Rolling Perspectives: inside the world of Simon Maignan

Dynamism, precision, and a dash of daring: that’s how we might sum up the work of Simon Maignan , french gimbal operator and FilmmakersWorld contributor specializing in action-packed sequences on rollerblades, ice, and other unconventional surfaces.

Far removed from the classic image of a cameraman rooted to a tripod, Simon pushes his technique beyond the norm, merging visual creativity with physical prowess to deliver breathtaking perspectives.

In this interview, we explore his career, his synergy with directors and DPs, and the physical preparation required to stay at the top of his game. Let’s go!

We explore his journey, collaboration with directors and DPs, physical discipline, and future vision in this magazine feature.”

Can you tell us how your passion for camera work and movement first emerged, and at what point you decided to combine your skills as a gimbal operator with your talents on rollerblades?

I started roller hockey when I was seven, and it quickly became a huge part of my life. Eventually, I captained the U18 French national team and competed internationally. While I focused on sports, my passion for cinema was always in the background.

When I left the rink to study filmmaking in New York, I immersed myself in narrative structure and storytelling. An internship as a camera trainee on a feature film introduced me to the technical side of production, where I discovered a passion for precision, teamwork, and the disciplined workflow on set. I eventually worked my way up to first assistant camera, spending six years developing my skills.

While assisting Kaname Onoyama in Paris, he encouraged me to think about how my skating background could enhance my future work as I pursued my goal of becoming a camera operator.

I started experimenting in the most basic way possible—strapping a GoPro to a 10kg weight plate and skating around. It was far from elegant and didn’t remotely replicate an actual setup, but it gave me a sense of the possibilities. Soon after, I invested in my first gimbal, a Movi Pro, and Zack Spiger allowed me to operate on blades for (La) Horde. Experiencing how fluid and immersive those shots could be gave me the confidence to continue exploring this approach.

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What is your relationship with the director of photography, the director, and the rest of the crew? How does the synergy among these roles influence a project’s overall creative vision and final outcome?

I stay in constant communication with the director and DOP throughout the process to translate their vision and intent into shots that effectively tell the story. Because I often use unconventional tools, I frequently explain their capabilities, which sometimes sparks new ideas.

Collaboration with the grips and camera department is essential both during pre-production and on set. This becomes even more crucial when working abroad, where adapting to local workflows is key. In these situations, local teams play a pivotal role in streamlining the process. During technical scouts, we work closely with both departments to outline our needs. They either source the required equipment or suggest local equivalents—sometimes introducing new tools or techniques.  

Stunt coordinators and choreographers are vital to me as the quality of my shots relies heavily on their choreography and any adjustments must go through them. Even minor changes can have significant ripple effects. Building trust with the talent is equally imperative as we’re often in close physical proximity during takes. 

I always exchange with the VFX supervisor, adjusting framing when needed to support their process. More often, they free me from physical constraints by crafting seamless backgrounds that elevate the overall composition.  

Camera rental houses play a critical role, not only in offering technical guidance but also in crafting bespoke solutions. I’ve been fortunate to work with RVZ Paris since the start of my career. Their team—including Sam Renollet and Fred Lombardo—has been instrumental in my growth, consistently helping me navigate demanding setups by designing custom accessories or adapting tools specifically to meet the needs of a shot.

As a general rule, engaging with every position on set often brings fresh perspectives, which can significantly improve the sequence.

How much time do you dedicate to preparing for a single shot? And how do you manage risk and ensure safety when working in dynamic situations on rollerblades or ice, often navigating obstacles and filming actors in action?

It completely varies from project to project and shot to shot. Sometimes, I’m brought in early and have days to develop a scene, while other times, I’m improvising on the spot to address specific situations or last-minute changes.  I always prepare by studying the script, treatment, references, and reviewing the key creatives’ previous work.

For sports-related shoots, such as the BET365 commercial “Breaking News” (Dir. Jack Driscoll, DOP Guillermo Garza), we conducted rehearsals beforehand with department heads and sports choreographer Eddie McClements to collaborate with the players and design action sequences. When rollerblades are the chosen tool, I observe rehearsals to find the most compelling angles. Once the choreography is ready, I step into the scene, filming with the Cadrage app on my phone, set to match the lens and sensor size we’ll use on the day of the shoot. I gradually build speed—from walking pace to full motion—allowing time to refine movements, identify potential collision risks, and adjust the choreography to ensure safety.

To create an immersive experience, I stay as close to the action as possible, favoring wider lenses to emphasize proximity. Being too cautious can drain the energy from a scene, making it feel staged. The goal is to strike a balance between control and spontaneity, ensuring safety while maintaining the authenticity of the action. My personal limit is making sure that the setup doesn’t introduce more risk than the sport or action itself inherently carries. 

Also, the athletes I work with often have remarkable spatial awareness, honed through their training. They’re used to choreographed systems in their own disciplines, which makes them quick to adapt to changes—similar to professional dancers.

I regularly review rehearsal footage to better internalize the scene. Having a rough cut prepared also helps the team fine-tune the action and make adjustments more efficiently on the shoot day.

What criteria do you use when selecting the appropriate gimbal, camera, and accessories for a highly dynamic scene? How does technology influence your creative possibilities?

The choice of camera and lenses is almost always determined by the DOP, with options typically including the Arri Alexa 35 or Mini LF, Sony Venice 2, and Red Raptor. When appropriate, I may suggest lighter lens sets to prioritize movement dynamism.

Assuming I’m on blades, the first question is whether the shot needs to be stabilized or not. Handheld on blades offer an incredibly immersive feel. If we choose that style, I simplify the rig—mounting the transmitter and batteries on my back and balancing with compact handles and a 5-inch monitor. Reducing weight allows me to focus all my energy on framing the shot accurately. 

When planning stabilized shots, I assess the gimbal’s payload capacity and clearance based on the movement and angles required. The Movi Pro remains my go-to for primary setups, while the DJI 4D usually serves as a secondary option. With its flex cable, I can detach the gimbal from the body and mount it on a boom pole to access otherwise hard-to-reach perspectives. 

Gimbals are a key part of my toolkit across all types of projects because of their versatility. They can function as a classic remote head, controlled by wheels, pan bars, or a joystick. They can be mounted on a dolly, unhooked from a crane and carried by grips if the shot’s trajectory calls for it. And, of course, they’re great when operated handheld.

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How do you adapt your style to projects that can vary widely—from commercials to action films—while still maintaining a distinctive visual signature?

I don’t actively aim for a visual signature; I try to adapt my operating style to serve the story and convey the right emotion. Whether it’s a commercial or a feature film, every project is unique and requires its own tailored approach. Navigating both worlds is incredibly enriching, as techniques from one often inspire new approaches in the other. There are no absolute rules—just tendencies.

Feature films often allow for more extended shots and a slower, more deliberate pacing, while commercials typically prioritize precision and efficiency, with shorter shots designed to make an immediate impact. For example, I filmed basketball sequences on blades in two very different contexts: for a short film called “Le Colisée” starring Vincent Cassel (Dir. Nabil Kechouhen, DOP Antoine Cormier), we leaned into longer lenses and more drawn-out, emotional takes to enhance the narrative. In contrast, the Gatorade commercial “Trick of the Mind” (Dir. Jack Driscoll, DOP Kaname Onoyama) required wider lenses and quick, dynamic movements to convey energy and excitement. 

In my experience, feature films offer some flexibility; even with carefully planned scenes, you can often get away with long, uninterrupted, improvised sports sequences to provide options for the edit—trusting that compelling moments will emerge. Conversely, in commercials, every moment must be meticulously planned. I always need to know exactly what I’m going for, slicing longer actions into perfectly choreographed bits.

Skating on different surfaces—be it asphalt, ice, or uneven terrain—how do you adjust your technical and physical approach to ensure image stability and fluid movement?

Urban environments, like Paris, come with unique challenges: uneven cobblestones, potholes, and slippery surfaces demand constant vigilance. I scout paths in advance, marking hazards and working with props or the art department to clear obstacles where possible.

That said, urban settings can also offer ideal locations, such as the toll chase scene in November (Dir. Cedric Jimenez, DOP Nicolas Loir), where we had long stretches of clean asphalt, allowing me to focus entirely on the movement, avoiding cars and extras without worrying about the surface.

On the ice, the approach varies significantly. In arenas, the ice is well-maintained, resurfaced regularly, and free of debris. By contrast, natural ice presents unique challenges. While shooting on a frozen lake in Chamrousse in the French Alps for the first episode of Anthracite (Dir Julius Berg, DOP Arnaud Stefani), we had the surface carefully prepared in advance by the local team, who cleared snow and repeatedly applied water over several days to smooth the ice.

For uneven terrain, like gravel paths or forest trails, I typically rely on a Segway, an ATV (All-Terrain Vehicle) or a buggy. I either operate the gimbal onboard or mount it on a black arm, controlling it remotely from another vehicle.

Your work requires both technical precision and physical endurance, often under the strain of long shooting days in challenging environments worldwide. How do you stay focused and maintain quality while balancing mental, physical, and creative demands?  Could you share a memorable moment from a tough shoot—whether humorous or seemingly impossible—and explain how you overcame it?

I focus on strength training and cardio 5 days a week, supported by daily stretching, proper sleep, balanced nutrition, intermittent fasting, and basic supplements. During shooting periods, I prioritize injury prevention by incorporating sauna sessions, cold plunges, and light exercises to stay resilient and manage fatigue effectively.

Travel often disrupts those routines as soon as I land. I try my best to adapt and stay consistent, but in these moments, flexibility becomes just as important as discipline. 

We recently wrapped Bombonera (Dir. Syrine Boulanouar, DOP Fabio Caldironi), a feature centered around a street football tournament. Filming the games often required several days with takes repeated dozens of times to capture just a few seconds of the sequence. In these demanding scenarios, it’s essential to pace yourself during lighter moments, conserving energy to ensure each take remains as precise and dynamic as the first.

After a tough shoot, I visit a massage therapist and an osteopath to address any lingering tension or imbalances. This helps me recover quickly and prepare for the next project.

Do you have new challenges or projects lined up, perhaps exploring different contexts or technologies? What’s the next “frontier” you’d like to conquer as a gimbal operator?

Several feature films and commercials are already in development for 2025. 

I’m enthusiastic about the announcement of the Arri Alexa 265 and the broader trend toward lighter, low-profile camera builds. The original Alexa 65 is an incredible camera, but its size and weight make it nearly impossible to use in dynamic or confined setups.

I’ve recently invested in a steadicam to further expand my capabilities. My goal is to have both tools readily available on set, enabling me to choose the most effective option for each shot and provide directors and DOPs with a broader creative arsenal.

What’s exciting about this new journey is how steadicam could eventually reconnect me with one of the aspects I loved most when I first started as an AC: shooting on film. 

The interview ends here, but the impact of Simon Maignan’s images continues to fuel the imagination of those who watch and engage with action cinema, opening the door to new perspectives waiting to be explored.

Thank you fam for reading, if you wanna learn more about the work of Simon Maignan, go check his website and, in case you missed our previous mag piece, go check it out!

Much love!
FilmmakersWorld Team

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