A Long Take from Creed

If you haven't had the pleasure of watching Ryan Coogler's most 2015 feature Creed. I highly suggest that you take a look at it. Ryan Coogler and Michael B. Jordan help revive the world of Rocky Balboa for the next generation. We get to follow Apollo Creed's son who wants to prove that he is as good as the father he never knew. 

Michael B. Jordan plays Adonis Johnson/Creed and he befriends Rocky who helps train him for his future. I won't spoil anything from the movie, but I will say that Michael B. Jordan should have been nominated for Best Actor last year, and that Sylvester Stallone should have won Best Supporting Actor. This is nothing against the respective nominees from their categories, but that was just how strong the performances were.

With that being said, the look of Creed is quite appealing. Maryse Alberti (The Wrestler, The Visit) helps showcase the cold world of Philadelphia and the harsh reality that is in front of Adonis on his journey to the top. One of the things that stands out in the film is a Oner that follows Adonis later on in the movie from his dressing room to the ring and throughout the fight. Takes like this require a large amount of precision and some cleaver editing. So often you see these shots and you don't realize that you haven't seen a cut until later on. The Revenant (2015) Birdman (2014) both have showcased this in grand fashion. Creed utilizes this in a much smaller fashion, but it is still incredibly effective. Not often do you get to see the behind the scenes of these takes, or get to hear what goes into it. Filmmaker Magazine sat down with A-Camera Operator Ben Semanoff.

Semanoff talks about the process behind the shot and all of the individuals involved in the making of the shot. People may think that it is one person doing all of the work, but that is hardly the case. They started with iPhones to rehearse the take on Day 1, before they evolved the shot into a full on production.

Filmmaker: What was the most difficult section of that shot? Nailing all those whip pans toward the end of the scene seems like it would be pretty tough.

Semanoff: You nailed it. That was probably the hardest part. [When that portion of the scene arrives] you’ve been in the rig for nearly four minutes and you’re exhausted and you’re sweating and now you’ve got your first whip pan to do and you know in your head that if you screw it up, the shot is done.
Filmmaker Magazine's breakdown of the Oner from Creed

Filmmaker Magazine's breakdown of the Oner from Creed

Take the time to read the entire interview. It takes you behind the scenes in an incredibly insightful way. 

http://filmmakermagazine.com/97688-how-they-pulled-off-creeds-two-biggest-shots-a-camera-operator-ben-semanoff/

I've also added some behind the scenes below as well as the trailer and a partial look at that oner.