![]() ![]() ![]() But, there is a very good reason for this. It is a bit of a strange, blurry move, and here is where the bodies are buried. You’ll notice that when Mal and Simon are having their walk and talk, they head down a corridor, where the camera does a quick pan to Simon. How it was done: the cutĪlthough ostensibly a single-shot, the sequence does actually contain one cut. This consisted of Moore “reaching up and squeezing in or out a few mils”, with Peter Green (the first camera assistant) responsible for ensuring everything was in focus. These were done by hand, “more from an aesthetic perspective” than a technical one. Read more: 5 Best TV Episodes Written by Joss WhedonĪ careful examination of the scene will highlight a series of slight camera zooms, happening throughout. ![]() “Joss was constantly challenging me on this movie,” said Moore, adding that the writer/director admitted at the wrap party that he “didn’t think the ship tour shot could be done, mostly because of the small hatchways, staircases.” Read more: The 25 Best Buffy the Vampire Slayer Episodes This steadicam rig was operated by Mark Emery Moore, who had previously worked on films such as Reservoir Dogs, Outbreak, Starship Troopers, and most recently San Andreas, amongst many others. How it was done: the tech/shootingįor the tech-heads, the sequence was shot using a PRO rig, with a Panavision XL camera system, 400ft mag, and a mid-range lightweight zoom. It is a great, and often under-appreciated shot, providing a powerful lesson in economic story-telling, and highlighting the value of using the right technique for the task at hand. In the end, writer/director Joss Whedon (making his feature-length directorial debut here) opted for a single-shot lasting approximately four-and-a-half minutes, which simultaneously gives us insight into the characters, the ship, and provides a sense of familiarity with the place they call home. ![]()
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