True Blood – Behind the Scenes – Filmed with a Motion Control Head and Audible Cue


True Blood, Episode 707 “May Be the Last Time” – Behind the Scenes

From Director, Simon Jayes, “This sequence from True Blood Episode 707 “May Be the Last Time” was achieved via a repeat motion head.

The entire “move” was built ahead of time, but the shot itself was made up of a number of takes as it was impossible for the actors to get to the next position in time. The individual takes were then “stitched” together in the edit process (a very simple “match frame” command in the Avid).

Unlike traditional motion control, each time the camera stopped moving the pause was ‘wild’, i.e. of-no-specific-length. This allowed for some flexibility in each actors’ performance between different takes. As soon as the actor finished each part of the scene, the remote head would be manually triggered to advance (in full Moco) to the next position and then wait again.

The speed on the remote head panning, tilting and zooming to the next position necessitated programming in an audible beep to be able to cue each actor.

I had great fun coming up with this sequence and would like to thank Craig and Joshua from Pacific Motion Control for helping make it a reality.”

Director – Simon Jayes
Motion Control Operator – Joshua Cushner
Motion Control Tech – Craig Shumard

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Longmire – Behind the Scenes – Filmed with the Cheetah Dolly


Longmire – Behind the Scenes

A very fast track move used to freeze action for Longmire. The high-speed Cheetah motion control dolly has a top speed of 20 Feet Per Second, while remaining completely precise and repeatable. The scene was filmed with a Phantom high-speed camera in Santa Fe, New Mexico. The Cheetah high-speed track drive can also be used on our Graphlite, Gazelle, and Impala motion control cranes.

Motion Control Operator: Paul Maples
Motion Control Tech: Craig Shumard
Motion Control Tech: Adam Francis
Motion Control Tech: Chris Paxson

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Dracula Untold – Filmed with the Graphlite


Dracula Untold – Official Trailer (HD)


Dracula Untold – Behind the Scenes

The Graphlite motion control crane was used to shoot high-speed and visual effects shots. The long arm of the Graphlite allowed large circular shots to be filmed without using circular track. The portability of the Graphlite allowed these scenes to be filmed in Georgia.

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Kevin Bacon EE “Two For One Tickets” Commercial – Filmed with the Zebra


Kevin Bacon EE “Two For One Tickets” Commercial

Kevin Bacon stars as Kevin Bacon and Kevin Bacon and Kevin Bacon and Kevin Bacon and Kevin Bacon in this fantastic commercial for EE. Filmed with the Zebra motion control camera dolly with the Talon repeat head, and three Aerohead repeat heads, this commercial allows Kevin Bacon to reprise his roles from Apollo 13, Animal House, Friday the 13th, Footloose, A Few Good Men, and Hollow Man, with references in dialog to Tremors and Flatliners as well.

This commercial was shot on 6 Panavision Millennium 35mm Film Cameras, with 3 Aeroheads, a Talonon the Zebra, and additional cameras on Sticks. After everything was shot, motion control move data was exported from Kuper (for the zebra), and from the Aeroheads and given to production for use in post.

Motion Control provided by Pacific Motion Control. for more information, visit www.PacificMotion.net or call 818-768-1573

Motion Control Operator: Paul Maples
Motion Control Tech: Craig Shumard
Aerohead Tech: Garritt Hampton
Aerohead Tech: Steve McDonagh


Jordan Flight Plate Innovation Film featuring King Bach – Filmed with the Technodolly


Jordan Flight Plate Innovation Film featuring King Bach
Technodolly Operator: Paul Maples
Technodolly Tech: Garritt Hampton
Director: Seth Epstein

In the words of the director, “shot over a long day, King Bach played 10+ characters (not all of em made it ). Shot on Red and using motion control we created a single camera move where he comes into scene as different characters”.

For this shot, which appears as an approximately 250′ continous track move, we set up 60′ of track on a green cyclorama stage in Hollywood. We programmed a very simple, 2 keyframe camera move, tracking straight back with the arm offset away from the track. The whole track move was approximately 50′ long and had to be a consistent speed. Using the maximum cartesian speed function on the Technodolly, we set a top track speed of about 1 Meter per second, then repeated the move many times as King Bach played numerous different characters (Twinning Shot). The same move was used to film additional actors (athletes), some of whom appear in the final commercial and some who don’t. The Technodolly worked continuously for around 17 hours without any problems and the quiet operation of the Technodolly allowed all of the dialog to be recorded live.

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