BEHIND THE SCENES PHOTOS!

[RedDragon86]

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Edited April 12, 2021 by RedDragon86

[Christine]

I'm always amazed about where you find this great stuff

[Tom]

the blimp hangar in Evan, filmed by B- or C-camera

[Tom]

Very special BTS shot for me from the first scene EJO ever filmed on MV in "One eyed Jack"

[Dadrian]

“Wait, so Michael gave you total control over what your character does and doesn’t do???”  

[Dadrian]

“Basically, yes”.    

[Tom]

vor 2 Minuten schrieb Dadrian:

“Basically, yes”.    

Basically yes....exactly that part of the picture shows that this is a BTS shot and not just a still from this episode 

[RedDragon86]

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Edited April 10, 2021 by RedDragon86

[RedDragon86]

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Edited April 10, 2021 by RedDragon86

[Christine]

I don't know if this picture was posted before.

[Tom]

Elvis party.... (in the background: NBC CEO Brandon Tartikoff (middle), producer Richard Brams (half covered), producer John Nicolella (with beard). The guy to Tartikoff´s right looks like Bobby Foxworth, DJ´s double.

Edited March 4, 2021 by Tom

[Dadrian]

10 minutes ago, Tom said:

The guy to Tartikoff´s right looks like Bobby Foxworth, DJ´s double.

 

Must be Bobby Foxworth’s stunt double

[Tom]

Speaking of stunt doubles: the late Ernie Robinson, PMTs stunt double (photo from season 1). He was injured in Baby blues, could not fully work anymore after. The last scene I remember him clearly seen on screen is at the end of "Down for the count 2", when "Tubbs" arrived at the mall shooting.

Edited March 5, 2021 by Tom

[Tom]

sorrym but the new edit button on the upper right is super user unfriendly and I am still used to the logical position at the end of the post.

Edited March 5, 2021 by Tom

[Tom]

Another rare picture of Ernie Robinson, PMTs double, this time with EJO

 

[Christine]

It seems to me as if Eddie Robbinson is smaller than PMT, isn't he? I think, PMT is as tall as EJO.

[Tom]

vor 1 Minute schrieb Christine:

It seems to me as if Eddie Robbinson is smaller than PMT, isn't he? I think, PMT is as tall as EJO.

No, he was the same size and the same weight as PMT. As was Bobby Foxworth and DJ by the way That is needed for obvious reasons (lightning, match and clothes; they always ordered 4 pieces of same clothes/sizes: 1 for DJ, one as replacement, two for the stun double).

[Christine]

vor 34 Minuten schrieb Tom:

No, he was the same size and the same weight as PMT. As was Bobby Foxworth and DJ by the way That is needed for obvious reasons (lightning, match and clothes; they always ordered 4 pieces of same clothes/sizes: 1 for DJ, one as replacement, two for the stun double).

That's logical, but why does Eddie Robbinsin looks that small while standing next to EJO? EJO is 1,77 metres tall, PMT 1,78 metres.

[Tom]

vor 7 Minuten schrieb Christine:

That's logical, but why does Eddie Robbinsin looks that small while standing next to EJO? EJO is 1,77 metres tall, PMT 1,78 metres.

easy explanation. If you refer to the second EJO pic watch it again carefully, EJO is standing, Ernie Robinson is (half) sitting! 

P.S. As you indicated correctly EJO is 1,77m, Robinson looks half a head smaller, thus he would be only approx. 1,6m if both standing! And on the PMT pic they are exactly equal in height.

Edited March 6, 2021 by Tom

[Dadrian]

In case someone doesn’t know, Ernie played Tubbs’ brother (Raphael) in the pilot—the one that gets blown away by Calderone’s goons in the NY flashback scenes. 

[RedDragon86]

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Edited April 10, 2021 by RedDragon86

[pahonu]

1 hour ago, RedDragon86 said:

Jan Hammer with Enrique Bravo.

Interesting photo to see for myself.  It brings back some memories, thank you!  

That’s the ubiquitous Panaflex 35mm camera used for filming dramatic series and features for most of the 70s-90s.  The u-shaped wire at the left is for the focus puller.  It’s springiness allows adjustment without affecting any panning or tilting motion by the cameraman.  It’s very small, but if you look at the end of the lens where it attaches to the camera, there is a small pin.  There’s one on each side that marks the focal plane of the lens.  When blocking each shot, the second camera, or focus puller, measures the distance from that pin to the stand-in’s face and records it, and any other distances required for the shot.  During the actors movement in the scene, that focal distance changes, so they adjust, or pull focus, to keep the subjects in focus.  If the shot also calls for the camera itself to move, then the dolly grip also has to mark precisely the movement of the camera and the focus puller must adjust for that.  
 

Kind of boring, I know, but it probably helps many to understand why the process moves so slowly and takes so many people.  It also explains why some shows use a lot more handheld camera shots today using steady cam equipment.  It’s often a less complex setup and breakdown and uses fewer people, BUT it does result in the more “shaky” look that is generally accepted today, though disliked by many.

[fakespyder]

Not boring at all @pahonu. Appreciate the insights.

And you're right about shaky-cam. It is so common place now that I've developed a tolerance for it. But there are still too many examples of it being overdone. I've only seen one of the Bourne movies because of the constant, overwrought shakiness and fast cuts.

I had not considered that it helps reduce setup times and manpower.

[pahonu]

Just now, fakespyder said:

Not boring at all @pahonu. Appreciate the insights.

And you're right about shaky-cam. It is so common place now that I've developed a tolerance for it. But there are still too many examples of it being overdone. I've only seen one of the Bourne movies because of the constant, overwrought shakiness and fast cuts.

I had not considered that it helps reduce setup times and manpower.

It absolutely does.  Think of some of the beautifully photographed action shots from film epics of the past.  How did they capture those smooth closeups of the attack on camelback  in David Lean’s Lawrence of Arabia?  They had to lay long tracks and film short segments to intercut with longer wider shots.  While those longer shots were certainly challenging, and impressive, because of all the extras, they involved fixed camera setups.  The closeups took an immense amount of time and energy too because they had to capture the speed up close using a camera dolly that couldn’t move as fast, so they could only capture short segments.  They may have spent as much time getting those few seconds of closeups as the many seconds of longer shots.  

Many people never consider how a shot was actually achieved when they are watching a scene.  That’s a good thing because it means you are engaged in the narrative, but having worked a couple of years in television  production, particularly on location, I can tell you that it takes a lot of people to get all the little details right so every shot works out.  It is a slow tedious process really, and more technical than exciting, as many people envision, I think.

[Tom]

the car shop in Tale of the goat before it was blown up....