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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