Burn Notice. I just started watching this show and was immediately impressed with the nice sled work. Just coming off an episodic, I know the end result of a lot of our work ends up on the floor. Directors in TV don't get final cut, so a lot of really intricate work that took a lot of sweat to set up gets butchered, for time if nothing else. So if the moves aren't actually worked into the overall look of the show (CSI: Miami, NCIS) you get a lot of inward groans as that beautiful Technocrane shot you worked so hard to get is cut two seconds in for a closeup or an insert.
Burn Notice makes camera movement a large part of the cinematography of the show and it's really nicely done. I don't know who the Dolly Grip is- there's no IMDB listing for him/her (though it's shot by Bill Wages, whom I've worked with a few times) but I would like to send some praise in his, or her direction. Nice work!
Burn Notice makes camera movement a large part of the cinematography of the show and it's really nicely done. I don't know who the Dolly Grip is- there's no IMDB listing for him/her (though it's shot by Bill Wages, whom I've worked with a few times) but I would like to send some praise in his, or her direction. Nice work!
Oh yeah, I also saw The Uninvited on cable. Nice work, Gil!
Update- Earl wrote in to tell us that the "A" camera DG is Casey Osborne, and the "B" camera
DG is Jimmy Greene. Thanks Earl and nice work guys!
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The Dolly Grips on "Burn Notice" are Casey Osborne on "A" cam, and Jimmy Green on "B" cam.
Both Florida boys, which is where the series is shot.
I'll make sure they see your posting.
Thanks
Thanks, Earl. I will update the post.
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