The use of a steadicam allows to create astonishing visual and emotional moving shots and offers freedom to the director and the DP to place and move the camera where and when they want in order to tell their story.
Shots like the 3 min. Copacabana shot from Goodfellas (1990, Dir. Martin Scorsese) or the 5 min. Beach at Dunkirk shot from Atonement (2007, Dir. Joe Wright), the shots in The Shining (1980, Dir. Stanley Kubrick) are some examples for great storytelling shots and their influence on the perception of the film.
Over the last 5 days I had an intense steadicam workshop with some of the best steadicam operators in the industry (Larry McConkey, Peter Robertson, Alex Brambilla, Patrick de Ranter and Valentin Monge).
It was a great experience, I learned so much and met really amazing people.
Finally you can watch my short Adieu! Katja, Bonjour Tristesse from 2014 for free on vimeo.
Commercial shoot involving running in front of the actress. Shot on RED directed by Gwen FRANCOIS, Julien BECKER by Skill Lab
Some behind the scenes of the new Rosport commercial. Shot on Phantomflex, with some 135mm, running in the wood slowmotion action.
Some steadicam shots of me in the new Rosport commercial.
Shot in slow-mo on the PhantomFlex 4K.
This is the trailer of a short movie called Orientierungslos by Lara Mack I worked on last summer. Part of the three minute longtake made it into the trailer.
Last summer I worked on a feature film called Halt!Los!. Here you can see the teaser/trailer of the film with some steadicam shots of me
The teaser of the mafia film Tarantella with some of my steadicam shots