Impossible Hollywood Gimbal Shots With Chris Herr // Behind The Scenes

welcome to episode 2 of how they film that where we break down movies TV shows and commercials with the people who are actually there making it telling the real true behind the scenes the secrets of what happened on set and how they created these incredible filmmaking masterpieces and it comes in just whips it and at first I'm like oh that's why are you doing that but it's only two three seconds total all that work you did to figure that out make it happen in episode one we broke down Joker with Larry sure and today we have the incredibly talented DP camera operator and gimbal Master Chris hair showing us how they pulled off some of the most impossible gimbal shots oh okay welcome to episode two of breaking down feature films commercials high-end Productions with people that actually were on set shooting it um and in this episode we have Chris hair DP camera operator a lot of camera operating a little more dping nowadays heck yeah trying to move up in the world some of the things you've been on Straight Outta Compton stars born don't worry darling Obi-Wan Star Wars thing um a lot of commercials [Music] bowl that was like a very offshoot tangential thing but you know you also used to Vlog I used to Vlog yeah there's actually a movie we shot in Europe it was like a Chinese film with like some American stars and somehow I was able to like film everything to an extent like I couldn't film certain actors that's where I first saw you I used to watch the Vlog I think you vlogged before I even did YouTube and I was like oh I love this like please show me more like I'd be like just watching every single video to see if I'd get any glimpse of like like soccer techniques yeah what are you guys doing yeah and now now because of this whole thing we got Christine to sit down in Canada and Chris is gonna spill the beans and tell us what actually happened uh you know behind the scenes kind of like the the secret stories of how some of this stuff was made uh so we're gonna break down a few different scenes a few different really cool camera movements Chris is part of these like crazy you are like kind of pioneering in a way a lot of these like crazy movie gimbal move Wonder movements and and and so I think we're gonna break down some of those yeah um let's see if I can guess how it's done at first one I have in mind in particular okay let's go straight into it so the first thing we're going to break down is uh Robin Hood commercial you did yeah so we did this a couple years with back now but this was one of those calls I get where it's like hey we want to do a shot we start on a techno Crane and then the technocrine the camera comes off the crane into a moving city bus and then the bus drives down the road and the camera like goes through the bus and ends up like over the shoulder of a guy sitting at the bus I'm just like [Laughter] [Music] you like the challenges eh yeah you know and I kind of found that Niche for myself of like call Chris if you have to do this weird shot involving a lot of camera trickery something that's never been done before yeah so I'll just play that Robin Hood believes now is the time without the commission fees and account minimums so you can start investing today these are the commercials where you're like wait how did you what do you guys do are you guys handing it off in between every single bar or like how are you getting them just missed his stop yeah it's time to do perfect so what are you waiting for how do you guys what do you guys think how did you do that so he clearly came from some sort of crane technocrine obviously and then you're handing it off through the window where's the handoff here somewhere we try and bury it as best as we can so good you know it's kind of starting here I'm kind of reaching out of the bus and then you might have it fully now this is where it gets tricky like obviously we have to go around her head yeah this is the spot where you're like wait how did you guys do that but I can't like walk over the seat so I'll show you the BTS of this but essentially I have another helper there yeah so I have someone else taking part of it for this this bit but then you have a poll right there yeah so how am I continuing to like get around that it's like okay well how do you get into this yeah just like it's always like you're watching this you're like oh no they're not gonna go that no no no no yeah I'll show you the behind the scenes and you'll see what we did and it's maybe not exactly what you expect so if you don't know this is a technocrine which is like it's like a motorized crane what would you how would you describe a person who doesn't know it's like a jib a camera crane yeah weights on one end and the camera on the other except it's uh Dynamic right so you can extend the camera out and then there's a weight Carriage that moves back at a at the proper ratio to keep it balanced yeah but if you don't know what's going on you see this thing just start to extend out and extend out it looks like it's like defying physics right yeah that should just start tipping forward but it doesn't because you have like 2 000 pounds of steel on a motorized track going the other way perfectly balanced and yeah there's a guy what's with what's called a pickle hand control pickle whatever very like technical term um and that that has a little rocker switch for in for out and in so there's that control that's making you go forwards and back essentially and then you have the guy on the bucket that's swinging so he's swinging booming um and in this case we also had it on track right so the whole crane is on a track which is so the bus is driving the crane is on track so it can swing down and it you know I'll just play this real quick so you can see so it's moving on the track we're driving with the bus I take it now they have to retract it and get it out of that window before the bus takes off uh and you can see my little release mechanism I built getting disengage up there so it's this little clamp and done and that lets me then take it off how how do you guys rehearse that uh very slowly right so you first do it static you make sure that like when the crane arm's over it's at the right distance fully retracted right and that you have enough room to retract so the bus can drive away the grain operators are getting their marks for like how far whatever yeah so they're sending marks the dolly grips are setting there's just marks everywhere there's like six people involved in this and then the driver goes a little bit too far or something like that yeah but you know hopefully you have a good you actually have Precision drivers so they have like professional stunt drivers that would do something like this um but it's funny actually on the day we found out we didn't have as many lanes as we thought we were supposed to have like three lanes of traffic but we got relegated down to like the parking Lane in one driving lane which didn't actually allow us enough room to be able to get the crane in and then just retract out so they had to retract and then they had to follow the bus until they could swing out so you know you had to be really precise or else you're banging this like half a million dollar crane bus and just tell me that never happens you never break the stuff right it always works perfectly and oh we break plenty of stuff that's why there's Insurance oh yeah okay how do you okay show me how you get around the poles the next part how do you jump over that person yeah [Music] there's a helping hand oh yeah where are the poles oh there's no polls right of course the conversation there is like you know you're on the bus on the day and it's like we want to get the camera to go like through here and through here and I'm like uh uh and the shot has to be 15 seconds long yeah 10 second spot and you're like I I can't do that and then you're kind of looking like can we just pull the polls and like put them back in and post and the VFX guy is off in the corner like uh yeah yeah we can do it yeah that's why you guys have the little markers everywhere right oh I didn't even notice that yeah I think on the pull some of the other polls too I think they had markers on them okay or maybe not yeah oh yeah I keep my right hand on there and kind of and she's Pro you know she Ducks down uh yeah yeah you take back control but you know he's got to grab on somewhere else so I can scoop back in there that's so good and then the bus is moving which is challenging especially when you get up close to someone and you still had to just try to remember he's putting a hand on me because I'm very off balance there yeah yeah like this is full core engagement yeah and then we're on a really wide lens and then there's somebody touching the head too are you is somebody else controlling yeah with the kind of handoff situation like this you have a actually on the front of the bus the wheels are set up so there's somebody operating the roll kind of giving it this like floating feeling right there's somebody on pan tilt okay there's a focus puller and there's somebody doing Iris control so there's one two three four Iris control because you're going from outside to in or yeah so there's an IRS pull and the kicker too we did this shot like 30 40 times because we did during the day and then we did it during like the best light and then we did it at night because we're only doing two no this is the only shot we were doing this day because the whole commercial was this one shot so for me there's like added pressure too where it's like yeah there's no Cuts there's no nothing no riding nothing this has to work and it's all my stuff like my heads my release partially my concept you know along with the key grew up in the so if it doesn't work out yeah it's your fault I my truck was loaded with all my equipment if there's anything I forget I don't have to run back yeah yeah you can't run back and go there's no time yeah so that was kind of a fun one um didn't you say you own one of these technocrines yeah so we have a 25 foot that was a 45 foot that's a big one but we have a 25 foot technology but the fact that you you have your own Tech notes yeah it's pretty crazy you think I have a lot of gear this guy got the technology it's pretty yeah when you come by next time we'll have to play around yeah can you bring it here next time maybe yeah let me look at the mileage yeah definitely but yeah yeah for sure for sure for sure just tow it across the entire I've always wanted to get a shot from the wind and then you guys did uh another little spot for Robin Hood was it this was not the same day this is the next day again we did like 35 takes of this in all different lighting conditions and for me we get it in the day I'm like okay sweet we're done yeah and then they're like okay uh we're gonna wait for Dusk and then we're gonna go again I'm just like my arms are like falling off my body one more time uh so I'll just play this real quick Robin Hood believes now is the time to do money without the commission fees I fees and account minimums and start investing today everybody watches that are like oh that's all VFX like oh Kurt excuse me she's investing right now taking charge of our money making it happen she's not going to be happy about that pillow it's time to do money so what are you waiting for download now to me like one of the hardest parts there is going from like big movements to then like subtle like Landing perfectly and like really slow movements once they're close to her yeah I mean that again was a dual operated shot right so that makes it easier than yeah it makes it easier and it can make it harder depending we had the luxury of doing a lot of takes and it's partially my job to be like very consistent so yeah come and I pause on the phone right and then I don't just take off and start to go the other way slow gradual thing and I can feel the camera panning and then I can kind of speed up interesting right so we get into a flow we also have calm so like I can talk and be like okay and so that he's not relying on like the video again yeah and he'll just stop panning and trust that that's right that's what it is yeah all right so how did you guys do this one so this one techno crane technocrine from the street and this was a challenge with a signal too because you have it going from the street to the apartment they wanted to be upstairs so I had to get a wireless signal that would reach the camera head right yeah um so that was a challenge but Robin starts low booming up against this guy throw the basketball like the right time to kind of give you you give your eyes something to yeah yeah the feathers are added in post yeah as and then there's the artificial Focus right that's like you know something to like I guess they thought this part was like there's not yeah and then this is all real like there's no there's no cut there we're going up so now I'm basically sticking my body out of the window grabbing the Ronin off the crane the release is being done from the bottom of the crane so we ran this little cable down to the hole right and they're operating from 45 feet away getting this camera in a window of like yeah this much right so these guys are so swinging that thing around and there were times where the camera came up and like clipped the left the lip of the ledge and like bashed the map box and like this isn't like totally fine perfect science yeah yeah um so I grab it I'm like in a really weird compromise position because we couldn't pull the actual window out of the right frame yeah just the old building yeah uh so I'm out there grabbing it and then they built this ramp so that I could grab it reach it up above the lamps to the ceiling and ramp like you're walking up around yeah they have so it's like steel pipe and then they have like a steel deck so it's like a show floor yeah steel with a wooden top yeah so we're walking up you're walking up the ramp then there's a small ramp down which I kind of make seem shallower by keeping it higher for longer right and there's a trained dog that they have to cue at the right time I didn't even think about the dog uh there's a fan on a switch that they use to push I don't know if that made it in there's like a pencil that rolls across the ground um so I dip it really low and that's again all lower back like just screaming lift it back up and then have to kind of feather into this into this stopping point yeah and we're on a really wide lens that was also a 30 something takes and it was probably through the last take I was done I was basically like I can't do this anymore no more on fire and then as soon as I'm about to be like guys I like I can't do this anymore they're like all right we got it it's like oh you guys sure I could have done a couple more yeah yeah I'm fine no but that wears on you when you're in these like weird positions that you know it your job to like communicate like hey yeah you know I only have you have so much more yeah I don't think people understand the physicality that goes into some of these shots it's not like it's hard even just like having a heavy camera on your shoulder for a long time trying to hold it steady that's hard like physically definitely it takes a lot I can only imagine you're trying to reach over that right like you pick stuff up close to your body for a reason yeah exactly yeah all right let's break down a movie that you worked on okay should we do birds of prey Birds of Prey let's do birds of prey show some show us some tell us some cool stories about some of these shots let's see we always got the cool rig you get to do you know like the shopping cart rigs um you're mounting it to the shopping cart yeah and then and that's you know a lot of the grips it's like we'll line it up on our Artemis app right like making sure that it's possible like you're not Artemis app is an app on your phone that you use like the sensor size and lenses and exactly and then you can kind of use that to rough in shots instead of like yeah does this look good over here tonight or even you're doing it before the camera team shows up right everyone's kind of building their carts outside you can go in and line stuff up and then the prints can get in motion of like here's what we need to do yeah where the camera's supposed to go but you know so this is like the grips are grabbing all this rigging and stuff and then we'll grab like the third camera body and strip it down and like have it ready to be uh rigged into here and this is is this called for like that's already like planned out like we need a shopping cart like moving thing or is that kind of like what like is this like kind of like a specialty extra thing like oh that would be cool to do and then you guys do it no this I think this was probably storyboarded yeah right because they know they're gonna be pushing a shopping cart around this door it's like well how do you cover that yeah yeah do you do Steadicam for the whole time or do you just throw the camera in the cart yeah and it's a combination we'll do a pass like this and then we'll have a camera at the end of it yeah and kind of cross cut with this stuff yeah yeah are you allowed to talk about what it's like working with Margot Robbie yeah Margo is great um she was I'd say in like my top three of like favorite actors to work I'm just so nice so kind let's list the worst one no just kidding you already know who that is we talked about that a little bit yeah you have a very broad range of like Personalities in Hollywood yeah Margot Robbie being like the bad guy with her some other people not so great but birds of prey everybody was awesome you and McGregor also he's yeah a pro very nice guy yeah this was cool this was actually we shot this on a stage in Warner Brothers that's interesting like a foggy Pier you know so like obviously like the lights in the background there like that's a little post work that's yeah yeah but then they just pump the stage full of fog so thick of smoke and they have like you know they're rigging huge soft sources just to kind of bleed all that out yeah there's a sandwich scene that was a tricky shot I don't know if it's boarded in here but basically she's like running running out of that yeah she's like running 120 frames doing a stunt with an actor and then Focus pulling like you're getting focus marks where like She lays down it's like okay Margaret like we need your eyes to land here your eyes delayed here right and then the sandwich hopefully lands like somewhere here fully rolled so that I can pull back and reveal it you know and it's like working with the focus puller too like we'll line it up he'll get a mark okay that's the face on the land and then there's maybe the sandwich and it's kind of roughed in general and then you just go for it um how do you feel the pressure in moments like that like what does that feel like they're like there's definitely like a but of the this like shopping mart and like trips and falls and like loses the sandwich right and we had the shot really low angle of her falling Landing the sandwich rolling and then her like screaming you know that yes that she dropped her like the and that's just challenging because your mode of thinking like when they call rolling you know you kind of tunnel vision in and it's there's almost like a rhythm that like a drumming Rhythm it's like you want to feel like I don't know if it happens in your breathing but definitely your breathing changes and you're thinking not trying to overthink it but you want to feel like there's a subconscious like yeah drum beat that everyone has to be on right yeah yeah um and the diagram too who's pulling me back on the camera right all I'm doing is tilting yeah right so all the hardware kind of comes beforehand of like setting it up talking it yeah yeah and then on the day you just trust everybody to do their job and my job is just a really fast tilt down hopefully not chopping Headroom and when you play it back at 120 frames per second it's like a little error during the fall yeah it lasts like three times yeah exactly like Focus Buzz at 120 frames it's like really quick it's like yeah that's foreign but we got it and we we nailed it and it's in the movie that's always fun to see too on the big screen then yeah yeah yeah we did a crazy fight scene spinning Carousel uh so that thing actually rotates and then there's these hands and you know she's like bouncing off the hands and I'm on there on the carousel as it's spinning and like you're in the center and it's kind of calm but then as you go to the edge yeah you want to get thrown off yeah yeah so that was that was challenging and that was that's a lot of core like rehearsing the fight scene over and over again to figure out then so I'd start with my phone with Artemis right just so I didn't have to have the whole rig yeah yeah so I can see like what the stunt beats are right like where the stunt guy comes around to do what yeah it's like three people fighting off eight other people right right so we're we're on Margo here and then we whip over to you know some of the other characters yeah and then we try it once with the Ronin and for that I had to pull all the stuff off the road and put in my backpack so I just had the camera and like the bare minimum because we had to whip so fast and it's like it's a in a way it's like really nice hearing these stories that there's no like no nothing seems impossible but then you realize how much work goes into every frame like it could be just a few seconds of a movie and like so much work and coordination into just making that one thing happen yeah I mean this was I think a 65 Day schedule which is kind of on the short end for a movie this size you know only one was 110 days dang but that's six episodes you know so you are shooting more yeah for that oh shooting with mirrors that's so hard yeah so each of these mirror segments can like pivot and it's lining everything up so that you don't see the camera and you see all the people you need to see and then like we do our camera move checking all the different points and sometimes you'll see the camera and there's no way around it and there's no to paint it out so yeah we also have that luxury we have like a full VFX staff where it's like can we do that yeah and they're like Yay nay or like that light we see it in frame what costs less like spending the time now to like lower that Condor Drive it over here and then bring it back up or just paint it out if it's on black Sky whatever yeah yeah it's easy to paint up which they don't like where I'm just I'll look over to the fit of X supervised like just painted out he's like yeah okay even though like they have so many like they they bid the job like you know we'll do 800 VFX shots or something and then by the end of it there's 1200 and they can't raise their price yeah right yeah it's uh I don't envy them for that something I learned early on is kind of disheartening when you work so hard on a long shot and you're in the theater yeah and there's like a little piece of it and they cut to the wide yeah and like oh my God but we did such cool stuff on that move and then they come back to yourself for two punches and they cut back to the wide and just like oh okay I spent so much time coordinating that water and it didn't even get yeah so the best ones are when the DPS and the director are together like okay this is the one or we're not going to shoot coverage right and you know like there's no other way to do it other than like maybe speed ramp which they did actually do on this a little bit so this is this was like almost like a little second unit situation where they're shooting they're setting up for something and they're like they've built this little like duveteen room out of you know 12 by duveteen Rags a little mini set for you yeah just to kind of keep our light off of where else everyone else is working um and so this was actually my dollar grip Willie the dog grip is like the guy pushing the dolly doing the boomings laying the track yeah um if you're doing handheld they're like behind you making sure you don't hit stuff they're like kind of like camera operating the dog real quick work very closely um and Willie's actually been in like 20 movies it's kind of like the inside joke in our crew is he's always gets cast and stuff right like he was in the new Twin Peaks he's like he sweeps the floor for like three minutes at the end of one of the episodes like David Lynch directed thing and um so he's like the sweeper in Twin Peaks there's like a whole like character page on him and stuff um that's awesome [Music] but he's always in casting what they're doing good yeah yeah so he put the gloves on for a black mask and you know we had this Periscope lens and everything and he's holding the her Harley Quinn's business card um so we had this shot and then we had a shot where again this is a DP coming up to be like uh we want a whip pan from each line of the card right because she's going to be reading out she's going to be like listing what she's so macro whip pan macro whip pants yeah that's that's like part of the job description is under my abilities like macro which basically looked like right you have this camera huge lens tiny card and you're whipping like a centimeter at a time right so it's like operating like a microscope and it was just like great it was a challenge but we got it and took a little while I bet yeah and I wish you had a shot of that I want to see your little microwave pins yeah so you guys did a pretty big Warner shot here and it actually got used the whole way it got used it did get speed ramped a little because I think at the end of the day they realized some of these shots they just last too long yeah um you know which I'm just happy that you use the whole thing yeah whatever again that's out of our control like once we finish shooting we go home we don't have anything to do with the post the DPS do like they'll do color and they'll like get sent Yeah because sometimes they'll see something like oh we have a better take of that like you know it just gets lost in all the notes but at least someone remembers yeah so I'll just play this quick girl gave me immunity I could do whatever I wanted to whoever I wanted and no one ever dared to object first of all give me the con how long does this kind of this kind of shot take to like make happen all the rehearsal everything like figuring everything out is this like a whole day Affair or no I think on the longer end we'll get like a half a day six hours this one I think we probably did this and then like one easy one or two other easy things um but we definitely had plenty of time and we definitely had enough takes and the whole environment too like the collaboration between like Margo the director and the VP and The Operators and the grips and like if we get it if we nail a shot everyone's like so excited yeah it is cool yeah um so we're starting behind this bar right which you know so how do you like we want to push over the bar right so [Music] build in this pan so that someone can come from the right and grab one side of it and then I think I think someone was crouched like right on the other side of the bar and it pops up right so you're looking up like this waiting to come up and then you just reach your hand so now it's being held I think by two people going down here waiting so Margo's now resetting sitting down so that when we get to her she's already in her action of like trying all these pills so she actually has to go from spot to spot around this whole Dance of the camera moving so like she has to know when she's out of frame which sometimes it's me like giving her a cue or she just knows because they have that sense like we're on this lens yeah so now we do another handoff here because we're going over the booth so this is someone with it giving one side off to someone on the other side of this little aisle now one person has a here she's getting reset at this head talking to the Head now what you gotta notice here this guy this is actually the same guy holding the car the business card right that's really so Willy's been all these movies there he is he's like you know he's clapping he's dancing right here he's gonna take a hand and grab one side of the camera right so he has one side so he's an extra but then all of a sudden he's exactly and then he has one side and then I come back in from the right to grab the other side right so then and I take the whole thing so now I have it and I kind of come in here again she's reset she's also put fake puke in her mouth of course as she's running around peeks it into the purse yeah have these people come that's also something timing has to be worked out as for this yeah yeah what's it called Cha-Cha line yeah then to the dancer who's like all dressed up in like a zebra costume of course tomorrow and then they actually called cut and she did this after they called cut where she like licks the lens yeah you know just like a joke and it like totally made the video I love those stories too where it's like that wasn't planned yeah that kind of makes the the rear of the cup yeah oh man man I I gotta someday you gotta bring me on set I'll be your whatever whatever assistant to the assistant to the system I just want to come watch for a little bit that's so sick uh just seeing that like you're watching in the movie theater what do you what's the feeling is that like all the do you see just all the memories of like shooting it or do you see the final image like we see it no it's like the temperature of the room was it yeah whatever whatever else happened that day you just yeah yeah so I used to get really nervous like when I went to see student account in the first time in theaters I was so nervous because I had would have like nightmares that like the gimbal was vibrating or something and like on the little monitors you can't see it but then once you blow it up big like the whole image is vibrating yeah a little movement on a uh display or screen this size is totally different than a little movement on yeah so that's that's kind of the reason why things are so much bigger and heavier and over engineered is because I really like stabilize these cameras yeah um so yeah just going in to see it in theaters first I was so nerve right yeah but like with a bunch of friends and family and then also not knowing if they're gonna credit me like so we're all there ready for my credit role like this oh you don't know you don't but every movie I've worked on they've always credited me but you just have a fear that you're not gonna get cursed because it does happen like sometimes someone will come in for half the movie still do a bunch of work but it's just like they just don't make the credits and it's it's always you write down like your name and then your credit name there's like a form you get it's like what would you like to be credited as so you can add in your like nickname right so like um there's an operator workers named John Moyer everybody calls him Buzz so it's John Buzz Moyer so if you see credits like that yeah um okay yeah let's let's break down one more shot I saw this on your Instagram yeah this is super interesting I think this one's kind of on the more experimental end more experiment this I would say this is a heavy experimental so we had a the Ronin and this was like you know this is like a text I get like hey can we hang the Ronin off of a cable and like have a way for like the dancers to like throw it back and forth you know it's like okay uh how do we do that do you just use the Ronin a three axis mode yeah but then you have to operate everything and that doesn't really work so that's the nightmare we're testing here we locked off the pan axis so it turns it into a two axis head that stabilizing roll and tilt yeah so if you spin it it just spins it spins yeah but it stabilizes roll and then you still have tilt control so I'm off to the side here with the Tilt and then they're kind of just whipping it around yeah it happens just kind of flopping around and so this is you guys testing rehearsing so the dancers are rehearsing the dance number and then we just kind of went over to the stage to try this thing out and there's Maddie just whipping it and it's funny like we're all kind of being gentle Maddie comes in and just throws it and at first I'm like oh that's why are you doing that like we're never going to use that right we would never do that and then sure enough that's what we end up doing because that's why he's the DP and we're not you know because he like yeah pushes it kind of and yeah you know isn't afraid to experiment so that's kind of what it looked like um during the testing and then on the day this is kind of this is on a stage at Warner Brothers with uh these you know really I mean I think it was probably 40 feet tall of black fabric um obviously it's like way Overexposed yeah yeah crisp looks totally different you know all the dancers who've rehearsed this for weeks already and that's what you saw in the background this handle system is that something that you had to make specifically for this or is that something you guys use normally or it's just like that's the ring that would come with a ronin 2 and then we just padded it because we're like tossing it around but this was rigged with yeah that's the mini LF and then what is on there tokina 18 which is a full frame with a full frame tokenos because back then it was like there weren't as many yeah and we definitely pulled some stuff off that we didn't feel like we needed like the light Ranger which would usually go there it's such a wide lens yeah um so there's the rig on the day and then each of those go up to the perms those lines and then they can be pulled on from down below so you can kind of level it and bring it up and down all right and then the block acts thing you can see right there the axis lock so that's clamped into the battery to keep any play out because there's like a little motor lock but that has like a little jiggle yeah yeah the spinny shot which looks wild yeah but it's only it's like two three seconds total all that work you did to figure that out make it happen test it out set it all up two seconds yeah but it's effective you know it's like very effective it's kind of a nightmare dream sequence and he got some crazy trippy visual yeah I mean that's never something I've has that ever been done I've never seen something like that you know like that's so crazy lucky that but like the sequence is longer right like there's crane shots coming from above and the whole idea was to make the dancers look like the iris of an eye right so there's like there's a lot of other shots we do and yeah you're kind of lucky if something makes it the final cut because most I'd say 90 of what we shoot ends up on The Cutting Room floor how often like like that does it turn into something else because like it's not possible or do you just figure out a way to get it done like like they're like how this is what we want to try and then you're like uh you can't do that and then you're like oh we can do this or definitely a lot but I think what kind of makes a good professional is that they can recognize when something would work or is worth trying and they can recognize when something's like just too far that's we would need to test that right so like in the meeting in the production meeting you know the new guy might be like oh yeah and on the day you're like you're just embarrassing yourself because yeah you didn't do some testing right and you didn't ask for the time to do the testing so yeah if they can't give you the time then it's maybe like let's simplify the vision right so and that just comes from experience of being embarrassed enough times yeah I guess that's part of the job is is just knowing like okay we can do that or we can't do that but we could change it up a little bit so we could get something better or just a little different whatever it's all the movie Magic I don't know I I just really enjoy hearing the stories of how much work and how much like creativity goes in even though it's all planned and you're going like there's still so much in each step there's like creativity of like how to figure how to do this what's the best way and then like that you know the DP comes and just whips it and like yeah that's you know like that's the actual thing you know it's a lot of creative problem solving um a lot of tinkering I'd say in another life I would have been a grip because that's like all they do is like how do you rig this like here yeah you can't touch the ceiling and we see 90 of the room yeah you can put something there but like cantilever it over yeah straps and weights and physics and the DP your director is just like we want this and like hook all right well that's why you need a good team around you so you can be like here's what we want to do and then trust that it's gonna get done yeah yeah but also understand the limitations of the gear right yeah just has no concept of it they may ask for impossible things but then also some of the like the best directors I've worked with don't understand the gear so they're not limited like their imagination's not limited constraints of like the physical world yeah yeah so they come up with this crazy stuff and then that's where the animation happens right maybe we could are you then constantly keeping up with like new tools that are coming out new technologies and then then I keep that in your mind like when somebody asks like hey we want to do this I go I have this like new tool this new thing yeah or do you bring it up even sometimes like oh we could try this thing yeah I mean I I do that out of my excitement like oh let's try the Ronin 4D on this movie and it's like okay now I gotta like yeah now you gotta make it actually I gotta learn this thing and test it because I've suggested it so like carpet for the horse sometimes but that's you know dude uh thank you so much for coming and uh breaking down some of this stuff we gotta we gotta do some more of these sure you have to whatever you end up shooting next can't talk about the next stuff yeah can't talk well right now you know for those it's two it's May 2023 and there's a writers everything is on hold basically right now but let me come here and yeah this is so good we got to fly some drones got to break some break down some stuff um next I'll be come and hang out with you in LA and uh shoot some all right I hope you guys enjoyed this episode thanks Chris for for doing this and uh we'll see you in the next one thank you bye [Music] foreign

Channel: Matti Haapoja

Views: 233,855

Keywords: matti, haapoja, travel, feels, tutorial, filmmaking, photography, photo, premiere, film, cinema, cinematic, learn, drone, gimbal, camera, sony, canon, panasonic, videographer, youtuber, vlog, vlogger, vlogging, lifestyle, gear, tech, how they filmed that, bts, behind the scenes, movie bts, chris herr

Id: 1QuziqSt8BY

Length: 38min 49sec (2329 seconds)

Published: Tue Jul 18 2023