No, it's not a single, 48 hour long shot.

Might be interesting to those of you that have done the 48 Hour Film Project before. For those that aren't familiar, you're basically assigned a number of criteria on a Friday night. By Sunday night, you need to have a complete film to turn in. All writing, shooting, and editing is done within the 2 days.

To eliminate one big step from our process, this year my team was able to shoot virtually the entire film in one single shot, eliminating our need to edit. We still spent time in post to try and fix audio, lighting and color glitches, however.

It's very silly, but I hope you enjoy. For the stabilizing enthusiasts, I hope you enjoy on an entirely different level.

http://www.steadishots.org/movies/richdillson.cfm

Best,
Afton

Wow, nice!
what's the camera, what's the rig,
lowlight is just great, and the guy is really good!
thanks for sharing!

Camera was HVX200 w/ wide angle adapter.
Rig was Steadicam Master Elite.

Low light was ok for much of it, but a couple spots could've really benefited from a bit more. We had virtually no ability to do anything other than change out existing light bulbs and then flag, gel, or bounce the available light.

Good stuff Afton!

Some really solid operating in there. - Dare I ask... How many rehersals & takes? That's a long complex shot!

Well written too.

- Mikko

7 takes. I believe we took take 5 or 6.

The only real rehearsing that was done was casual, step-by-step walking through just figuring out the blocking and holding up the "fingercam" here and there. When you're not shooting on film, and especially with the HVX and P2 cards, you have the liberty to "shoot the rehearsal". Basically we just did it for real and tweaked as necessary.

Long shots with a full rig don't accommodate camera rehearsals well. There will be so much stop-and-go, checking frame, repositioning the actors, props and sets, the rehearsal will wear you out before you're ready to shoot.

Mikko, and I'm sure anyone else that has spent enough time in a rig will know that you don't necessarily need to be wearing the rig to envision how you will move through the shot. It's sort of like "phantom-limb" syndrome that amputees suffer from. Even if you're not wearing the rig, you're aware of its presence.

That was great Afton, it's nice to see such watchable material come out of 48 hours film comps - the couple of experiences I've had have been... less than great.