A synthy clarion bell beckons a plaster-dusted (but alive) Griffin Dunne’s “Paul Hackett” in Martin Scorsese’s After Hours. Note Hackett’s elevator door-reveal of an expression that Robert Downey Jr. has come to own over the years. With Mozart elevating the sequence the camera’s movement casts a damning eye upon the worker hive. The film is a Kafkaesque (thank you kindly, Mr. Roger Ebert) salve; Paramount had just canceled Scorsese’s The Last Temptation of Christ.

Afton Grant, from the Steadicam resource site Steadishots:

This is a very fun little shot, though not simple in any way. Done in low mode, at a relatively quick pace, this shot displays the great importance of good dynamic balance. With the fast paced pans and turns around the set, if the sled had not been balanced properly, it would have rolled very dramatically with each turn.