BEHIND THE SHOT
on a sound stage, with period-accurate in-camera lighting built into the set. Walls were made removable for the crane’s movement, while the dance floor ceiling was left open to accommodate additional lighting and top shots. The sequence was technically impressive, deploying a hybrid set-up of a 30ft telescopic crane and a three- axis wireless gimbal. Halfway through, the gimbal detaches and is seamlessly carried by grips. “Myself, Alma (our director) and Jude (first AD) spent hours meticulously choreographing both the talent and background to keep the club feeling alive while allowing the camera to navigate through safely,” Milne shares.
The shot begins with the camera tracking Reggie as he moves through the club, transitions to a sweeping crane push-in towards the stage, then booms down to meet Shell Gordon. At this moment, the gimbal detaches and grips weave the camera back through the crowd, finally arriving at the bar with Officer Platt. Milne credits the success of the shot to careful prep and the flexibility of their rig: “This set-up allowed us to keep the ARRI ALEXA LF and G Series anamorphic lens package, maintaining the show’s established photographic aesthetic.” The result is a slick, dynamic scene that sets the tone for the entire series.
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DEFINITIONMAGS
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