Manufacturers of camera cranes include ABC-Products, Cambo, Filmotechnic, Polecam, Panther and Matthews Studio Equipment and Newton Nordic. == Famous examples== Leni Riefenstahl had a cameraman shoot a half-circle pan shot from a crane for the 1935 Nazi propaganda film Triumph of the Will. A crane shot was used in Orson Welles' 1941 film Citizen Kane. The Western High Noon had a famous crane shot.
Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups. ==Technique== The major supplier of cranes in the cinema of the United States throughout the 1940s, 1950s, and 1960s was the Chapman Company (later Chapman-Leonard of North Hollywood), supplanted by dozens of similar manufacturers around the world.
Manufacturers of camera cranes include ABC-Products, Cambo, Filmotechnic, Polecam, Panther and Matthews Studio Equipment and Newton Nordic. == Famous examples== Leni Riefenstahl had a cameraman shoot a half-circle pan shot from a crane for the 1935 Nazi propaganda film Triumph of the Will. A crane shot was used in Orson Welles' 1941 film Citizen Kane. The Western High Noon had a famous crane shot.
Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups. ==Technique== The major supplier of cranes in the cinema of the United States throughout the 1940s, 1950s, and 1960s was the Chapman Company (later Chapman-Leonard of North Hollywood), supplanted by dozens of similar manufacturers around the world.
Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups. ==Technique== The major supplier of cranes in the cinema of the United States throughout the 1940s, 1950s, and 1960s was the Chapman Company (later Chapman-Leonard of North Hollywood), supplanted by dozens of similar manufacturers around the world.
During the 1960s, the tallest crane was the Chapman Titan crane, a massive design over 20 feet high that won an Academy Scientific & Engineering award.
Due to its length, the tracking shot ended up being the production's most difficult and complex part to complete. The 1980 comedy-drama film The Stunt Man featured a crane throughout the production of the fictitious film-within-a-film, directed by eccentric director Peter O'Toole. The television comedy Second City Television (SCTV) uses the concept of the crane shot as comedic material.
One example of this technique is the shots taken by remote cranes in the car-chase sequence of the 1985 film To Live and Die in L.A..
All text is taken from Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License .
Page generated on 2021-08-05