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.
From January 2019 I will have an upgrade on my rig with the steadicam Volt™, a horizon and tilt axis stabilizer on the gimbal of the steadicam.
Windy conditions, complex moves,... will be no problem anymore and the Volt allows to concentrate more on the shot and framing itself.
Dir.: Lance Daly
DOP: Declan Quinn
Steadicam (among others): Oliver Waldbillig
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.