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How screen action is made.

STUNT.BLOG examines how action is designed, prepared, performed, photographed and completed—through evidence-led analysis, primary records and clearly labelled first-hand expertise.

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A dark Jaguar XF drives through a narrow stone street in Matera as sparks fly beside it.
No Time to Die (2021). A Jaguar XF during filming of the Matera pursuit. The sparks and the enclosed street establish the physical setting of the chase.
© 2021 Danjaq, LLC and MGM. Courtesy of Jaguar Land Rover.Official press gallery ↗Editorial licence ↗
analysis

The Real Cost of “Fix It in Post”

How practical capture, scoped VFX and targeted AI change action budgets. A producer’s guide to buying the approved final shot, with a European production focus.

By STUNT.BLOG Editorial DeskAnalysis9 min06 Nov 2026
Period street facades, picture cars and people on the Babylon Berlin set in Potsdam-Babelsberg in 2016.
Built for the camera: the Babylon Berlin set in Potsdam-Babelsberg, photographed on 29 July 2016. The street, facades and picture cars illustrate the physical production infrastructure available to a European shoot.
Photo: Lear 21 / Wikimedia Commons, CC BY-SA 4.0. Resized; full composition preserved.Original photograph ↗CC BY-SA 4.0 ↗
analysis

Why Hollywood Should Bid Its Next Action Sequence in Europe

What a difficult SAG shooting day costs, and why European action teams deserve the brief before the schedule is locked.

By STUNT.BLOG Editorial DeskAnalysis11 min04 Nov 2026
Ferdi Fischer guides the pole-mounted Hyper-WarpCam® through an ornate interior set while performers and crew work around him.
Ferdi Fischer operating Hyper-WarpCam® during the team's India production in 2025. The camera's position and the operator's position are visibly separate. Archive video frame; production period identified by Fischer.
SlamArtist.com / WarpCam® production archive; photographer not identified.
interview

WarpCam®: The Camera, the Movement, the Unit

The extended WarpCam® interview: Ferdi Fischer on Stunt Design, camera choreography, complete action units, Hyper-WarpCam®'s 2025 development in India and the decisions behind the image.

By STUNT.BLOG Editorial DeskInterviews86 min01 Nov 2026
A wide view of the burning cinema screen and fleeing auditorium crowd in Inglourious Basterds.
Inglourious Basterds (2009). The wide composition joins the blazing screen, converging architecture and crowd into one overwhelming threat. It establishes the scale of the screen event; it cannot establish the working conditions or exposure of individual performers. This exact frame is discussed in the cinema section below.
Film frame, Inglourious Basterds (2009), © Universal Pictures / The Weinstein Company. Published by American Cinematographer; individual frame photographer not identified.Source article ↗Original file ↗
feature

The Safest Stunt Can Look More Violent

How Stunt Design turns controlled action into violent-looking cinema, with real production imagery from Inglourious Basterds and lessons from Road House and Daredevil.

By STUNT.BLOG Editorial DeskFeatures8 min25 Oct 2026
Keanu Reeves performs opposite camera operator James Frater on the red-and-blue-lit set of John Wick: Chapter 4.
John Wick: Chapter 4, behind the scenes. Reeves and Frater occupy opposite sides of the same action space. The lens position determines how hands, torso and background overlap; the photograph makes camera choreography visible alongside performance. This is a production photograph, not a frame from the finished film.
Photo: Murray Close / Lionsgate. Published by the Society of Camera Operators.Source article ↗Original file ↗
feature

Why You Can’t See Modern Action Scenes

Why dark images and confusing action are different problems, and what Fury Road, John Wick and Bourne reveal about Stunt Design, camera work and editing.

By STUNT.BLOG Editorial DeskFeatures10 min30 Sept 2026

From the archive

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  1. FeaturesTom Cruise Does His Own Stunts. The Credits Tell a Bigger Story14 sources
  2. AnalysisAction Desert DACH: Visible Craft, Fragmented Pipeline29 sources
  3. AnalysisWhy Perfectly Stable Action Can Feel Dead8 sources
  4. Tactical ActionThe Camera Is Not the Player: How FPS Action Survives the Move to Film9 sources
  5. Cameras & TechnologyThe Camera No Longer Owns the Room9 sources
  6. Analysis2027 Will Not Be Won on Set8 sources
  7. AnalysisProducers: The Costliest Action Mistake Often Happens Before the Stunt Budget9 sources
  8. AnalysisSeason Two Cannot Repair an Action Language Season One Never Designed9 sources
  9. AnalysisThe Franchise Value No Pitch Deck Can Prove by Itself12 sources
  10. Safety & CraftThe PDF Does Not Make the Stunt Safe22 sources
  11. FeaturesThe Last Mark: How Long Can a Stunt Performer Keep Working?12 sources
  12. AnalysisThe Actor–Double Handoff: What Stunt Coordination Has to Protect9 sources
  13. AnalysisWho Gets In? The Tests That Decide Who Becomes a Stunt Performer26 sources
  14. AnalysisThe Hours the Call Sheet Misses: Why Time Is Action’s Real Currency16 sources
  15. OpinionAbolish the Oscar DEI Test18 sources
  16. AnalysisSeconds on Screen, Weeks in Preparation: Germany’s Stunt-Budget Problem22 sources
  17. AnalysisThe Fight Before the Fight: Why Previs Is Production’s Cheat Code11 sources
  18. AnalysisWhy Christopher Nolan's The Odyssey Felt So Incredibly Loud18 sources
  19. FeaturesHow to Become a Stunt Performer: The Real Routes In41 sources
  20. FeaturesThe Stunt Department, Mapped: Who Reports to Whom?19 sources
  21. Cameras & TechnologyThe Shot Never Happened8 sources
  22. Cameras & TechnologyThe Shot Window: Why Great Stunts Disappear on Camera28 sources
  23. FeaturesBefore Stunts Had Credits: The Serial Queens12 sources
  24. FeaturesThe Invisible Architecture of Action52 sources
  25. Tactical ActionOperators in the Frame: How Hollywood Builds the Military Look47 sources
  26. AnalysisThe IMAX® Film Tax: Is The Odyssey’s Giant Negative Worth It?30 sources
  27. AnalysisBuster Keaton Had a Mark. One Hundred Years Later, Stunts Have a PDF.35 sources
  28. InterviewsThe Work Behind the Impact3 sources
  29. Features45 Metres into Cardboard1 source
  30. AnalysisThe Stunt-Design Award Is Coming. What Will It Actually Reward?19 sources