{"id":6081,"date":"2016-11-05T15:16:46","date_gmt":"2016-11-05T15:16:46","guid":{"rendered":"http:\/\/tech-ops.co.uk\/next\/?page_id=6081"},"modified":"2016-11-05T15:16:46","modified_gmt":"2016-11-05T15:16:46","slug":"great-developing-shots-in-cinema","status":"publish","type":"page","link":"http:\/\/tech-ops.co.uk\/next\/great-developing-shots-in-cinema\/","title":{"rendered":"Great Developing Shots in Cinema"},"content":{"rendered":"

For developing shots in TV productions, click here<\/a>.<\/p>\n

\u201cThe Train\u201d<\/h2>\n

Geoff Fletcher<\/h3>\n

A memorable zoom shot is in "The Train". It starts on a W\/S of a railway marshalling yard and zooms in and in to a CU of a signal box on top of a  bridging gantry. It is a huge zoom,  and someone once told me it was a combination of an optical zoom and a pull up of the final frame at the end of the zoom range. True or false? When I watch it I think I detect an increase in grain over the last part of the "zoom" compared with the start, but I’m not sure.<\/p>\n

\u201cHugo\u201d<\/h2>\n

Bernie Newnham<\/h3>\n

The second shot on this is fun – all fake though:
\nhttps:\/\/www.youtube.com\/watch?v=svDYdh77JkA<\/a><\/span><\/font><\/a><\/p>\n

An excellent film if you haven’t seen it.<\/p>\n

Alec Bray<\/h3>\n

These locomotives are far and away too close to the end of the platform \u2013 and anyway there should be some buffer stops or similar devices between the front  of the loco and the concourse!<\/p>\n

     (Click on the picture below to see larger version:
\n     use your Browser’s BACK<\/strong> button to return to this page<\/em>)<\/p>\n

     
\n\"Hugo<\/a><\/p>\n

Compare this with Liverpool Street.<\/p>\n

     
\n\"Liverpool<\/a><\/p>\n

There are a number of videos showing how \u201cHugo\u201d was made.<\/p>\n

\u201cThe Passenger\u201d<\/h2>\n

Chris Glass<\/h3>\n

Film \u201cThe Passenger\u201d (1975) still has people discusing how they did it: the penultimate shot is here:https:\/\/www.youtube.com\/watch?v=ke2CFuLQ6t8<\/a><\/span><\/font><\/a> <\/p>\n

A true Jim  – \u201cDon\u2019t cut,  I\u2019ll do it all in one shot!\u201d<\/p>\n

Bernie Heigham<\/h3>\n

I think they pulled the bars apart at 05.15<\/p>\n

     (Click on the picture below to see larger version:
\n     use your Browser’s BACK<\/strong> button to return to this page<\/em>)<\/p>\n

     
\n\"The<\/a><\/p>\n

Keith Wicks<\/h3>\n

Yes. When the bars part, they do so unevenly \u2013 they don’t both move outwards at exactly the same rate. Also, the almost horizontal bar has some wire coiled around it at the RHS of the section where the break occurs. Presumably the wire disguises a noticeable join in the bar.<\/p>\n

Chris Glass<\/h3>\n

The picture below shows how it was done. There must have been a big pause as the crane cable took the weight (up a bit, no down a bit).<\/p>\n

     (Click on the picture below to see larger version:
\n     use your Browser’s BACK<\/strong> button to return to this page<\/em>)<\/p>\n

     
\n\"The<\/a><\/p>\n

Other films and commercials<\/h2>\n

Pat Heigham<\/h3>\n

Another excellent developing shot I remember was a Martini commercial (probably from a helicopter).  Train crosssing a bridge, camera moves ever closer until it looks through the dining car window, then tighter in to the label on a Martini bottle on the table!<\/p>\n

I don\u2019t know if it was achieved in a single shot or a cunning combination of  several set-ups? <\/p>\n

Geoff Fletcher<\/h3>\n

Great film shots: what about the opening sequence of Catch 22?<\/p>\n

David Brunt<\/h3>\n

\u201cCitizen Kane\u201d<\/p>\n

Alasdair Lawrance, David Brunt<\/h3>\n

There\u2019s an interesting long and complicated single shot opening sequence on another Welles film – \u201cTouch of Evil\u201d. <\/p>\n

     (Click on the picture below to see larger version:
\n     use your Browser’s BACK<\/strong> button to return to this page<\/em>)<\/p>\n

     
\n\"dev_shots_film_5\"<\/a><\/p>\n

back to TV for this comment!<\/H2><\/p>\n

Nick Ware<\/h3>\n

A great shot that gets me everytime I see it is this one from Eurovision 2009:
\nFirst in reasonably good quality (play loud!): 
\nwww.youtube.com\/watch?v=Mvx_pOqyNDU<\/a><\/span><\/font><\/a>  (the shot starts at 2’13")<\/p>\n

And then, the rehearsal, showing how he did it:
\nwww.youtube.com\/watch?v=3f3mUs7rS1I<\/a><\/span><\/font><\/a><\/p>\n

     (Click on the picture below to see larger version:
\n     use your Browser’s BACK<\/strong> button to return to this page<\/em>)<\/p>\n

     
\n\"dev_shots_film_6\"<\/a><\/p>\n

Eurovision steadicam <\/p>\n

<\/p>\n

 <\/h1>\n

\"ianfootersmall\"<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

For developing shots in TV productions, click here. \u201cThe Train\u201d Geoff Fletcher A memorable zoom shot is in "The Train". It starts on a W\/S of a railway marshalling yard and zooms in and in to a CU of a … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[],"tags":[],"class_list":["post-6081","page","type-page","status-publish","hentry"],"coauthors":[],"author_meta":{"author_link":"http:\/\/tech-ops.co.uk\/next\/author\/alec\/","display_name":"Alec Bray"},"relative_dates":{"created":"Posted 10 years ago","modified":"Updated 10 years ago"},"absolute_dates":{"created":"Posted on November 5, 2016","modified":"Updated on November 5, 2016"},"absolute_dates_time":{"created":"Posted on November 5, 2016 3:16 pm","modified":"Updated on November 5, 2016 3:16 pm"},"featured_img_caption":"","featured_img":false,"series_order":"","_links":{"self":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/comments?post=6081"}],"version-history":[{"count":2,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6081\/revisions"}],"predecessor-version":[{"id":6083,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/pages\/6081\/revisions\/6083"}],"wp:attachment":[{"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/media?parent=6081"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/categories?post=6081"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/tech-ops.co.uk\/next\/wp-json\/wp\/v2\/tags?post=6081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}