Visual Engineer Steve Giralt Breaks Down 3 of His Craziest Shots | No Film School

For most filmmakers, capturing a good shot means worrying about getting the right exposure or making sure your subjects to hit their marks. Not Steve Giralt.

This New York City-based visual engineer worries about other stuff...like screwing down a high-speed Phantom camera so it doesn't fly off of a rig rotating at 200 rpm or finding a way to suspend a deconstructed burger and program robots to cut rubber bands within a fraction of a second so everything falls in a really cool way.

Giralt's work either looks like CGI or so simple anyone could do it...but it's neither. Luckily, Indy Mogul's Ted Sim was able to sit down with him to find out how he manages to pull off these crazy shots, as well as how mere mortals like us can work toward becoming magical geniuses (a.k.a. visual engineers) like him.

If Steve Giralt sounds familiar, then you've probably seen the breakdown of his famous burger drop shot and/or his powerful Inaugural Day video "United Not Divided".

But he has done so much more incredible work. In fact, his website The Garage is giving filmmakers of all experience levels unique insight into the world of visual engineering, from how to utilize robotics on various scales to the importance of "thinking big" in order to push the craft (and your career) further.

He even offers rare behind-the-scenes looks at various projects, including his TV spot for Jack Daniels, which features a complex spinning camera rig to get stunning orbital shots, and El Silencio, which uses the famous Laowa 24mm probe lens to peer inside the black bottle of mezcal.

And if you're thinking that visual engineering is too lofty of a goal for you, think again.

Giralt's whole message is that the most important thing you can offer in this line of work is a big idea, because the engineering side of the job, with all of the robotic arms, servos, and 3D-printed catapults, is something you can eventually learn and tinker with. What's a robot without a uniquely creative task, anyway?

Want to learn more about Giralt's work? Check him out on Instagram, his website, or The Garage's new YouTube channel, which launched a couple of weeks ago.

Source: Indy Mogul

Steve Giralt visual engineer Visual Engineering Burger Drop

What's the Hype With 'Interstellar' Revisiting Cinemas After a Decade in 70mm IMAX?

Here's Why You Need to Revisit 'Interstellar' in 70mm IMAX

Celebrate the love and hope at the center of Nolan's space epic in the format it was meant to be seen.

If we know anything about Christopher Nolan, he likes to go big. Nolan started with smaller-scale stories (as many of us do) with early noir adjacent works like Following, Memento, and Insomnia, then started going and staying big with his illusionist drama The Prestige. Since then, the scale has been various degrees of massive, with the biggest scope in his time-and-space sprawling epic, Interstellar.

While Interstellarmight not be everyone's favorite Nolan outing, there's no denying it's an impressive feat of filmmaking and his most emotional—if watching Matthew McConaughey's Cooper desperately try to reach his family through quantum space-time doesn't make you cry at least a little bit, what's going on, dude?

With Interstellar'sIMAX release, it's a great time to shed some tears in a public setting in one of the most prestigious film formats around. As we mentioned in our film gauge piece, Nolan loves shooting on film and utilizes 65mm intentionally to provoke a tone of massive scale. In that regard, Interstellar was made for 70mm IMAX. That goes without saying, dawg. That being said, other factors make Interstellar a perfect movie to revisit in theaters while you can.

Let's break down the release further below.

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