said I should get the steadicam for a lot of the shots I want, but I kind of want to save money if I can and not sure if I need it, but will get it, if it's a must for certain shots.

However, in the movie M (1931), in this scene, how did they do this steadicam like shot, before the steadicam was invented? I don't think it's a dolly cause I don't see any tracks, on the ground, so what do you think?







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Todd Terry
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 4:52:58 am

Dollys don't always run on tracks, you know.

When you have a smooth stage floor like that set had, they can run on regular wheels, sans track. That was obviously the case there.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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ryan elder
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 4:58:38 am

Okay thanks, that's what I thought maybe. We rented a dolly but we noticed that there is some vibration in certain parts of the track, when laying the track on the road. Is their normally this much vibration in the track?







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Todd Terry
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 5:02:59 am

[ryan elder] " Is their normally this much vibration in the track?"

Nope. Obviously some issue going on there.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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ryan elder
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 5:12:25 am

K thanks. I feel a bend in the tracks at the middle section so that could be it. However aren't flex tracks suppose to bend?


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Todd Terry
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 5:17:41 am

On a rough or uneven surface the track would usually be chocked/supported with wedges every so often (at whatever distances are needed) to keep the track good and solid at all points throughout the length of the run.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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ryan elder
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 5:23:58 am

Okay thanks. Is there any other kinds of dollies that might be worth looking into where the tracks were not so picky that we had to worry so much?

Like for example, are there any with a lot of shock absorption in the tires, that can absorb the shock?


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Todd Terry
Re: How did the filmmakers get this shot back then?
on Jul 30, 2018 at 5:35:30 am

Might be something out there, but I'm not aware of any legit camera dollys that have any kind of shock absorption. All conventional dollys (Matthews, Chapman, JLFisher, etc.) all have the wheels basically hard-attached to the frames, as they are made for use either on a solid smooth stage floor, or on solid dolly track.

If there is something like that, it would likely be something from the non-film world appropriated for film use.

For a smooth shot over rough terriain, that's usually when a stabilized camera will come in to play... Steadicam, Movi, Ronin, Osmo, etc. Or a cable-cam system where a suspended camera runs on a line (sort of the cinematic version of a zip line). Or, these days as often as not it might be a drone shot. I've done lots of ground-level drone shots in the past year or so that in previous years would have been dolly or Steadicam shots.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Mike Cohen
Re: How did the filmmakers get this shot back then?
on Aug 13, 2018 at 7:52:30 pm

on a perfectly smooth floor you could use a wheelchair with a person holding the camera


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ryan elder
Re: How did the filmmakers get this shot back then?
on Aug 14, 2018 at 11:48:50 am

Okay thanks, I tried using a person in the wheelchair before though, but the footage did have vibration in, and I was told it was because a wheelchair is just not meant for smooth camera movement. Plus with that set up, I would need one more crew person to push the chair, where as with a dolly, one person can move the dolly as well hold the camera, since the dolly holds it. So it's one less person that way.


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Bouke Vahl
Enough is enough
on Aug 14, 2018 at 12:00:40 pm

[ryan elder] "I was told it was because a wheelchair is just not meant for smooth camera movement."

Oh really? Who told you that? Someone on this forum? You did not know that before you were told? What did you think it was for, making smoothies?

Now stop this crap. You call yourself a director, direct. Make something. Figure things out.
A director makes decisions. You don't. You only ask questions in a way that a couple of very seasoned people do not want to answer you anymore, as your behavior starts to look like trolling.

Bouke
http://www.videotoolshed.com


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ryan elder
Re: Enough is enough
on Aug 15, 2018 at 1:39:32 am

Sorry I don't mean to troll, I just want the best product which has to be ordered, and want to make sure that it's worth the money. I can't experiment with these products, without ordering first, so I want to know exactly what I am getting and if it's right for me. That's all.

I am directing a project currently with a gimbal and will see how I like that one.


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Bouke Vahl
Re: How did the filmmakers get this shot back then?
on Aug 14, 2018 at 7:27:03 am

Did you try to zoom out / use a wider lens?
It will not solve the vibration, but will make it way less visible.

Bouke
http://www.videotoolshed.com


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ryan elder
Re: How did the filmmakers get this shot back then?
on Aug 15, 2018 at 1:42:59 am

As for zooming out, what if I want to dolly in on someone's face with a 85mm cause it looks better? I don't to be limited to wide lenses only, if the wheelchair does that, then perhaps it's not for me, if I can't go as high as 85mm even.


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