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That looks like a crane with remote head on air tires to me. Lots of shake was transferred to the camera during the moves up and down the street.

If you look closely, they had what looks like a power and video tether going perpendicular across the street and dressed down the sidewalk.

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thinking about what you said, it makes sense. I noticed the shake as well. The onlly thing that I noticed as well is that they had to somehow swivel the body of crane because they shoot back on where they were. Unless they have something like I've got with the crane on a tripod dolly. It was kind of cool though.
 
What about a modified Skycam to contain operator and camera. I just cant see how it could be a crane considering the size of crane needed for some shots and where they fit the crane into.

At 3:30 they had that crane in the little opening seen behind them at 4:10. That is a tight area. You wont get a crane that can do the shot at 5:50 into that area. And I think there is an operator in what is probably a "bucket" of sorts because some camera movements - like when the guy jumps down at 5:56 - seem faster than a programmed or remote head would do in that situation.

Just some thoughts.
 
I started laughing about 3 minutes into the clip because it was getting *soooo* over the top with the absurdly heavy-handed continuous crane/dolly business, but then...

...it kept going on...and on...and on...and on...

Yikes...

If it weren't for the heavy, dark action sequence later on it would be *thisclose* to an out-and-out parody of itself. As it is, especially with the distracting dolly shake, it's at least (IMHO) an object lesson in how technical razzle-dazzle most definitely *can*get in the way of the storytelling if you're a little too...hormonal...or something...

Don't get me wrong - I love the opening shot of "The Player" (it's about 8 minute IIRC) as much as anyone, although it does very charmingly make fun of itself (in a dialog reference to another filmmaker's passion for tracking shots). Nonetheless, it's very impressive, and a great scene in its own right, gimmickry aside, which is most of why it works so well.

This clip, on the other hand, again, IMHO, is a perfect candidate for exhibit A in the chapter on "Technical Conceits" in the Filmmaker's Handbook...

My $.02
 
I dunno. It looks cool and all, maybe i'm just too story-oriented, but if I can't find a motivation for the camera movement, then I cut it. I got bored by how slowly it moved, how all the action had to hold up for the camera to catch up, and it did nothing that couldn't be achieved by simple cuts, other than "this is cool, it's just one shot!" But aside from technical junkies, who gets in to that kind of stuff? I don't think most people who go to the theatres care if you pull something off in one shot.

That's just my opinion, though. I just need to have story-motivations for camera movements, otherwise it takes you away from what's happening. IMO, though, and that's more my director's approach. It is impressive, though.
 
well this really shakyyyy.
This kind of shots (for me at least) have a real problem. The viewer pays more attention to the move that to the real action that is going on. I say this because I was all the time trying to think of a feasible way to film this. How the hell have the filmed this!!!!!It's driving me crazy!!!I want to know!!!!
 
I liked the way that flying bullets strike sparks off the pile of rubber tires.

Prolonged, but not particularly remarkable. Lots of shake. And soooooooo long...

I think Russell Metty's and Emmanuel's Lubezki's reputations are safe, for now.
 
The few shaky bumps don't bother me much, but I agree with Mr. Wrong. I think it's cool the way they did it, but it doesn't add to the story or serve a purpose in that regard. If anything, it takes away from the story by drawing attention to itself.

Compare this to some of the very long shots in Children of Men, or that Brian DePalma uses (Dressed to Kill, Black Dahlia, etc.) or the crazy long crane/fx shot in Panic Room, or some of the very long shots in Unbreakable, where the camera really does follow and help tell the story.
 
The newspaper part was kinda cool, Those cops need firearm training or something, the other guys were just like walking out in the open not getting hit ha.
 
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