Are the Dunkirk Steadycam Shot in Atonement as probably the only shot in my career where
I haven't been quite sure whether I could achieve it or not.
With 1300 extras and the aims and ambitions of Joe Wright,
the director and the whole of the production team to fulfil,
there's nothing like the fear of failure for who made or did.
eu theory of failure for sharpening the mind and honing the skills.
We had two days to block and rehearse and shoot the shot,
which we did after 5 o'clock on the second day when we had a small window of light
that Seamus wanted to capitalise on that was available,
and rehearsal was the very important part of the process
Helpu dyfodol ar y diwrnod thoughi, rwi'n iawn o Hellf кynigio saka dim mwy o'r arsugiaeth gyntaf mor T4 o hanes,
oherwydd ein eich ddiweddun o'r hyn o'r cwrwm iawn o fy ydyn nhw yn ôl hynny,
a Ry'r 살�ётся yn dael rhywgŷn hynny'n ftrif mêrikat.
しwn i chi rwy'r lleidion erioedwyr thyrgos criwch yn grosso rhai Buddur Cymru ar yr deallfod ddefnyddScwmp Roedd,
gan fwy o peynig i roedd Hit أوr, ac erporod ósonid~)'u drwy Nflwraryn â hynny,
bod yn symud yn gyfrifio eu cyfathodol.
Gall domu o'r wych Studios,
ddim yn feddy conflictau
sydd e'n gwybod i amser
ond eu bod Bynvernennu
beth hefin brothers y Warnau
ar crefnod o'i ddwyos.
A ddargi'i g challenging 있을u
unu chant precir caeydig.
Peddenedbetweennau ein hunain.
Credduon drwy gwithio'r phil woeithio peth ar ein elochardol
a weithio'r residuaeth a rachio'r lle iawn
weld yn gallpf i'r pobl sy'n gweld y brifau.
Lawer me yna eNON wahanol mwy i yn
ei blamecau, am fydd y chemau i nhw.
ac yn ymdau i'r ffordd o'r ffordd, o'r ffordd o'r ffordd o'r ffordd, o'r ffordd o'r ffordd, o'r ffordd o'r ffordd o'r ffordd, o'r ffordd o'r ffordd.
Mae'r ymdweudio'r momentau yn ymdweudio i'r strategaeth â'r ffordd,
was the transitions, getting on and off the vehicle, the rickshaw, getting round obstacles at speed.
But fortunately our actors, James, Danny, Nonzo, were all brilliant at giving me pauses and cues
to be able to hide my transitions and changeovers from one method of shooting to another.
Also as well I had a sterling grip team headed by Gary Hutchings who were fantastic in guiding me in precision moments
where the camera would glide within inches of an actor or an extra.
They were responsible for getting through these difficult moments.
Of course camera operating is not just a biomechanical exercise.
Once we've taken care of the mechanics of a shot, the next thing is to try and breathe life into the director's vision.
And I often think that the job of the camera operator is such a great position to hold
because we're really like the first person in the audience to see the shot.
But with that role comes a certain responsibility to tell the story with passion and elegance.
And also to be the guardian of everybody's work on set.
As I came up the final steps to come to the end of the shot, my legs were like jelly and lungs were fit to burst.
But I could feel the whole of the crew behind me just willing me on.
Just the energy of the crew saying you've got to do it, you've almost done it.
I think without that support I couldn't have done it.
So I have to say thank you to a lot of people for this shot.
Now that all the memories of the effort and the difficulties in the shot have started to fade
it's great to be able to bask in the glory of this great award.
It's truly humbling to be held in such high regard by the SOC and all of my peers
especially when I see the previous recipients of the award.
So I'd just like to say a really big thank you to the SOC for honouring me with this historical shot award.
Thank you.
