That's one hell of a tracking shot.

Comment hidden because you are ignoring dag. (show it anyway)

If there's an Academy Awards for political videos - this should win it. Masterfully done. Reminded me a bit of the long tracking shot in Scorsese's Good Fellas.

I love the opening shot of Pink Floyd's "The Wall" -- the long tracking shot down the hall, followed by "Isn't this where we came in?"

There was an interview with Charlie Cox, the lead actor, on Slashfilm today. He's also saying it's actually one shot. I mean, I guess everyone involved could be lying, but why? It's impressive either way.

http://www.slashfilm.com/daredevil-fight-scene/

Charlie Cox: It was incredible. It was as a special day as it was to as the scene has turned out. We dedicated our whole day to it. The first half of the day was just the camera movements. And then we got into, it was as you know it’s one take, so we had to get everything right. Each attempt that we had at it. And it’s incredibly tricky because it’s not like a long tracking shot with two people speaking, it’s a long tracking shot with people punching. And if one punch doesn’t land, it no longer works. It ceases to work as a scene. So I think we did it 12 times. I think three of them we made it all the way through to the end. And one of them was the one in the show, which is kind of almost flawless. I mean, it’s very hard to pick holes in that.

Peter Sciretta: So its really not stitched together at all?

Charlie Cox: No, that’s one take.

I'd expect more tracking shots and an even flatter lens but yeah there's definitely some influences here. Especially with the stuff on the lawnmower.

Tags for this video have been changed from 'ET, Jaws, directing, film making, oner' to 'ET, Jaws, directing, film making, oner, tracking shot' - edited by lucky760

You're right, a long take isn't anything special on its own. I think the framing, camera movement, intricate choreography, and overall complexity make this a noteworthy shot. Is it the greatest steadicam shot ever? No, which is why I didn't call this something hyperbolic like "the greatest shot you'll ever see" or even "the greatest shot you'll see this year." But it is a bravura piece of filmmaking and certainly worth watching. I'll admit that I have a soft spot for complex tracking shots, though.

I'm wondering if this isn't the most clever *viral ad ever == for reese's pieces and kit kat.

Both are made by Hershey's, I checked.

Why do I think that, other than the mention of the name of the candy? That opening slow tracking shot. I thought that was odd, then Hershey products popped up. Hmmm, I say, hmmmm.

Here comes siftbot!

^...you try the 2 min tracking shot-that song sounds otherwise swell with Japanese girl band, innit?

The video was shot from the lunar rover camera and transmitted from the lunar rover's antenna. With the time delay in sending commands to the Moon, everything had to be carefully planned in advance and the tracking had to be done blind. I have attached some quotes from a website below. (Sorry for the long post..)
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The only photograph of the lunar liftoff was taken from Earth and had expectedly poor resolution. "Gene tried to persuade me to stay outside and take a really good picture of liftoff, but I politely declined," Schmitt joked.

As the third outing drew to a close, Schmitt clambered up the ladder of the Apollo 17 lander. Alone on the moon's surface, Cernan steered their battery-powered automobile a mile from the spacecraft and parked the rover so a video camera could record their Dec. 14 liftoff. As he climbed from the vehicle, Cernan bent down and traced the initials of his 9-year-old daughter, Tracy, in the soil. Then he literally hopped and skipped in the moon's low gravity back to the lander.

For Apollo 16 and 17, however, flight controllers did track the ascent stage. With the punch button command arrangement and a 3 to 4 second time delay, their command sequence had to be totally preplanned. I had worked with Ed Fendell for the Apollo 17 liftoff to get it exactly right for a long tracking shot. At liftoff, the action was perfect, but soon the image of the ascending capsule drifted out at the top of the frame. Ed was furious that, after all the calculations, we missed the mark. It was discovered later that the crew had parked the Rover buggy closer to the Lunar Module than was prescribed by mission plan, and the vertical tilting of the camera was too slow.
Whenever I see a clip of that liftoff I note, as the stage nears the top of frame, a cut to a film shot of the stage ready to dock with the command module. And I still think, "Darn, we could have followed that final liftoff 'til it was but a dot of light winking out as it headed for the mother ship."

http://www.ehartwell.com/afj/Apollo_17_quotes

mr ant: whilst accurate and succint, i believe your title-writing skillz have failed you at this juncture and possibly robbed this most excellent sift of muchos respect from the masses.

may i suggest something along the lines of, 'holy fuck, i want to make love to this frozen moment tracking shot robbery clip' as a revised title? could be too long, maybe take out the vowels.

by the way, this is the best thing i've watched for at least a day.

*promote

Fantastic. Reminds me of a commercial I was shown by Paul Thomas Anderson, where a similar huge tracking shot is used, where he is sort of interviewed about what film is or something.

This one tracking shot gives an introduction to a number of the film characters.

this should be *music (the crystals - then he kissed me) and *art for the legendary tracking shot

I like the tracking shot.