Inside the Super Bowl Halftime Show – A Steadicam Operator’s Perspective with Sean Flannery

by Nino LeitnerToday

Steadicam Super Bowl halftime show operator Sean Flannery joins CineD contributor Graham Ehlers Sheldon for an in-depth interview exploring what it takes to film some of the most-watched live events in the world. From Kendrick Lamar’s viral performance to the Oscars and Taylor Swift’s Eras Tour, Flannery shares the pressure, preparation, and unpredictable moments behind the lens—all while operating cinema-grade gear like the Trinity rig and Sony VENICE 2.

Sean Flannery’s path into the world of Steadicam operation began, like many in the industry, with handheld work in live sports. That experience—operating in high-pressure environments like Major League Baseball stadiums—would prepare him for what was to come: filming the Super Bowl halftime show in front of over 135 million viewers, multiple years in a row.

From baseball fields to billion-view broadcasts

Despite the scale, Flannery insists that once the headset goes on and the associate director starts counting down the bars, the nerves give way to focus. “You kind of forget everything else that’s going on around you,” he says. “Haley, our AD, is that calming voice in your ear—just counting beats and bars, guiding you through it.”

What it’s like to shoot the Steadicam Super Bowl halftime show live

Live performances are, by nature, unpredictable. Flannery shared multiple behind-the-scenes moments that illustrate just how much can go wrong—and how essential preparation, instinct, and trust in your crew become.

During rehearsals for a Beyoncé halftime show, Flannery tripped over a rolled-out carpet while sprinting toward the singer. He fell not once, but twice. “In front of Beyoncé,” he adds with a laugh. The lesson? Slow down, adjust, and move on. It’s a theme echoed in another moment from Kendrick Lamar’s halftime performance, where a missed camera move ended up adding a sense of chaos to the shot that worked in the show’s favor.

Contingency planning: backups to backups

Perhaps most surprising is how much planning goes into “what ifs.” Flannery recounts a situation where fellow operator Tori was prevented from accessing a camera position during a Beyoncé performance due to a security miscommunication. The result? His rig was yanked off by a field rope mid-show.

Since then, Steadicam operators filming the game now stand by on the sidelines, ready to hand off their rig to another op if something goes wrong. “If one of us goes down, we just take the other operator’s rig and keep shooting,” Flannery says. “At least we know the shots.”

From Ryan Gosling to Taylor Swift

While Flannery is best known for his live work, he also finds himself on commercial shoots, awards shows, and even concert films. One memorable recent gig: leading Ryan Gosling on stage during the now-infamous Barbie “I’m Just Ken” number at the Oscars. Another: filming Taylor Swift’s Eras Tour at SoFi Stadium—though at the time, he wasn’t told it would be turned into a theatrical release.

The secrecy surrounding projects like the Super Bowl or Taylor Swift concerts is real. Flannery jokes that it often starts with a vague email: “Hey, are you available for a job in February?” And only weeks later does he realize—“Oh, that’s the Super Bowl.”

Shoes, tech, and trusted teammates

Flannery also shared some practical insights for fellow operators. His footwear of choice? Hoka sneakers, chosen for comfort and endurance over hours of movement. He emphasized the importance of trusting your “utility”—a live-show equivalent of a grip—to help steer through dancers and crowds, and gave a shout-out to Finicular Goats, the team responsible for providing cinema gear (like the Sony VENICE 2) and handling wireless systems on site.

The adrenaline never stops

Even after the last shot is wrapped, the job’s not quite done. At SoFi Stadium, Flannery and his utility partner had already planned their escape route days in advance to avoid post-show traffic. “We were broken down and in the car before the end of the third quarter,” he says, a reminder that even high-profile gigs are sometimes about logistics just as much as artistry.

Ever operated a camera in high-pressure live environments — or dream of doing so? (And it doesn’t have to be the Steadicam Super Bowl halftime show!) Share your most intense shoot story in the comments!