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Road To Predition - Lexington Hotel Room 1432 making off


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Hello,

i was searching the making of the Lexington Hotel Room 1432 scene from the movie Road To Predition. can anyone tell me how Sir Conrad Hall might have done the shooting of the whole Lexington Hotel Room 1432 sequence. how he might have rig the camera and how the whole camera movement was done in the Lexington Hotel Room 1432 scene. it will be very helpful if someone can give the links of video showing how it was done.

 

please find the link below which is of the scene [Lexington Hotel Room 1432] which i am talking about:

 

regards

Partha Borgohain

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It is a masterfully executed steadicam shot by Scott Sakamoto, who was riding a crane and stepped off, as Tom Hanks turned to his left to enter the room. It was a set, and as the crane was high up, there was no ceiling. As the crane was dollied and kept coming lower and lower, you can see how tight the headroom in on Hanks, as the ceiling pieces were rushed back into position. A pan is always the best moment to conceal a crane step-off and Sakamoto's execution is flawless. The shot was done on a 21mm Primo.

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  • 1 month later...

It is a masterfully executed steadicam shot by Scott Sakamoto, who was riding a crane and stepped off, as Tom Hanks turned to his left to enter the room. It was a set, and as the crane was high up, there was no ceiling. As the crane was dollied and kept coming lower and lower, you can see how tight the headroom in on Hanks, as the ceiling pieces were rushed back into position. A pan is always the best moment to conceal a crane step-off and Sakamoto's execution is flawless. The shot was done on a 21mm Primo.

 

 

Excellent information, Michael. It's posts like this one that make

Cinematography.com worth reading.

 

Never realized a pan was useful for concealing a crane step-off.

Scott Sakamoto is indeed a great Steadicam operator.

 

-Jerry Murrel

CineVision AR

Little Rock

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  • 4 weeks later...

Why are we even talking about this? It's not the kind of shot that 95% of us are ever going to be involved in executing, after all. It probably cost $25,000 just to do that one setup!

 

Haha wow. That's like saying "I may as well never look up at the stars again, because I'm never going to fly amongst them."

 

Let's take no interest in anything that is beautiful if we can't create it ourselves?

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Looks like they flew the ceiling out for the dolly/jib on Hanks.

 

The camera work in this sequence is interesting but I believe it is overcomplicated for what is happening in the scene. It could be simplified quite a bit and have more of an impact than it currently does (for me). Just my 2 cents.

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Phil,

If you're not interested in the scene or how it was made why did you click into the thread to begin with? There's no reason you need to bash the technique. One day this could be relevant to anyone reading it. Also,Dole, there's no real reason for name calling... this isn't DVXUser.

 

Michael Tsimperopoulos SOC, that explantion is why I love this forum as well.

 

Regards,

Darrell Ayer

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http://www.icgmagazine.com/wordpress/2008/07/18/stead-as-she-goes/#comment-1295

 

“For me, it was doing an overhead Steadicam shot on a moving crane in Road to Perdition,” says Scott Sakamoto, SOC. “Dollying backward, looking straight down and then jibbing down to ground level, stepping off and walking into a room locking onto a mirror reflection. All this done, with the set wall and ceiling dropping into place, coordinating the dolly move with the grips, and the actor (Tom Hanks) for hitting mark and swinging the mirrored door in the precise position.”

 

This could help too...

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http://www.icgmagazine.com/wordpress/2008/07/18/stead-as-she-goes/#comment-1295

 

“For me, it was doing an overhead Steadicam shot on a moving crane in Road to Perdition,” says Scott Sakamoto, SOC. “Dollying backward, looking straight down and then jibbing down to ground level, stepping off and walking into a room locking onto a mirror reflection. All this done, with the set wall and ceiling dropping into place, coordinating the dolly move with the grips, and the actor (Tom Hanks) for hitting mark and swinging the mirrored door in the precise position.”

 

This could help too...

I was so amazed at how Tom pulled that mirror off so wonderfully, that to me is one of the signs of a fantastic actor. If that team nailed the shot in a few takes (no idea if they did or didn't, could have even been the first) I'd find that extremely impressive. From memory this film's crew was working extremely long hours, that entire film being the masterpiece that it is, is nothing short of what would be a hardworking and brilliantly talented crew and this shot just sums it up.

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