Incredibly Difficult Steadicam Shot From the End of the Movie “Hugo”

Over the last couple of weeks we’ve featured two very impressive cinematography shots, one from the movie “Contact” and another from “Sucker Punch.” But while both of those required planning, expertise and, for one of them, some help from the digital age, the final steadicam shot from the movie “Hugo” is impressive in an entirely different way.

It’s not generated by a computer, and it’s not a shot that you might take any notice of when you watch the movie. What it is, however, is a testament to phenomenal camera work, because the whole thing is comprised of one long and very difficult shot that had Larry McConkey sighing in relief when it was over. This video offers a behind the scenes look at that shot from start to finish.

(via Fstoppers)

  • The Judge

    Love this kind of stuff, like the purpose built wall to accommodate the cameraman. Reminds me of the shots in “Children of Men”. Awesome: 9/10

  • Brett Morrison

    Amazing scene in one of the greatest movies ever. Thanks for sharing this.  It was quite a complex scene.

  • Boingo

    Agreed – great shot, great work. It’s hard to top the “Children of Men” “Car interior – ping-pong ball” shot. I sat through that one with my jaw on the floor!

  • Erik Lauri Kulo

    If you liked that, then you should watch Russian Ark, a feature length movie in one take:

  • Dorian Cioban

    This is also a crazy steadicam shot:

  • ClarkTommy63

    my buddy’s mother go t paid $21508 the previous week. she is making money on the internet and bought a $386500 house. All she did was get fortunate and put into work the instructions explained on this web site===>> ⇛⇛⇛⇛► Enternet-Job.Blogspot.Com

  • Håvard Fandrem

    In the history of filmmaking (and Steadicams), this is a rather simple Steadicam shot, even if it uses fake walls. Children of Men, Atonement or Goodfellas are movies with incredibly difficult Steadicam shots.

  • Jeffrey Lee

    John Woo’s Hard Boiled. Almost 3 minutes, no cuts, all steadicam, resetting explosive devices and scenery in the middle of the sequence. 

  • Anatole Klapouch