Martyn Hollinshead AS Media

Here the camera is positioned above several forklifts which Block proceeds to donut around. Several times in this sequence of shots the camera is switched from ground level to the aerial camera. The reason for those switches however are so that the audience can see the size of the stunt that is being performed, and by combining low angled shots with birds eye positioning, this scene provides the 'WOW' factor that the audience is looking for.

In this shot the camera tilts up and down when following the car through the corner/donut. There isn't a major movement as there is no requirement because everything fits into the scene, however when Ken drives off the camera moves noticably upwards to follow him away.

The whip pan in this shot is excecuted in a realistic way, as if the audience is watching the filming, but then is surprised by the loud noise of the car and 'whips' round to see. This gives the shot a connection with the audience as it really makes them feel a part of the action, and this encourages viewers to keep watching.

This shot shows Ken jump down a small bank and then drift between some tour buses. The camera is stationary, however it pivots, or pans, to follow the car through the corner. This shot has been used to make the audience feel as if they are a bystander, watching the car as it tears through the studio. Creates realism and an immersive feel.

In this shot we see the camera set on a GO-PRO track array, which is fixed to the rear of the car and goes through the window to the passenger seat. This shot could also be viewed as an arc shot as when the camera moves from looking at Block to the passenger seat, it arcs around him. The use of the GO-PRO gives the shot a unique perspective not usually seen in videos such as this, giving the extra 'WOW' factor that makes it stand out from the rest.