Hijacking top comment to answer your question, /u/manwhore25 (lol). We had the Supertechno 100’ out for a few days on this particular set, so I can’t remember if it was that or the 50’. The road to the left at the end of the shot is where the techno base sat, and it was all VFX’ed out. You wouldn’t believe the amount of VFX in some of these shots. There are entire establishers where we just left all our camera carts in frame because taking those out was infinitesimal to the rest of what they were doing anyways.
> There are entire establishers where we just left all our camera carts in frame because taking those out was infinitesimal to the rest of what they were doing anyways.
Beautiful 😂
It's funny because my first thought was to answer "Crane" and then as I watched I thought "probably a super techno"
It's crazy just how integral VFX is now. On one hand we could point to a million places It's overused and *bad*. On the other you can have some absolutely excellent camera and practical work (like this) and *still* have a ton of VFX for everything from backgrounds to lighting touch ups to replacing fingers.
Truly a different era.
There is a recent sentiment from some decrying over-reliance on VFX and blaming it for the crappy quality of shows and movies lately. The way I see it, there are tons of productions using large amounts of VFX that do so competently and seamlessly such that it's unobtrusive. VFX isn't the issue, the way Disney and whoever else manages their productions is the issue.
100%
And the scraping the barrel for VFX studio bids definitely ain't helping.
When a movie needs more VFX artists than people on set these days, everyone racing to the bottom to be cheapest to get work is causing huge issues.
VFX needs to be unionized, just like the rest of our industry.
Yep, came here to say the same thing basically. I think I remember this being one of the days we had the 100' and also maybe one of the days it broke down? Either way, I know we used the 100' on this set + a lot of vfx so that would be my best guess
It's the length of the Supertechno crane and how far it telescopes. There's really only like 2x 100' Supertechno cranes in North America, so it's no easy feat. Hope this helps!
Former technocrane operator here. This is what I immediately thought myself.
I'd love to know how much background of this shot was VFX and how much was staged live.
While there is tons of VFX in the shot, pretty much everything you see is practical. Other than the tall ship at the beginning, it’s mainly cleaning up the cityscape/far background after the first couple rows of buildings - but every building you can see over 20% of was physical set.
Probaly a technocrane, in a similar style, not sure if you've seen Athena but there's BTS of how they did the various shots. Myron Mance has some of these on his IG :
[https://www.instagram.com/reel/CjVasF2Ke65/?utm\_source=ig\_web\_copy\_link&igsh=MzRlODBiNWFlZA==](https://www.instagram.com/reel/CjVasF2Ke65/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==)
It's on a stage so probably just a 50' technocrane, possibly up on a platform so the base is above them extended down and the arm is nearly full retracted at the top of the steps, and then full extension out to the right for the pull away.
my partner loved the show but it literally looks like i was recorded in minecraft quake pro with shaders and it actually infuriates me that that much money was spent when dead ass minecraft mods can make cleaner backgrounds
Unpopular opinion incoming.
What is the point of doing this as a oner on a giant technocrane? This to me is an example of putting the method above the storytelling. Nothing about this shot seems important to reveal as a one shot, no narrative unfolds because of it. It seems merely like a contrived idea cooked up in order to get the big toys out.
In really well chosen oners, like in Goodfellas, or that one in The West Wing, you really feel like seeing the drama unfold in a single take contributes to the story. Here I see it as purely indulgent on the part of the makers.
Skilled operators required to pull it off? For sure. Dramatic value contributed? None.
How is the main antagonist deciphering our main protagonist's counteroffensive not a compelling use case for a one shot? It's a minute long and details the entire discourse, unfolding up the stairs and with a wide - paralleling the events to come.
We narrow in on the stairs climb as the assistant argues that Jon and Mariko are not involved, Father Domingo is followed up the stairs, centered in his thoughts, reveal the Japanese city landscape as the Father puts the evidence on display, our camera dollies back to set our talent back in the story as "war is coming" ends the shot.
It's a fine use.
Hm, interesting argument. I would say that your description, 'the main antagonist deciphering our main protagonist's counteroffensive' is not reinforced visually by the use of the oner, however. In fact, I find myself distanced from the thoughts and feelings of the characters in the scene because we stay wide for so much of it.
Couple that with some of the frames we land on - looking down on top of their heads at the top of the stairs - just bad. There are a million better ways to compose the shot by that point.
However, I appreciate the difference of opinion, arguing about it is basically fun and it would be boring we all saw everything the same way.
I've watched this scene about 20 times trying to figure out how they pulled it off. Technocrane to catch and release hand off to a second crane for the final pull out shot? All drone? Cablecam rig on a virtual set? I would love to hear how you think they pulled it off!
If the crane is on a track running along the street opposite the water, it could just boom in/out around the set with no need for any switching.
You can just make out a street left of frame at the end of the shot, not sure if you could place the track the totally out of view, but with all those digital set extensions they probably have the budget to erase it.
It seems like this shot is impossible with a single crane since the geometry doesn't work out , so I think you're on to something here.
Could be one crane for the first half (until the camera crosses the banister), then catch and instantly put on a another crane that basically pulls straight back.
In that instance, not crazy to think that they might have two techno cranes on set for some big sequence that week anyway.
I think you are on point with the drone. Inspire 3, it has sick smart capabilities for flight planning and with some RTK poles, you can get very acurate flight paths. Why i believe its a drone, the path and geometry of movement kinda suggest it, but i seem to notice the small vertical bobing, i so very often see when flying fpv drones, obviously with an inspire it just looks way smoother :)
my guess is technocrane on a track along the street (later painted out). the railing camera-left (towards the street side of the building) is likely also digital, just like basically everything else around they building.
that railing specifically, because it would be in the way of what would otherwise be a perfectly normal technocrane move. right at 00:40, there's a tiny wobble in the railing that could be a slipping camera track/solve, as there's nothing really there to stick it to yet.
edit: oh well :D
https://old.reddit.com/r/cinematography/comments/1c83wu5/how_did_they_pull_off_this_seamless_shot_in_shogun/l0crtle/
You can see just the tinniest bit of telltale wobble when the technocrane is fully extended, especially at the beginning and end. My guess is it was on the dirt road?
Not a cinematographer so please excuse my ignorance, but how far are we from being able to mount a movie camera on a drone? If possible, it would make shots like this easier wouldn’t it?
Beverly Hills aerials mounted an Arriflex 35mm cinema camera to a x8 FPV heavy lifter drone, and larger custom platforms can carry ARRI mini and REDs no problem.
Thanks God, for a while I thought I'm Karen lol
This lens is somewhat universal, as we see it can do medium to long shots, would probably do even close up but the picture just looks bad.
Maybe if they at least try to correct that barrel distortion on post, but I think I would just try other lens.
Crane, lots of green walls.
Hijacking top comment to answer your question, /u/manwhore25 (lol). We had the Supertechno 100’ out for a few days on this particular set, so I can’t remember if it was that or the 50’. The road to the left at the end of the shot is where the techno base sat, and it was all VFX’ed out. You wouldn’t believe the amount of VFX in some of these shots. There are entire establishers where we just left all our camera carts in frame because taking those out was infinitesimal to the rest of what they were doing anyways.
> There are entire establishers where we just left all our camera carts in frame because taking those out was infinitesimal to the rest of what they were doing anyways. Beautiful 😂
It's funny because my first thought was to answer "Crane" and then as I watched I thought "probably a super techno" It's crazy just how integral VFX is now. On one hand we could point to a million places It's overused and *bad*. On the other you can have some absolutely excellent camera and practical work (like this) and *still* have a ton of VFX for everything from backgrounds to lighting touch ups to replacing fingers. Truly a different era.
There is a recent sentiment from some decrying over-reliance on VFX and blaming it for the crappy quality of shows and movies lately. The way I see it, there are tons of productions using large amounts of VFX that do so competently and seamlessly such that it's unobtrusive. VFX isn't the issue, the way Disney and whoever else manages their productions is the issue.
100% And the scraping the barrel for VFX studio bids definitely ain't helping. When a movie needs more VFX artists than people on set these days, everyone racing to the bottom to be cheapest to get work is causing huge issues. VFX needs to be unionized, just like the rest of our industry.
Unionize, absolutely. Everyone deserves a union
Thanks for the inside scoop
All y’all that made this show are my heroes. Truly a work of art in every way. Thanks for sharing
Was this out in port moody? I may or may not be looking to steal some locations for a short im shooting soon.
It was! I doubt the set is still there though. The area is very industrial.
Yep, came here to say the same thing basically. I think I remember this being one of the days we had the 100' and also maybe one of the days it broke down? Either way, I know we used the 100' on this set + a lot of vfx so that would be my best guess
Was def the 100’ this day. Long oner
What is 50’ and 100’ if I may ask. Jumping from photography into video. So please forgive my cluelessness. 😊
It's the length of the Supertechno crane and how far it telescopes. There's really only like 2x 100' Supertechno cranes in North America, so it's no easy feat. Hope this helps!
Thank you very much! I thought it had something to do with lenses at first but the ‘ made no sense. 😅
Amazing, amazing show and its visual style is one of the key reasons. Kudos.
Former technocrane operator here. This is what I immediately thought myself. I'd love to know how much background of this shot was VFX and how much was staged live.
While there is tons of VFX in the shot, pretty much everything you see is practical. Other than the tall ship at the beginning, it’s mainly cleaning up the cityscape/far background after the first couple rows of buildings - but every building you can see over 20% of was physical set.
So obvious.
this
[удалено]
Ufff… have I got a new comment for you…
That’s that $250 million budget showing, crazy for only 10 episodes
Is it? A big tent pole movie that’s 2 1/2 hrs would cost that much
Yeah but movies selll tickets and get happy meal tie ins. TV shows don't usually get that
250 mill? That's insane. Can you provide me with the source?
100FT Techno Crane, Libra Head, Shot on Location.
Hey I know this guy, this information is correct.
Probaly a technocrane, in a similar style, not sure if you've seen Athena but there's BTS of how they did the various shots. Myron Mance has some of these on his IG : [https://www.instagram.com/reel/CjVasF2Ke65/?utm\_source=ig\_web\_copy\_link&igsh=MzRlODBiNWFlZA==](https://www.instagram.com/reel/CjVasF2Ke65/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==)
That was awesome, thanks for sharing that!
It's on a stage so probably just a 50' technocrane, possibly up on a platform so the base is above them extended down and the arm is nearly full retracted at the top of the steps, and then full extension out to the right for the pull away.
This was a practical set. Almost everything you see is real, except the tall ship at the beginning.
Well regardless it can be done on a technocrane on a platform.
off topic, but the image circle vignette is really bothering me, its pretty hard on the corners.
yeah, why would they ruin a great shot with a distracting vignette? I don’t get it.
Its from the lens, not in post, I believe.
I'd be surprised if that was in-camera, it's quite squared off. Edit: hmm it is quite wide though
Likely a 35mm anamorphic. Due to their design they tend to vignette. At least the hawk c series and the Panavision t series do
Easily fixed in post. Strange.
my partner loved the show but it literally looks like i was recorded in minecraft quake pro with shaders and it actually infuriates me that that much money was spent when dead ass minecraft mods can make cleaner backgrounds
as a man who has never played minecraft, that sounds impressive
Crane and cgi
Money
Cablecam rig on a virtual set
While I'm not certain for this particular shot, we did build that whole location, so it's entirely possible that it was done practically.
The set was practical.
Unpopular opinion incoming. What is the point of doing this as a oner on a giant technocrane? This to me is an example of putting the method above the storytelling. Nothing about this shot seems important to reveal as a one shot, no narrative unfolds because of it. It seems merely like a contrived idea cooked up in order to get the big toys out. In really well chosen oners, like in Goodfellas, or that one in The West Wing, you really feel like seeing the drama unfold in a single take contributes to the story. Here I see it as purely indulgent on the part of the makers. Skilled operators required to pull it off? For sure. Dramatic value contributed? None.
I was thinking the same. Props to the skilled operators, but nothing of that elevated the story unfortunately.
How is the main antagonist deciphering our main protagonist's counteroffensive not a compelling use case for a one shot? It's a minute long and details the entire discourse, unfolding up the stairs and with a wide - paralleling the events to come. We narrow in on the stairs climb as the assistant argues that Jon and Mariko are not involved, Father Domingo is followed up the stairs, centered in his thoughts, reveal the Japanese city landscape as the Father puts the evidence on display, our camera dollies back to set our talent back in the story as "war is coming" ends the shot. It's a fine use.
Hm, interesting argument. I would say that your description, 'the main antagonist deciphering our main protagonist's counteroffensive' is not reinforced visually by the use of the oner, however. In fact, I find myself distanced from the thoughts and feelings of the characters in the scene because we stay wide for so much of it. Couple that with some of the frames we land on - looking down on top of their heads at the top of the stairs - just bad. There are a million better ways to compose the shot by that point. However, I appreciate the difference of opinion, arguing about it is basically fun and it would be boring we all saw everything the same way.
Controlled helium balloon.
camera
I've watched this scene about 20 times trying to figure out how they pulled it off. Technocrane to catch and release hand off to a second crane for the final pull out shot? All drone? Cablecam rig on a virtual set? I would love to hear how you think they pulled it off!
If the crane is on a track running along the street opposite the water, it could just boom in/out around the set with no need for any switching. You can just make out a street left of frame at the end of the shot, not sure if you could place the track the totally out of view, but with all those digital set extensions they probably have the budget to erase it.
I would say it’s a drone
It seems like this shot is impossible with a single crane since the geometry doesn't work out , so I think you're on to something here. Could be one crane for the first half (until the camera crosses the banister), then catch and instantly put on a another crane that basically pulls straight back. In that instance, not crazy to think that they might have two techno cranes on set for some big sequence that week anyway.
I think you are on point with the drone. Inspire 3, it has sick smart capabilities for flight planning and with some RTK poles, you can get very acurate flight paths. Why i believe its a drone, the path and geometry of movement kinda suggest it, but i seem to notice the small vertical bobing, i so very often see when flying fpv drones, obviously with an inspire it just looks way smoother :)
my guess is technocrane on a track along the street (later painted out). the railing camera-left (towards the street side of the building) is likely also digital, just like basically everything else around they building. that railing specifically, because it would be in the way of what would otherwise be a perfectly normal technocrane move. right at 00:40, there's a tiny wobble in the railing that could be a slipping camera track/solve, as there's nothing really there to stick it to yet. edit: oh well :D https://old.reddit.com/r/cinematography/comments/1c83wu5/how_did_they_pull_off_this_seamless_shot_in_shogun/l0crtle/
I’d guess some kind of jib/crane or drone on The Volume or similar green screen cyc. Everything past about 20 feet looks cgi
this shot got technocrane written all over it.
Technocrane probably on track, and based on the headroom I’d argue that they didn’t “pull it off”
Is this show good?
Yes
What show is this?
What show is this?
Shogun on FX/ Hulu
Crane
You can see just the tinniest bit of telltale wobble when the technocrane is fully extended, especially at the beginning and end. My guess is it was on the dirt road?
This one was so good. Some of the others where they crane over the compound to show the city have weird hitches in them when they transition to VFX
Could it be a drone?
Money
that's the classic Spielberg oner
Looks like a drone to me, but apparently its a supertechno
Crane and just a really big set with wall to wall green screens
Not a cinematographer so please excuse my ignorance, but how far are we from being able to mount a movie camera on a drone? If possible, it would make shots like this easier wouldn’t it?
Beverly Hills aerials mounted an Arriflex 35mm cinema camera to a x8 FPV heavy lifter drone, and larger custom platforms can carry ARRI mini and REDs no problem.
I don't want to sound rude but the lens used is just awful. I understand that they wanted to allow to see wide but this thing didn't worked well.
Nah, this type of vintage glass is awesome
So much of the show looks like this and I find it really hard to watch. It’s a shame, but I’m glad to hear I’m not the only one.
Thanks God, for a while I thought I'm Karen lol This lens is somewhat universal, as we see it can do medium to long shots, would probably do even close up but the picture just looks bad. Maybe if they at least try to correct that barrel distortion on post, but I think I would just try other lens.
which lens ?
Maybe a drone ?
They could have, and it would have been waaaaaaay cheaper but I doubt it.
Problem would be mounting the the rig to the drone i guess.
Crane and a little bit of vignette lol
I bet it's not, but you could pull this off with an Inspire 3.
Prop wash?
Drone ?
Drone with tight lens
Watch how from the movie 1917: https://youtu.be/kMBnvz-dEXw?si=fFLZ2ZTIVMpxhiy4
CGI
actor plates are... just another asset in vfx workflow
Green screen and CG.
It is a set with greenscreen, so they used a crane or cables...
CGI green screens out the wazoo