Dir. Guy Baker
My rig worked every take for this Buoy Beer promo created for agency Grady Britton. Stripping down the Alexa to the bare essentials helped keep the work easily manageable. In particular the lightweight Alexa dovetail (designed by Eric Fletcher), which doesn’t raise the camera’s center of gravity, proved itself a great investment that night. I came home with a couple complimentary 22’s of their beer and will verify, it’s delicious.
I had a great time flying steadicam on this ad for Apple, produced by Slim Pictures.
I operated and flew steadicam on this national spot produced by Bully Pictures.
I joined Director Randolph Sellars and Writer/Producer Irl Davis out at the 6,000 acre Tygh Ridge Ranch in Tygh Valley, Oregon to do some steadicam work on their picture. We got some very pretty running horse footage from the back of an ATV, a few traveling oners, and a great 270 degree shot. Conditions were windy and rainy much of the time, especially for steadicam, but there was a great crew that provided help at the critical times. During the 270 degree shot, there was so much wind, I had to put 2 KN6 gyrostabilizers on the sled. We did take after take and the wind was too much even for the gyros. Finally, when we were about ready to pack up, the wind died down to about 10mph and we nailed it. When you watch the shot you can see tell by the ribbon in the lead actress’ hair at 1:37.
There will be more to come on this project soon. Special thanks to Kristin Zabawa, who was on hand, capturing these behind the scenes photos for the film.
I recently had the pleasure of doing some steadicam work for Director Jess Baclesse, and DoP Jon Beanlands on the film Roughstock. The location shoot, down in Burns, Oregon was gorgeous. One of those places where you can point the camera anywhere and you’ll get a beautiful frame. Highlights included shooting amid a live rodeo. Among the challenges, unseasonable rain and daily 360 degree lightning storms. At a scene that takes place at the county fair, I got to do a carousel step-on shot that felt dynamic, and captured the lush physical energy of the location. This was a small shoot captured on Super 16, but just right for the intimate range of the story and performances.
The behind the scenes stills here were captured by Michele AnneLouise Cohen, a veteran AP photographer. Odds are, you’ve seen her photography in print, but you can see more here.
SAM NAIMAN, S.O.C. 