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Ah interesting! Yeah the dolly operating is really amazing, it feels very instinctive and always timed beautifully. I feel like these types of movements are often given to steadicam these days but there’s something about the way these dolly moves give the feeling of moving from setup to setup rather than one continuous flow is more interesting and pointed, story-telling wise.
My good man, I was answering my own question, which is the question at the top of this thread.
For my part i’d say that the reaction you had to this or any other camera move is quite subjective, and Melville’s intention in a subtle move like this (I looked at the scene again and am not sure exactly which move you mean) will sit entirely in your own interpretation. His films always feel somewhat grounded to me, and i’d be surprised if a small move would have quite such a big motive, but it could well be something intended to link two characters, or maybe add tension or emphasis to a beat. As the opening of Le Samurai plays out mostly in silence it is open to any number of interpretations, the fact that you interpreted it in your own way also makes your take valid, film is a subjective medium! Enjoy!
In case anyone stubbles upon this thread/question in the future…
Looking into it a bit more myself I found some bts and it does seem like he used tracking boards or smooth floors a lot, and what looks like a Moviola dolly.
Thanks, Roger! I’ve actually never heard of hard gel, I suppose if you’re looking for a more long term solution that sounds like a way to go, if you have a bit of budget going spare! I’ve recently been on a commercial where we had a lot of big windows in very bright countries and I was often butting up against the natural 4′ width of gel rolls, with net’s textured look sometimes being too visible. It’s one of those things that’s always a bit of a headache. Thanks again for your replies.
Thank you for the reply! And yes, to be fair it was broad.
Do you remember if you were you using ND gel on the windows much/at all? There is nice range of balance of exposure between inside and outside from scene to scene in this space so I was wondering how you approached that, and also whether you had any lamps outside or was it pure bounce?
Thanks again,
