The Steadicam® Operator's Handbook

The Steadicam® Operator's Handbook

The Steadicam* Operator's Handbook

The Steadicam® Operator's Handbook Jerry Holway and Laurie Hayball

The Steadicam® Operator's Handbook

Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, M A 01803, U S A Linacre House, Jordan Hill, Oxford 0 X 2 8DP, U K Copyright © 2009, Jerry Holway and Laurie Hayball. A l l rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier's Science & Technology Rights Department in Oxford, U K : phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting "Support & Contact" then "Copyright and Permission" and then "Obtaining Permissions."

Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81165-9

For information on all Focal Press publications visit our website at www.elsevierdirect.com 09 10 11 12 5 4 3 2 1 Printed in China

Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org

11 SI \ II R

f^lu^i Sabre

Foundation

Notice of Disclaimer: The information contained in this book is based on the authors' experience and opinions. The authors and publisher will not be held liable for the use or misuse of the information in this book. S T E A D I C A M , G-50, G-70, Clipper, UltraBrite, Ultra, Ultra Flyer, Pilot, Merlin, and JR are registered trademarks of the Tiffen company. 2

Foreword Introduction

Cut Print. Great. The history of the Steadieam' is pretty well known How to begin

Section One Wearing the Steadieam* Basic Physics Getting to know the rig Basic Steadieam' terms Build the Steadieam Four balancing acts Static balance Dynamic balance

Section Two Putting on the Steadieam" Moving w itli the rig The right touch Starting and stopping The camera's path Making the quitch Variations on the line dance Memorizing the shot

Section Three Low mode Navigation Keeping the camera level Steadieam' posture General health and operating Women and Steadieam* Are you ready? M) Mg break bv Dan Kneece

Section Four Basic shot design Take after take b> Janice Arthur Your role as storyteller Point of view Moving composition Strong camera mo\ es

2 4

6

the Steadieam" and its parts 8 9 12 20 22 25 26 30

getting started 38 47 50 55 58 59 63 72

beyond the basics 78 84 94 97 102 104 108 112

Steadieam- and filmmaking 118 124 127 130 136

The SteadicaiD^ Operator's Handbook

Section Five Would you care to dance? Moving through space Floating the camera No second takes b) Meter Abraham Putting the rig on the other side Negotiating tight spaces Running with a rig

movement techniques 142 145 156

158 160 162 172

Section Six More on operating Framing corrections Precise framing techniques Lock olTs Whip pans Longer lenses Zoom lenses Pass-bys Telling the story

Section Seven Accessories Focus pulling Preparing for a shoot Communication Using grips wiselj

Section Eight Inventing the wheel Configuring the rig Flying with a motorized stage Inertia! augmentation and balance Gyros Vertical control Arm posts

Section Nine

vi

getting to work 210 214 222 226 234

extending the range of movement 240 242 24S 251 256 260 269

extending the range of options

Steadieam* and \ehicles 272 To ride or not to ride? 278 Hard mount or soft mount 280 Safety, speed, communication 284 Types of vehicles 289 Endurance by Branl l agan 296 Vehicles to avoid 317 I his is just a little part of the Turkish helicopter story by Jacob Bonfils 320 Interesting vehicles we like 322

tons

Section Ten

the business side of Steadicam* 326 328 331 334

Buying a Steadicam" Negotiating your deal Advertising Insurance

Section Eleven

unique environments and requirements

Weather alerts Survivor No. 1 by Scotl Lake) Documentaries and industrials v Uuifiifl FGun ov i. nn,\ taweett Video and Steadicam" Steadicam' and live 1 \ by Lars Riis Heavy cameras Unintended consequences Lightweight rigs Steadicam' light by Garrett Brown Lightweight Steadicam' (iarrett's nig nighl out 1

Section Twelve The right attitude Additional concerns How do wc get this shot? by Charles Papert Breaking the rules The emotional stuff Long shots A great walk and talk The long Steadicam' shot by Larry Mi Camera Darwinism and Action!

338 346 352 362 363 364 370

the experienced operator 380 382 384 388 390 391 393 406 406

Conclusion

How was it? Acknowledgments D V D References Websites

410 413 414 415

Index

417

vii

The M e a n * Operator's Handbook

A note regarding the word Steadicam: Steadicam® is a registered trademark of the Tiffen Company. It refers exclusively to Steadicam brand equipment, and the term Steadicam operator refers to operators of that equipment. Garrett Brown's original patent expired in 1994 and since that time other manufacturers have sold equipment based on that expired patent. Operating these "look-alike" stabilizers generally involves the same skills required for operating pre-1994 Steadicam equipment. Modern Steadicam stabilizers have additional, patented features which are important to modern Steadicam operating technique and are covered in detail in The Steadicam® Operator's Handbook.

viii

Foreword by Garrett Brown Ancient history In the winter of 1965,1 spent 3 months in the Philadelphia Free Library, reading my way through 30 shelf-feet of old movie books. That spring, for an even thousand dollars, I bought a truckload of antique equipment from a bankrupt local producer. Two young friends helped improvise a "sound stage" in a barn, and we were in business — a comically threadbare 1940'sstyle film studio — just as the real movie world was headed out on location! There, on that rough plank floor, were stands of Bardwell & MacAllister lights with ridged Fresnel lenses and a weary Mole-Richardson mike boom, and a massive, dirt-encrusted Fearless-Panoram dolly; plus racks of scrims and nets, cables and stage-boxes, a jig-sawed kookalorus to make foliage shadows, and an assortment of old editing gear for both 16mm and 35 mm film. We had only a vague idea how these wonders should be deployed. The essential lore, the useful tips and tricks from the world's grips and gaffers and camera assistants, had not turned up in the Free Library, and neither A Grammar of the Film by Spottiswoode (1951), nor Make Your Own Movies for Fun and Profit, by A . L . Gale (1939), were very explicit on, say, "how to pull focus" or "level rails" or "flag a lamp;" but we soon began making local T V commercials and little movies for Sesame Street, and scratched our heads daily over what we should have known the week before. From the very beginning, I loved moving the camera. I liked the way it looked and felt on screen and how it made that two-dimensional medium spring to three-dimensional life. But I liked it best when it was smooth. The French nouvelle vague guys were already running around with cameras taped to their heads (which I tried), and the freedom of handheld was intoxicating, but I hated the unnatural shakiness and found it distracting. Wheeled camera-moving contraptions were cumbersome — heavy objects trundling along in straight lines — and though I could not yet have articulated the concept, the results tended to be "dry" as in rigid, linear, "without emotion, impassive; stiff, hard, cold." M y 800 pound Fearless was of that antediluvian species — dry as dirt and prone to vibration as it lumbered along my paltry inventory of track sections (four straight and one curved!) — but that clumsy monster turned out to be a gift from the gods, because it sent me on the hunt for a way to disconnect the camera from the adjacent human being.

IX

The Steadicam Operator's Handbook 6

Fast forward; years of striving; calendar pages flipping; and the "Brown Stabilizer" prototype was finally in my hands — and could be demonstrated without providing any clue as to how it worked. In Philadelphia, we made a 7 minute 35 mm film containing thirty "impossible" shots, culminating with one that has passed into film history: I pursued my then-girlfriend, now-wife, Ellen, down the long steps of the Philadelphia Art Museum — and back up! A screening for the late Ed DiGiulio in Los Angeles resulted in an immediate license deal, and the next day he sent our little reel to Stanley Kubrick, who telexed this thrilling reply: D E M O R E E L ON H A N D H E L D M Y S T E R Y STABILIZER WAS S P E C T A C U L A R AND Y O U CAN C O U N T O N M E A S A C U S T O M E R . IT S H O U L D R E V O L U T I O N I Z E T H E WAY FILMS A R E SHOT.... BEST R E G A R D S , S T A N L E Y K U B R I C K , H A W K F I L M S ELST+

A week later, John Avildsen, the future director of Rocky, saw the demo and called to ask the fateful question: "How did you do that?" and "Where are those steps?" I had no idea then how the "Brown Stabilizer" would transform the film and TV industry, nor how artfully it would eventually be used — nor how grateful I would be that E d DiGiulio had renamed it Steadicam. I only knew that I could finally ditch that damned dolly!

The iron age At first, Steadicam was regarded as a stunt device for running and climbing stairs. I chased Sly Stallone around Philadelphia and Dustin Hoffman all over Manhattan for Marathon Man; but it was Haskell Wexler's brilliant "combination shot" in Boundfor Glory — descending on a crane, stepping off, and strolling along with David Carradine — that proved it could move with beautiful deliberation. As smooth or energetic as desired, it also had a closer resemblance to the way we really see, with the same apparent mass and agility as a human observer and the same gift to find the optimum, non-linear path, without regard to bumps and obstacles. Valentin Monge, the great French operator, has a very spiritual view of the job: "Steadicam requires more because it offers more. We don't just pan and tilt, we place our "eye " in space and time, with all the improbable curves and subtleties of the timing — how fast; when and how accelerated and decelerated; what synergy between camera angle and direction; what changing separations between observer and observed elements — often to unusual and stunning effect." The Shining was my master class for all of the above, plus precision, efficiency, and repeatability (think fifty takes!). Over the course of a year at Elstree Studios, it was sometimes painfully clear that the Steadicam was an instrument rather than a mere stabilizer and that the dynamics between myself, as "instrumentalist," and the shot, the film, the crew, the production, and Kubrick, in particular, were just as important as my increasing physical prowess. At best, Steadicam can be more sophisticated, more immediate, more responsive, and more emotionally intimate than anything on wheels. At worst, if misapplied or slackly executed, it can be inappropriate, pedestrian, jarring, and/or downright boring. My goal, ever since, has been to help operators achieve the former and avoid the latter! For a while, I was the only operator on earth, and it was thrilling but also isolating — like being a one-of-a-kind circus act. As soon as I started teaching friends in my house (and making them autograph their "dings" on my door frames) they asked, "Please don't show anyone else!" But I argued that we would be better off as virtuosos, at the top of a huge pyramid of operators, than as lone curiosities, forever in that circus!

X

Sure enough, as soon as we began conducting workshops in Maine in 1980, the "profession" expanded exponentially; and over the years, some of the best of the best, like the late, great Ted Churchill, have given back by teaching their own classes in the United States and abroad. I first recruited Jerry Holway in 1988 to run the newly formed Steadicam Operator's Association, and edit the Steadicam Letter®. The sixteen issues published by the SOA in that era are still cherished, and old V H S copies of Jerry and Ted's EFP Video Training Manual sold on e-bay for $100 or more. (It has just been re-released on DVD.) Jerry Holway and Laurie Hayball, the authors of this book, soon became instructors and have been my friends and colleagues for many years. Both bring to their students the gift of their other considerable talents: Laurie is the author of two exquisite how-to books on infrared photography and has a marvelous eye and the most perfect Steadicam form and posture of any operator, male or female, I have ever seen. Jerry taught at Penn State's film school, and has the born teacher's ability to transmit enthusiasm along with complicated ideas and information. He has taught Steadicam worldwide, including twenty-five workshops in Scandinavia alone, and has written numerous technical manuals and the everexpanding Steadicam Workbook handed out at hundreds of our classes around the world. Jerry is a skilled operator with numerous feature credits, and he recently became our inventing partner, with several joint patents for award-winning Steadicam improvements and related gear.

The 21st century The film and video worlds have expanded and radically democratized in the past decade. Not only is Steadicam expertise now considered essential for professional camera operators, Tiffen has models at every price point and the lower cost editions are acquired by thousands of students, prosumers, and corporate videographers each year. And as video cameras continue to get lighter, better, and less expensive, more and more people around the globe find high quality imaging within reach. What's missing from this picture is no longer the appropriate instrument — it is access to the vast trove of professional expertise that will help you use Steadicam advantageously. Personal instruction can no longer reach and teach every interested party. Our 6 day Steadicam workshops (which cost upward of $3,000 per week plus airfare) are always sold out, with long waiting lists, and vast numbers of camera operators and video enthusiasts around the world have had no practical way to learn this vital skill. And even 6 long workshop days are no longer enough time to get across all we have learned about this highly evolved technology and its increasingly sophisticated practice. The physical skill of operating, like bicycle riding, is yours for life, but all the essential lore, the useful tips and tricks, hard won by the world's master operators, go by in a blur and are hard to retain. The rise of the Internet gave us access to a universe of fragmentary information, but until now there has been no complete, single, vetted, resource — no master reference — for Steadicam operating. / can almost hear the bugles sounding and the hoof beats of the arriving cavalry!... What all the world's camera operators and videographers (and teachers and instructors) have needed for years is a Book — make that a Big Book! — an ultimately comprehensive, profusely illustrated guide to the deep and rich art of Steadicam operating and its attendant philosophies, political considerations, and livelihood implications — culled from decades of experience working on the world's best movies, T V programs, documentaries, and shows. The Steadicam® Operator's Handbook is that long-awaited book. I believe it will be regarded as a one-of-a-kind masterwork for the film and T V industries and will take its place among that handful of much-cherished volumes which brightly illuminated their respective fields. The Complete Walker by Colin Fletcher comes to mind. Fletcher not only got me excited about camping, at its leanest and most elegantly efficient but he also lit up ways of interacting with the natural world that were ecologically ahead of their time and enduringly satisfying. The Steadicam® Operator's Handbook is of similar fascination not just for cinematographers and videographers but perhaps also for producers and directors and even, so help me, actors and film buffs, who may or may not ever don the "vest" and click in the "arm" and fly the camera themselves.

xi

The Steadicam® Operator's Handbook Here is the companion volume for our teaching efforts, and the indispensable manual for of all of you — men and women — who must learn Steadicam operating on your own, and keep on improving without the benefit of personal instruction. The Steadicam® Operator's Handbook introduces the physics and balancing of the equipment, and takes you through a series of step-by-step "line dances" and practice shots, to the most personal and esoteric aspects of our profession: how individual masters work and make creative and practical operating decisions. With over 1,400 photos and illustrations, it's the granddaddy "how-to" and "why-to" book for the amateur, semi-pro, and professional alike. Jerry and Laurie explain the wide array of gear and accessories now available, the practice of successful shot making, the crucial interactions with others on the crew, and the business strategies for a successful Steadicam career; not to mention the stories — inspirational, funny, instructive, and cautionary — from some of the world's best and most experienced operators. Here, finally, is your "workshop in a book" — both master class and master reference — for all who desire to move the camera effectively, productively, elegantly, and memorably. The Steadicam Operator's Handbook will certainly be there — upon those well-remembered shelves in the Philadelphia Free Library — and on hand for any 21st century edition of myself who desires to get into "the business." 9

And it will be more timely, more useful and more inspiring than anything I encountered during that fateful pilgrimage in 1965! —Garrett Brown, Philadelphia, 2008 www.garrettcam.com

xii

Introduction

Cut. Print. Great. we are moving on It's music to my ears — it's music to everyone on set, because a part of the story has been told. It's in the can. How did this little miracle happen? As a Steadicam operator, what part did I play in all of it? What exactly did I do? M y assistant taps me on the back. The D P wants to see me, now. He's waiting for me; this is not good. We are moving on; there's no chance here to savor the moment. It's work. There's another Steadicam shot for me to do. Music to my ears.

What's the shot? Long before I got to this set, I had worked on other sets, other films, commercials, industrials, and documentaries. I had taken a couple of Steadicam workshops and practiced for hundreds of hours. I worked for free on student films, scraped together the cash to buy a used Steadicam, helped at other workshops — immersed myself in Steadicam operating. And long before that I had worked as a cameraman, an editor and filmmaker, made student films, and watched movies and too much TV. M y story is similar to many others; the details unique to me, and most of the pain and missteps forgotten and thankfully lost. Immersed myself in Steadicam operating. What is that all about? With a Steadicam, you can move the camera the way you imagined moving a camera; you can create images like the images in your dreams. Steadicam operating is not easy to do well. Even with the best gear in the world, you have to work hard to make anything good happen. Operating a Steadicam is always a challenge. It requires skill. It takes time to learn, and one can always do it better and learn more. It's a bit physical at times, but mostly it is a mental game, a very demanding mental circus that plays in your head. If you like the sweating, the challenge, and the pressure, then Steadicam operating is also lots of fun.

Introduction

Operating a Steadicam starts with ideas What's the shot? First and foremost, the operator must want a specific shot, with specific moves, framing, and timing. It is the idea that drives every aspect of operating. The idea may start with the director, the DP, the writer, or with you. It doesn't matter whose idea it was, as long as in the end, the director buys it. Cut. Print. Great. Moving on. The idea for the shot determines everything — even how the operator walks, settles into stillness, or breathes. The idea determines how the Steadicam is configured and balanced, what accessories are used, whether the operator walks or rides — everything. Steadicam operators achieve their goals in the context of production, with all the pressures of time and resources. Operators must work with other members of the crew and with the cast, with the fading light and the weather, and with equipment that may not be perfect for the task. The more specific and detailed and intelligent the ideas are, the better the shot will be in all its aspects. The walking will be more focused, the locked frames quieter, and the breathing more efficient.

How do you get the skills and training and sense to make the idea work? Two kinds of preparation will help keep the idea of the shot paramount. First, the Steadicam, the camera, and all the accessories must work together, mechanically and electrically. Steadicam operators also must be prepared. They must be able to move the Steadicam as desired. Practice exercises and shots will help you gain these skills. On the set, you must be confident that you have the skills to achieve the shot. You must remember all the tricks and tips that save time and energy, and be aware of any dangers. It also helps to be aware of great Steadicam operating, of the art and artists that have shaped the profession, of what is possible. The Steadicam operator must desperately want to make the best possible shot — to achieve the idea. For without the desire and a firm personal grasp of the idea, all the great skills and all the best gear won't make a great shot.

The Sleadtcam" Operator s Handbook

The history of the Steadicanf is pretty well known... — a very short version — 1973, Garrett Brown begins to use the first Steadicam — born out of a desire to improve Garrett's own handheld camerawork, to run without the image wildly bouncing up and down. The initial improvement was to attach a t-bar rig of plumbing pipe to the camera. Now Garrett could get his hands on the center of gravity of the object. This idea is reflected in subsequent inventions of "shakicams" and "pogocams." In 1973, the "pole rig" evolved into a parallelogram mini-crane. Garrett attached a fiber optic viewfinder from the camera to his eye in order to operate the shot. Needless to say. this rig was heavy. Garrett invented a support system that used a nine foot bungee cord running through pulleys.

Months went by. money flowing freely to machinists,Garrett's mind whirring with ideas. Finally a prototype was born, the Brown Stabilizer. But Garrett had no expectation that his invention would ever achieve the precision of a dolly shot. He grabbed some shots to use as a demo and showed the footage to Ed DiGiulio (Cinema Products). A deal was made.

4

introduction

In 1978, the Academy of Motion Picture Arts and Sciences (AMPAS) awarded Garrett and Cinema Products an Oscar ' for Outstanding Technical Achievement in their development of the Steadicam. In 1988. ATAS (Academy of Television Arts and Sciences) followed suit with an Emmy . 1

ft

i "The Steadicam* was conceived as a stunt camera, designed for running shots over rough ground, but by the time of its feature debut in 1975, we were beginning to realize that we had underestimated its potential. My first feature shot was a long, slow quiet track with David Carradine on Bound for Glory, and the history of the device ever since has been a steady progression which has tended toward precision and away from all those pell-mell stunt running shots up stairs! — Garrett Brown 0

The Steadicdm Operator s Handbook

How to begin Everyone reading this book already has an awareness of good operating and good filmmaking. We've all grown up with it, even if we haven't formally analyzed or studied filmmaking. We know what we like. We can imagine the shot that tells the story. The Steadicam is a mechanical gadget that allows us to move a camera with great freedom and smoothness. Operating a Steadicam requires an understanding of how the instrument works, plus the development of a set of special skills to make the Steadicam move exactly when, where, and how desired.

Operating a Steadicam requires a set of special skills. The good news is that learning to operate the Steadicam will also enrich your sense of the moving camera. There's a great synergy here. The more you learn how to operate a Steadicam, the more you understand what you can do with it, and how moving the camera in a specific way can enhance your storytelling. Put another way, if the only piece of camera support equipment you owned was a tripod, you would not spend a lot of time considering the moving camera. You would not explore all the possible camera positions available with your tripod, because it would take too much effort to micro adjust a tripod hundreds of times for each shot. But with a Steadicam, the only impediment to moving the camera well or exploring all the best camera positions and movement is the mental effort required of the operator. Because operating is a mental game, the Steadicam is a very personal instrument. How you think — how well you think! — makes the Steadicam do different things. And these differences are valuable, interesting, and fun. It's just as easy to move a Steadicam along one path as another. If an operator can think to explore the possibilities, then finding the best way to do the shot can happen effortlessly and efficiently. And better yet, exploring the possibilities day after day is a great teacher. A large part of this book is aimed at the novice operator, but there are many insights, ideas, stories, and tips that will be useful for any operator at any level of experience. There are two "owner-operator-authors" of this book, Laurie Hayball and Jerry Holway. Long-time friends and co-teachers at many workshops, we sometimes have divergent viewpoints and different approaches to operating and teaching, and now to writing. We have different priorities, different ways of expressing ourselves.

6

We believe that our differences — and other points of view expressed by other operators — will enrich your understanding of what operating a Steadicam is all about.

Section One the Steadicam® and its parts

Wearing the Steadicam® for the first time Q:Whafs it feel like? A: Well, it's different. Until you wear it once or twice, very little of what we'll discuss in the book will make much sense to you. Q: Come on. What's it feel like? Is it heavy? A : It's going to be a lot less effort than you might expect. Q: Will it hurt my back? A : If the vest and arm are adjusted right, and you stand correctly, it will not hurt or strain your back. Q: So, whafs it going to feel like? A : You're going to feel some pressure on your legs, but not much. The Steadicam is going to move around a lot more than you might expect. It's very free to move in space and to pan, tilt, and roll. Very, very free. You've got to dance with the Steadicam and be in balance at all times. It helps if the sled is in balance, i f you have a solid understanding of the physics, i f you know what to do with each hand, how to walk, and... Q: What are you talking about? Am I going to fall over?

SteveTiffen.atage15 tries on the Model One for the first time at the Film 77 trade show. ;

A : Probably not. You've got to try it on, and the sooner the better. If you are at a workshop or demonstration, someone knowledgeable will help you get into the rig for the first time. If you're on your own, then read as much as you can, and when you feel comfortable, pick it up. It won't kill you if everything's not perfectly adjusted.

After wearing the Steadicam Q : So that's what it feels like. Amazing. Different. What's next? A : Go back and read some more. Keep picking it up and practicing. Learn how it all works. Watch movies. Start dreaming of making shots. You have the tool. Learn to use the Steadicam well. The more experience you have, the more you will understand the concepts and ideas in the book and the more valuable the information will be to you.

It's going to be an amazing journey.

The Steadicam" and its parts 1

Basic physics a four part solution Understanding how a Steadicam solves the problems of "shakiness" will help you learn to balance and operate the Steadicam more quickly. Garrett always broke it down into the "four part solution." Here's another version of how it works: Handheld cinematography is alive with movement and quick to respond. This is useful for a rapid-fire, inside the action feel and is implemented when appropriate for the story. Handheld has also been used as a way to visually express the point of view (POV) of a character. However, the intimate feel achieved with handheld is often shattered by unwanted and unrealistic movements. No matter how rough a trail becomes, the hiker's brain maintains a smooth, continuous view of the scenery, so why should our shots shake, rattle, and roll when walking down a trail? Handheld camerawork suffers from two kinds of unwanted movement. One is spatial, when the camera makes unwanted moves in space, such as the bounce with each step the cameraman makes. The other is angular, where the camera makes unwanted rolls, pans, or tilts during the shot.

Angular solutions The problem: Most cameras are relatively compact, and therefore an operator can pan, tilt, or roll them rather quickly. In some respects a camera is like a bowling ball, easy to spin (move angularly) on any axis. Everything is fine when the camera is attached to a tripod, but when a living being attempts to hold this contraption, the problems begin to show up on screen. A l l contact with the camera is on the outside of the camera body — outside of the camera's center of gravity (e.g.). The cameraman's lifting and aiming forces are rarely directed through the e.g. of the camera, so the camera will turn or twist as well as move. Trying to hold the camera still, the operator creates both spatial and angular vibrations that disturb the shot.

definition Center of gravity (e.g.):

It is impossible to get your hands on a camera's center of gravity.

that point in a body around which its mass or weight is evenly distributed or balanced and through which the force of gravity acts.

T]ie Sleaciicam " Operator s Handtìook On the other hand, when the handheld camera operator wants to impart a controlled angular motion to the camera (like a pan), the force required is very small, while the force required to lift the camera is very large. The operator must continually micro adjust the small panning forces, and he must use the same arms, hands, legs, and shoulders to do the heavy lifting. Good handheld operators have all sorts of tricks for smoothing out unwanted motions, but very quickly the range of acceptable smooth motions runs out and the camera shakes, vibrates, rolls, or bounces in an undesirable way.

So how does the Steadicam work? First, the Steadicam adds several other masses to the camera body via a rigid structure.

definition Inertia: n., physics The tendency of a body to resist acceleration; the tendency of a body at rest to remain at rest or of a body in motion to stay in motion in a straight line unless disturbed by an external force.

Two things immediately happen: The first is that this new, heavier, and longer object takes a lot more force to turn angularly. The second is that the new e.g. can be touched by the operator. Grabbing the object at the e.g. induces the least angular change, or put another way, has the smallest possible angular (shaky) effect on the image. If we add masses to the camera in two directions, it becomes more resistant to angular change in all three dimensions. We now have an object that resists turning (we can say it has greatly increased angular inertia) and we can grab it at a spot that doesn't make it turn very much. We still have a problem though. We are still doing the heavy lifting (now even heavier!) and aiming the camera with the same muscles. This is the limiting factor of all shakicams.

Adding masses via a rigid structure allows the operator to touch a new e.g. of the combined structure.

The gimbal The next part of the solution is a threeaxis gimbal placed near the new structure's e.g. If the structure is lifted by the gimbal, the lifting force will not affect the structure angularly.

10

This is very important: The gimbal separates the large lifting force from the small "aiming" forces that frame the shot. Also, the gimbal allows the Steadicam to be balanced — and therefore aimed — independently of the lifting force. Why is this important? Although human beings cannot exert a constant force to aim or lift the camera, we can exert an average force of zero. If we combine our own "zero force" ability with a gimbal, we can achieve great precision aiming the camera.

TheSteadicam'and ils paris Spreading the masses and adding a gimbal gets us: • a heavier device that resists angular movement. • a device whose e.g. can be touched. • a device that can be lifted without inducing angular movements. • a device where the small forces needed to aim the camera are separated from the large forces needed to lift it. • a device that can be aimed by its balance.

Alas, with this new device, the operator can no longer put his eye to the eyepiece. Because the eyepiece is so far away from the new e.g., the slightest pressure will introduce large angular movement to the new structure. What's needed is a high-brightness video screen mounted somewhere on the contraption for accurate framing. While we're at it, let's use the masses of the monitor and a battery as the extra masses we need to make our inert object. If we're carrying the weight, we might as well make it work for us! By the way, when the Steadicam was invented, there were no video assist cameras for film work, and the first "green screens" were not much larger than postage stamps. Thankfully, things have improved.

definition Momentum: n, physics

Isolate and lift The Steadicam system still has to solve two more problems. We need to isolate the new contraption from our body's spatial movements, and we need a good way to lift this camera and all the extra masses we added to it. The solution is a mechanical arm that frees the camera from our shoulders, and a specialized vest that distributes the weight of the device onto our shoulders and hips.

The product of a body's mass and linear velocity.

The mechanical arm provides the spatial isolation of the camera from the operator. Horizontal movements are absorbed in the arm by a series of hinges and links that mimic our own joints: wrists, elbows, and shoulders. Vertical movements are absorbed by two links of the arms that are parallelograms with internal springs. The arm not only absorbs movements from the operator, but it allows the sled to be moved within the range of the arm, both horizontally and vertically with very little effort. And again, the operator can use the "average force of zero" to hold the Steadicam still when necessary. And that's the four part solution — that's how the Steadicam system basically works.

The four part solution: 1. add mass via rigid structure 2. gimbal 3. monitor for framing 4. arm and vest to carry it 11

The Steadicam Operator s Handbook B

Getting to know the rig name the parts The Steadicam® is a three part system: vest, arm, and sled. The vest distributes the weight of the system evenly onto the operator's body. It must be properly sized and adjusted to fit the operator.

shoulder pads \ \

chest plate/y-plate shoulder clips

quick release handle

chest strap plate with lock

y-plate extension lock chest pads

chest strap buckles

hip pads socket block spar

hip strap buckles

12

bridge plate

The cross back straps are sandwiched between the shoulder pads and vest back, and secured with Velcro®. Adjust the position of the upper straps so they end as shown in the photo (fairly low). In this position, they will be easy to clip, un¬ clip, and adjust. shoulder straps

/

quick release strap

chest straps, Velcro' for resizing

- cross back straps

hip straps, Velcro® for resizing

Note: These vest parts are typical, but may look or work slightly differently in other Steadicam- models or in other brands of camera stabilizers. The Steadicam® arms and sleds shown on the next few pages are also typical examples of arms and sleds.

The Sleadicdm"' Operator's Handbook The vest adjusts to fit just about any operator. Make sure you get the right fit.

Regular size vest adjusted for short and

Compact vest (Master Series)

V 14

tall operators.

Flyer SE vest

A compact vest would be the best choice for this operator, but alas, one was not available. She made this regular size, LX vest as small as possible by unclipping the chest plate from the spar, so she could slide the "Y" plate much lower. She then added some extra pads and voilà!, a great fitting vest.

The Sleadicdrn ana its parts The arm is the link between the vest and the sled. The arm lifts and isolates. A clever spring arrangement imparts roughly equal force throughout the boom range making it possible to raise or lower the sled with very little effort. (The links are always in equipoise with the load, regardless of the arm's position, and the two links are in equipoise with one another as well.) The arm has sections and hinges to mimic our own wrist, foream, elbow, upper arm, and shoulder, so it can be moved though space like our own arm. arm post

G-50 Arm

definition Equipoise: n., balance

of forces or interests; a counterbalance or balancing force.

forearm section adjustment knobs

upper arm section

titanium spring

adjustment knobs double action hinge

quick release pin

titanium spring

socket socket

weight adjustment knob rod ends

ride adjustment knob

Master Series/Ultra Arm

The Steadicam'"- Operator's Handbook The sled is the camera support element which hangs via the gimbal on the mechanical arm. The sled consists of many parts.

stage (aka camera mounting platform, XY stage) dovetail lock

nosebox

fore and aft and side to side adjustment knobs

Power and video connectors are at the rear of the stage.

Clipper 2 Sled

battery rods

The stage is where the camera is locked to the Steadicam via the dovetail plate. Here you will find power and video connectors and speed controls for the motorized stage. An integral tilt head makes it possible to tilt or trim the camera while keeping the main post vertical. It's easier to operate with a vertical post, dynamic balance is preserved, and operating is more precise, especially in long modes and low mode, and when doing whip pans.

The post is a rigid structure to which all the parts of the Steadicam are attached. Many Steadicams have telescoping posts to expand the range of lens heights and balancing options. Most Steadicams have two or more posts, which lengthen the sled for balancing heavier cameras. A few top end Steadicams have a four section telescoping post — an integral superpost available at an instant's notice. The monitor can be optimally positioned for different configurations of the Steadicam. The monitor bracket makes it easy to move it in or out, up or down. The monitor also tilts so the operator can easily see the image (and it tilts on its e.g. so tilting won't disturb the Steadicam's critical balance!).

The monitor easily flips upside down for low mode.

Tin $ie
The electronics box is at the bottom of the post. The video distribution amplifiers, frameline generator, and artificial horizon circuits are inside. On the exterior you will find connectors, pots, and switches.

Note: The sled—or the sled, camera, and accessories—is often called "the rig." In some countries, it's "the Steadi."

The battery is attached to the electronics box by adjustable rods, so it can move in and out. The ability to move the battery over a wide range is critical for both static and dynamic balance, as well as altering the inertia of the sled. The battery provides power for the entire system: camera, monitor, motorized stage, and any other accessory you wish to plug into the Steadicam.

All Steadicam sleds have the same basic elements, but the parts and the structures may look quite different.

Model II (modified) 18

Archer

Ultra

;

The Sleadicanf and ils paris

Docking bracket One end of the docking bracket holds and locks the Steadicam while not in use. On the other end is a balancing stud. Placing the gimbal onto the stud allows the operator to balance the sled without having to wear it. Balancing the rig can only be done once all the elements (camera, battery, follow focus, wireless transmitter, etc.) are mounted onto the Steadicam sled.

Practice cage A practice cage is a very useful accessory. In the workshops, we use a cage — and not just a slab of weight between the dovetail and the camera — to make the e.g. 3.5 to 4 inches above the camera mounting stage. This keeps the gimbal higher, close to the stage, as it is in normal operating. You can use a lightweight M i n i D V camera with a good zoom to record your line dances and practice shots, and you can change the cage weight to simulate any camera. Make the cage so you can change batteries and tapes easily, open the camera's video screen, etc. The cage in the photo is 7 inches high, 4.5 inches wide, 12 inches long, and the plates are 1/2 inch thick. It weighs 20 pounds with a mounted camcorder. This is a good size and weight for most "big" Steadicams. A cage 3 inches wide and 18 inches long would weigh the same, but have more pan inertia. Another 1/2 inch plate can be added to the top to make a 30 pound practice cage.

This cage has seen years of use at the SOA workshops. We prefer to bang the cage into a wall rather than a fancy camera! Be sure the camera lens does not protrude from the structure.

19

The Sleadicam'" Operator's Handbook

Basic Steadicam® terms name the modes There are two basic ways to build the Steadicam: High mode The camera is mounted on the top of the sled. The camera's lens height can be anywhere from the operator's hip to up over his head. High mode is most commonly used.

Low mode m Here, the sled is turned upside down. The camera is mounted right side up via a special bracket. The lens height is typically between the operator's waist and his knees. Super low mode gets the lens on the floor.

There are two basic positions for operating the Steadicam: Missionary When the operator is in Missionary the camera is facing the same direction as the operator. The monitor is to the operator's front; the battery is to the rear. Missionary is an arc from the camera pointing straight ahead to looking across the operator's body.

Note: Garrett Brown whimsically named these two positions Missionary and Don Juan during an early workshop. And the names stuck! 20

Don Juan When the camera is pointed behind the operator, we say he is in Don Juan. The monitor is to the operator's rear; the battery is to the front. Don Juan includes an arc as the camera looks to the side away from the arm and pans to the rear.

The SleadkanT audits paris

Some more ways of operating: Goofy foot The Steadicam is normally operated with the camera on the left side of the operator. Goofy foot refers to operating with the camera on the right side. The socket block is flipped 180°; the arm and sled then mount on the opposite side.

regular

goofy

Long mode By way of the telescoping post, the rig is elongated to get lens positions farther from the gimbal, both in high or low mode.

Hard mount The socket block is fixed to a vehicle. The vehicle carries the weight of the rig, but the operator cannot get on or off the vehicle during the shot.

Soft mount Wearing the Steadicam while shooting from a vehicle is called soft mount. A variation of this is the sitting soft mount. Soft mount is often used when the operator wants to get on or off the vehicle during the shot, such as stepping off a crane.

The Steadkam-'" Operator's Handbook

Build the Steadicam* in high mode

Steadicam in a box. Assembly required. Different models of Steadicams come out of the box in varying stages of assembly. Some Steadicams provide a wide range of options for configuring the rig, such as telescoping posts, monitors that can be positioned higher or lower, tilt plates, etc. No

matter the model, these are the basic steps to set up a Steadicam.

First, mount your docking bracket on a sturdy stand. Then lift the sled out of the box and slide the docking ring into the docking bracket. Make sure to lock the bracket securely. Next, attach the battery, monitor, and any other accessories.

Center the fore and aft and side to side adjustments of the camera mounting stage by turning the knobs on the stage. A l l components should be in line, fore and aft. Make sure the stage, monitor, and battery are not askew.

On many sleds, there's a guide line on each post to help you line up the components. A few sleds have posts that can't rotate relative to one another.

Now you are ready to mount the camera on the sled. The camera mounts to the Steadicam via a dovetail plate, also known as the camera mounting plate. It is critical to mount the plate correctly to camera, and to do so, we need to find the camera's center of gravity.

Find the camera's e.g. A simple way to find the camera's e.g. is to place the camera on a rod or pencil, and roll it back and forth until it balances. Don't get too fussy with your marks; you do not need micrometer precision. It's good to find both the fore and aft and side to side c.g.'s. Mark these positions on the bottom, side, and front (or rear) of the camera with tape.

Your Steadicam may have a slightly different stage and dovetail plate. Be sure you understand how they go together!

Remember: The camera must be fully built with lens, matte box, loaded magazine, and focus motors attached.

The Sleadkain''Operator's Handbook Place the dovetail plate on the bottom of the camera so that it is centered on the side to side mark. Center the dovetail fore and aft on its mark, and then move the dovetail plate toward the camera lens about 3/4 inch. Find the closest set of mounting holes and attach firmly. We don't want the camera coming loose! Two screws, or a single screw and an anti-rotation pin, should be used.

Set the dovetail into the "dovetail grabber." Slide the camera fore and aft until the camera e.g. is about 3/4 inch behind the centerline of the center post, and lock the camera in place. For the smaller rigs like the Flyer, 1/2 inch behind the center is a good starting point. It may seem odd that we don't put the camera e.g. directly over the post, but we don't. We'll get to the reason why on page 34. Most sleds have a fail-safe locking system that keeps the dovetail and camera from sliding entirely off the sled. Make sure this system is working!!

Ultra Stage 2

Back: stage is unlocked.

Middle: camera can slide, but won't fall out.

Forward: fully locked.

You have now built the Steadicam. Do not attempt to wear the rig until you have properly balanced the system.

The Steadicam '- and its parts -

Four balancing acts Three involve the rig: static, dynamic, and inertial The fourth is the balance between the operator and the machine Initially, achieving static balance keeps the sled in an upright and level position while hanging from the gimbal. Dynamic balance further aids in keeping the sled upright and level while the Steadicam is panning. Inertial balance determines how resistant the sled is to angular changes in any axis or any combination of axes. And lastly, the operator must learn to put on the vest, connect the arm, mount the sled, and "fly" the rig. This balance requires the operator and Steadicam to move as one.

Carefully balance the Steadicam for each shot. A poorly or inappropriately balanced sled will only make it more difficult to achieve your goals. Really good operators are constantly tweaking the balance of the sled as they rehearse and go through multiple takes of a shot. There are often a variety of ways to position the major components in relation to one another. Some sleds have more options for positioning and adjusting components than others. Before you start balancing, be sure you understand how all the parts of your sled fit together, how the camera mates with the sled, the types and range of adjustments that are possible, and how any and all safety mechanisms work.

Let's get started balancing the rig,

The Steadicdm Operator s Hdndhook

Static balance

determines how the rig will hang from the gimbal, and how easily it will tilt or roll First we put the rig in what we call static balance. A rig in static balance will hang by the gimbal at a particular attitude: usually upright and with the post vertical. The three components of static balance are in the three axes: fore and aft, side to side, and top to bottom. We fine tune fore and aft and side to side balance by moving the camera via knobs on the side and back of the camera mounting stage. Top to bottom balance is generally achieved by sliding the gimbal up or down the central post. Extending the post is another option. It is best to begin balancing by placing the sled's components and the camera close to their final positions. This is not as crazy as it sounds. The first two considerations are where to position the monitor and the weight of the camera. If the camera is heavy (but within the range of appropriate camera weights for the sled) then we place the gimbal high up on the post. If the camera is light, we drop the gimbal down several inches. Experience will help, of course. Positioning the monitor is more complicated — that is, if you have a choice of monitor positions. You might need the monitor low i f the camera is heavy, or extended from the post fully if you want a slowly panning rig (see Inertial Balance, page 251). To make this process simple, we will assume that we want to balance the sled in high mode with the post perfectly vertical (camera level), with an "average" top to bottom balance and the monitor in an "average" position. We are balancing the sled for an exercise called the line dance. We place the gimbal about 2 inches from the top of the post, and set the monitor about two-thirds of the way out on its rods. The monitor is tilted upward about 45° for easy viewing.

26

The Steadicam and its parts 11

Hang the rig from the gimbal It is possible to balance the Steadicam while wearing the rig. However, when the rig is wildly out of balance it can be a little tricky, and could put undue strain on your body. A better system is to use the balancing stud on the docking bracket. It's embarrassing to note how many years it took the Steadicam pioneers to figure this out! Hang the rig on the stand by sliding the gimbal handle onto the stud. Make sure the gimbal gets fully seated onto the stud. During balancing, the rig hangs far from the stand. One or two sand bags will keep everything secure. It is also helpful to have an assistant hold on to the stand.

Tip: If the rig is off level, move the camera, battery, or monitor up hill.

We begin our balancing act by adjusting the most out of balance axis. Then we adjust the other two. As we get closer to our final balance, we fine tune the balance in each axis until we are satisfied.

Perfect balance is the balance that gives you the most help getting your shot. Fore and aft balance You initially placed the camera 3/4 inch behind the post. Don't move the camera fore or aft at this point in the balancing process. This is very important: We first try to get the post perfectly vertical fore and aft (as seen from the side) by sliding the battery in and out. At this point, we only use the fore and aft knob on the camera mounting stage to micro fine tune the sled's balance.

Slide the battery in or out until the rig hangs vertical.

Side to side balance Position yourself or spin the sled until you are behind the camera. Use the side to side knobs on the camera mounting stage to get the sled to hang vertically. If you cannot achieve side to side balance, you will have to reposition the dovetail plate on the bottom of the camera. This is one reason why it is critical to have all accessories attached to the camera before you find and mark its e.g.

The Steddicam^ OperaLor's Handbook

Top to bottom balance Top to bottom balance is a bit trickier than the other two. While it's easy for anyone to see if a rig is level, it's much harder to say what is proper top to bottom balance. A lot depends on the operator and what he likes, and a lot depends on the shot. But to get started, the rig should hang upright.

Careful!

To find the top to bottom e.g. of the rig, hold the rig horizontal. You may want an assistant around the first few times you attempt this. Keeping the rig horizontal, release the gimbal clamp. Slide therigback and forth through the gimbal until the rig balances horizontally.

Only release the gimbal clamp with the post in a horizontal position.

If the post tips off horizontal, the rig will accelerate quickly until the gimbal slams into the camera stage or the electronics. Keep the rig horizontal as you perform this operation. Once you have found what we

call neutral balance, move the gimbal toward the stage about 1/2 inch and clamp the gimbal to the post. Return the rig to vertical. Now the gimbal is holding the rig above the e.g., so the sled will hang more or less right side up. The closer the gimbal is to the e.g., the more critical the fore and aft and side to side balance becomes. Readjust the fore and aft and side to side knobs to make the sled hang perfectly vertical.

Drop test Tip: Position the rig so it Now you are ready for the all important won't hit the stand when you drop test. This drop test is a way of describing how bottom heavy a rig is ballet go. Don't watch the rig swing back and forth. Catch it as it goes through vertical so you can make a decision, make adjustments, and repeat the test quickly.

anced. We perform the test by holding the sled horizontal, letting go, and counting how long it takes for the bottom of the sled to pass through vertical. The more bottom heavy a sled is, the faster it drops; the more neutral, the slower it drops.

To start, try to achieve a 2 to 3 second drop time. If the rig drops too fast, you need to lower the gimbal. If the rig drops too slowly, you need to raise the gimbal and make the sled more bottom heavy. Remember, always have the rig horizontal when you release the gimbal clamp!

Bottom heaviness We use the sled's balance to help us get a shot. There is no one perfect balance, as all shots are different. Bottom heaviness is always a compromise between getting the rig to seek a particular attitude (more bottom heavy up to a point) versus not being a pendulum when accelerated (less bottom heavy).

28

A very bottom heavy rig (say, a 1 second or less drop time on a normal length rig) will seek vertical very strongly: great for static shots. However, this rig is hard to balance to an angle other than vertical, difficult to tilt, and also very pendular when starting, stopping, and changing speed or direction.

The Steaditairr and ils paris A very neutrally balanced rig is very easy to tilt and is hardly influenced by acceleration. It will not strongly seek any one position — such as level side to side and set for proper headroom fore and aft — and therefore, is also easily influenced to take another position. Any minor shift (a power cable hanging differently, for instance) will cause the rig to seek a new attitude. Any flex anywhere in any joint, any slight misalignment, will also cause the rig to hang differently.

A100% neutrally balanced rig has to be forced by the operator100% of the time for all framing — i.e., the rig's balance does not help us get the shot. This is not good for most operating; there's too much operator influence. Somewhere between these extremes is a sled that seeks a particular balance fairly strongly, can be tilted without too much effort, and is not too hard to control when accelerated and decelerated. That's the compromise, and some operators will favor a more bottom heavy rig, others a less bottom heavy rig. A 4 second drop time with a typical length rig describes a rig very neutrally balanced top to bottom, but with a longer rig, a 4 second drop time describes a much more bottom heavy (normally balanced) rig. Drop time per se does not really describe how bottom heavy arigis. If your drop time is just too long, the rig becomes insanely sensitive to every change. With a normal length sled, we use a 2 to 3 second drop time for typical work, and, of course, we change the drop time depending on the shot.

Step by step: static balance • Place the monitor where you can comfortably see it. • Move the gimbal up or down depending on the camera weight (up for heavy, down for light). • Place the camera's e.g. 3/4 inches behind the center of the post. • Hang the sled on the balancing stud of the docking bracket. • Move the battery in and out to achieve best fore and aft balance. • Use side to side knobs to balance. • Check drop time (2 to 3 seconds is common) and move the gimbal accordingly. • Fine tune fore and aft and side to side balance after drop time is set.

The Steadicam^ Operator's Handbook

Fine tuning After moving the gimbal, you may find the fore and aft balance and the side to side balance need some adjustment. When fine tuning fore and aft and side to side balance, always hold the sled vertical with your operating hand on the gimbal, just as if you were operating. Adjust the stage knobs using your arm hand, and feel the pressure on your grip disappear. If the rig moves when you let go, it is still out of balance.

The rig is now in balance enough for you to put it on.

If you've never had a Steadicatn on before, skip the pages on dynamic balance. Once you have done a few exercises, come back to learn about dynamic balance. Many old time operators worked for years (decades! epochs!) without knowing a thing about dynamic balance.

Dynamic balance determines how the rig will behave when rotated A rig that is in dynamic balance will pan flat. The central post will remain vertical, regardless of the speed of rotation. What's the big deal about dynamic balance? A rig out of dynamic balance will wobble, drift, or precess around the vertical axis as it is panned. Imagine filming an actor. Headroom is carefully set, but the sled is not in dynamic balance. At some point, the actor moves, and a pan is required. Instead of the sled's balance maintaining headroom and helping you get the shot, the rig tilts up, down, or rolls off level. To counteract the rig's unwanted behavior, you must add extra force at the gimbal. You can no longer rely on the sweetness of the bearings to make the pan. You must constantly intercede to keep everything level and moving, and this is not very good for precision operating.

The Sleadicam*' and its parts

How do we achieve dynamic balance?

myth-buster

We bring a rig into dynamic balance by first balancing statically as described earlier. A long drop time (3 to 4 seconds) is helpful for achieving a fine state of static balance. The monitor is where we want it, and the sled is at the right length.

"You can statically balance a Steadicam into dynamic balance."

A rig in dynamic balance is balanced statically so that it hangs perfectly upright, but a perfectly statically balanced rig may not be in dynamic balance. How can we tell the difference? Only by spin balancing.

Not so! Static balance does not guarantee the Steadicam will pan flat.

Spin balancing the Steadicam After everything is balanced so the central post is perfectly vertical, we give the rig a spin and watch how it behaves. We don't spin the rig very fast. If the rig pans flat, we are in luck. But if the rig wobbles, it is out of dynamic balance, and our task is to discover the specific condition of static balance that also puts therigin dynamic balance. Thankfully, this is easy to do. We do not want to move the monitor — it's where we want it. Instead, we move the battery slightly in or out, and we move the camera in the opposite direction to rebalance the rig statically. But which direction should we move the battery? While there are ways to figure this out by watching the sled spin, there are only two possible directions to move the battery and you always have a 50% chance of getting it right without thinking. So stop scratching your head and move the battery in or out a half inch or so. In or out; it's your choice. But make your decision quickly and be sure to remember which direction you moved the battery. Now you can fine tune the static balance by moving the camera in the opposite direction. When all is perfect and level again, give the rig another spin. Now make the judgment call. Is it better or worse? Close? If it's better but not perfect, move the battery about one-third the distance in the same direction. If worse, move the battery in the opposite direction beyond the first mark. Static balance and spin test again and again until it pans flat. If we start the static balancing process with the camera e.g. about 3/4 inch behind the center post, we will always be close to dynamic balance. Three or four spin tests should get one very close to perfect dynamic balance.

Note: Extend the docking bracket so the rig won't hit the stand. Have an assistant hold the stand while you spin balance.

The Sleaditaif Operator's Handbook

What if the battery won't go far enough? You may find that you can't move the battery out far enough to dynamic balance the sled. If this is the case, you must either move the monitor in or add weight to the battery. If you can't move the battery in toward the post enough, you must move the monitor out or add weight to the monitor. The design of your sled may limit your options or force you to make alterations to get your sled into dynamic balance.

One key to quick dynamic balancing: If the monitor e.g. is above the battery e.g., the camera eg. will always be behind the centerline of the central post, usually about 3/4 inch.

How much time should you spend spin balancing? It depends, like everything else, on the shot, and a little bit on your equipment. If there is going to be a whip pan, or simply a lot of pans, it's a good idea to get the rig into good dynamic balance.

Trimmed for the same headroom, the post with the tilt head remains vertical. Without a tilt head, dynamic balance is lost. 32

If your sled doesn't have a tilt head, it's generally not productive to spend a lot of time getting the rig in perfect dynamic balance. When headroom is set by taking the rig out of perfect vertical trim — and thereby taking it out of dynamic balance — therigwill not pan flat. The more you tilt the sled, the worse the panning will be.

If the sled has a tilt head, the nominal tilt for headroom can be set with the head. The post can remain vertical and the rig stays in dynamic balance, so it's really worth the time to get your sled into dynamic balance. However, with any rig it's better to start close to dynamic balance and then trim a bit for headroom than it is to ignore dynamic balance altogether. The closer you are to dynamic balance to start, the better the rig behaves. Who knows, maybe the next shot has a whip pan or requires almost no trimming.

Get reasonably close to dynamic balance, and move on to some other task. Step by step: dynamic balance • Extremely critical: all elements (camera, monitor, and battery/electronics) must be lined up on the same axis. • To start, the rig must be in static balance, with a slow drop time of 3 or more seconds and the camera about 3/4 inch behind the center post. • With the rig on the balancing stud, give it a spin. If the rig pans flat, you are in dynamic balance. If it doesn't, go to the next step. • Move the battery in or out about 1/2 inch. Adjust the camera for static balance. Spin again. • Is it worse? Then move the battery in the opposite direction, 1/2 inch from the original position. If it is better, move the battery 1/4 inch in the same direction. Adjust the camera for static balance. • Repeat these steps until the rig pans flat.

One way to think about dynamic balance Take a big T-handle Allen wrench and spin it. Spin it with the handle horizontal, vertical, upside down, at any angle you want, and it always wants to spin on the axis of the shaft. Simple. Early Steadicams were designed like the wrench: the monitor and battery were on the same plane, and the central post rose at 90° to that plane and at the common e.g. of those elements. (See photo of Model I at right.) We always balanced the camera with its e.g. directly over the post, adding it like a second T-handle to our wrench model. The first Steadicams panned nice and flat, just like an Allen wrench in our hands. However, the monitor was not in a great place for viewing or flipping for low mode. Beginning with the Model II Steadicam, the monitor was raised up, and we developed a situation like the wrench angled up, but the Steadicam's central post is vertical.

When the Model II Steadicam was panned, the camera was content to pan flat, but the monitor and battery tried to rotate around an imaginary shaft at 90° to the plane and passing through the common e.g. of the monitor and battery. The result was an uncontrolled, squirmy gyration rather than a nice, flat pan. Almost unbelievably, Garrett and other pioneers learned to compensate quite well for this imbalance, even when making whip pans.

The trick we need to learn: As the monitor is raised, we need to adjust the battery and the camera so that the axis the Steadicam wants to pan on is coincident with the axis of the real post. If we achieve this condition, we are in dynamic balance, and the rig will pan flat. This might sound difficult to achieve (and the math that describes it is a bit complex), but it's a fairly straightforward concept to grasp.

Here it is, without the math Figure 1 shows a Steadicam like the Model I, with the monitor and battery on the same horizontal plane. Figure 2 shows a "modern" Steadicam, with the monitor raised up a bit. This is the model we want to emulate, but we'll come back to it later.

Figure 1

Figure 2

Figure 3

Figure 3 shows an absurd arrangement of parts, with the monitor all the way up, level with the camera — just like the Allen wrench upside down. Note that the battery must be moved directly in line with the post. The whole thing is just like Figure 1 upside down, and physics is only interested in the mass of a part, not its function. When thinking about dynamic balance, forget that it's a monitor, battery, or camera. It's just some masses rigidly connected in different arrangements.

The Steddicam^ and its parts What we can learn from these drawings is how to balance dynamically as the monitor is raised up toward the camera. As the monitor is raised, the camera must move to the rear and the battery must move toward the post. We now know that if the monitor is raised, the camera e.g. will always be aft of the center post. From experience and from mathematical models, we've learned to start balancing a big Steadicam with the camera's e.g. about 3/4 inch behind the centerline of the post. It's somewhat less with smaller Steadicams, less if the camera is really heavy, and somewhat more if the camera is light. Then we can spin balance the sled to quickly get into dynamic balance. We also know that the more the monitor is raised (as a percentage of the total Steadicam length), the more the camera must move to the rear, and the more the battery must move closer to the post. This fact can help us when we are in dynamic balance and we change the length of the Steadicam

In Garrett's prototype with an optical viewfinder, the battery e.g. is directly under the camera e.g.

— it gives us a clue whether to move the battery in or out to achieve dynamic balance. We move the battery farther in if we raise the monitor height, and we move the battery out if the monitor is lowered. Again, we must consider raising or lowering the monitor as a percentage of the total length of the Steadicam. It is also possible to use a dynamic balance computer program to find near perfect dynamic balance for any configuration, or to virtually manipulate your Steadicam and find out what happens when you move or add components, change cameras, etc.

Dynamic balance, another empirical method: Start with the camera e.g. directly over the center post! Balance with the battery. You know you are not in dynamic balance. But you know you must move the camera back and the battery in. Move the battery in by 1/4 inch or 1/2 inch increments, and balance with the camera until it pans flat.

And another—even quicker, but requires some measurements: • Balance with the camera e.g. directly over the post. Measure the battery e.g. horizontal distance from the post. • Measure how much (percentage wise) the monitor is raised, and move the battery in by that percentage. Rebalance with the camera. Dynamic balance! ...or very close. 35

The Sleadicam'" Operator's Handbook

Some other dynamic balancing tips Make some marks! After you balance yourriga few times, you will get a better idea of where the battery generally is for your normal setup. Find a way to remember or mark this position. Every setup is slightly different, and every added accessory or change of monitor position changes dynamic balance. A few marks can make your life easier.

Don H spin the rig very fast Dynamic forces grow with the square of the speed of rotation. Even at 120rpm, the dynamic forces are several orders of magnitude greater than the static forces on the rig. A fast spin test won't indicate how the rig will pan at regular panning speeds. Also, there are specific speeds at which a fast panningrigthat is out of dynamic balance will pan flat, but the rig will wobble at other speeds.

The camera weight is irrelevant to dynamic balance. This little fact is great news for mentally overloaded operators. It means we can change lenses, focus motors, and/or add or subtract accessories to the camera with no consequence for dynamic balance. We just rebalance statically, and we are back in dynamic balance, ready to fly. A very detailed dynamic balance primer, with all the mathematics and formulas, as well as a Microsoft Excel spreadsheet with the dynamic balance program can be found on www.steadicam.com or www.steadicam-ops.com.

Don't stand like this (above) trying to balance the rig "no hands." This posture is not how you'd operate, so you are not properly training your muscles. See below for the proper way to stand.

A word about efficiency both on the set and learning to operate A clear understanding of how the Steadicam works, combined with time saving procedures for balancing and adjusting the rig, will make your operating life easier. Assembling and balancing the rig, putting on the vest, adjusting the arm, etc., are not creative tasks. They might appear amusing or mysterious to the uninformed, but they are routine tasks. Spend the time to learn how to do all these basic things quickly and efficiently, so you can have as much time as possible for the creative aspects of operating — which, of course, include the finer points of balancing for the shot. It's really important to understand that each time you work with the rig, you are learning something. Whether it's muscle memory, or adjusting therig,you learn. So don't do things or learn habits that are bad for your operating. Don't swing the rig around, or make switches while standing still, or any number of crazy things you would never do for a shot. Most Steadicams weigh a lot. Practice is limited. Have an exercise or two in mind before you pick up the rig. Wandering around the house (day after day), chasing the dog (more than a couple of times), might be fun, but you don't learn very much, very fast.

And there's so much to learn.

Section Two getting started

37

The Steaclicam" Operator's Handbook

®

Putting on the Steadicam

balancing with the rig

The sight of an experienced Steadicam operator in action is truly awe inspiring. The seemingly weightless rig floats effortlessly here and there. The operator guides the rig — focused, intense, yet strangely calm and self-assured. Walking with a Steadicam is much like walking without one. Once the rig is balanced, the operator mounts the Steadicam on the arm, linking two masses: the rig and the operator's body. The movement of the Steadicam is now controlled through the movement of the operator. The Steadicam arm adds lift and acts as a kind of shock absorber, but does not ensure the rig hangs next to your body. It does not balance the rig for you. In fact, if you are not balancing the rig properly, the arm will not be able to function optimally. You will adjust the vest so that when you stand most comfortably, the rig hangs inches from your hip, all weight channeled down through your legs to the center of the Earth. You then can move around normally. Sounds simple enough, but because of so many new sensations, many find it a struggle to pick the rig up and settle comfortably into a good posture.

myth-buster 'That must hurt your back." Not so! With the proper fit of the vest and adjustment of the arm, the weight is distributed evenly to your legs. It's even good for your back...

38

The operator stays in good form (posture), regardless of the position of the rig.

Getting started

Fitting the vest The vest must fit you like a second skin. There is no space between your shoulders and the shoulder pads. The chest pads grab you around the thick part of your ribs. The hip pads are centered over your hip bones. A good, snugfitallows instant feedback from the rig and will help you adjust your posture to easily balance the rig.

Step by step: putting on the vest

1. Loosen all the straps, including the crossback straps. Open the left side of the vest— the shoulder, chest, and hip buckles.

<

6. Engage the hip pads by buckling the lower left buckle. Your hip bone should be centered behind the hip pad. If the vest is too long or short, you can adjust the length by releasing the lock on the spar and sliding the T plate up or down.

2. Slip the vest over your right shoulder. Connect the left shoulder buckle. 3. Before continuing, pull the vest firmly down on your shoulders. Keep the spar vertical.

7. Close the four buckles on the front of the vest — two at the chest, two at the hips. 8. Connect and snug up the cross straps on the back of your vest. These prevent the vest from slipping and ease some of the sideways pull of the rig.

Tip; Everyone is not the same size or shape. You may need to make further adjustments to your vest for a proper fit. Feel free to add or take away padding, lengthen or shorten 4. Buckle the chest strap around your ribs. Snug. straps, etc. Your goal is a perfect fit. 5. Pull the vest down onto your shoulders.

39

The Steadicam'-'- Operator's Hdndbouk A bad fit:

The first few times you put on your vest, it's a good idea to look in the mirror. If your reflection looks like this, loosen all the straps and try again. Make sure the center spar is vertical, the shoulder pads are snug on your shoulders, the straps are properly aligned and tight.

• The overall length of the vest should allow you to naturally lift your legs to walk up stairs without disturbing the vest. • Remember, the chest and hip pads must be snug before you engage the secondary clips. It may feel tight at first, but once you pick up the rig, the weight will pull the vest away from your chest. • The vest should never feel like a straight jacket; you should be able to move and breathe freely.

The socket block is the interface between the arm and the vest Two arm

sets of screws adjust the angle of the to the vest, side to side and in and out.

In and out is controlled by two thumbscrews that press against the mating plate of the arm. When the top screw is wound in, the angle of the arm (and therefore the rig) is pulled toward the operator. As the top screw is wound out, the rig tends to fall away from the operator.

The arm to vest plug on the arm slides into the socket block on the vest. Two screws secure the arm in place. Both screws must be pressing against the mating plate of the arm in order to secure the arm to the vest. Once your in and out screws are set for a proper balance, you need only to unscrew one to disengage the arm. There is no need to tighten the screws down hard. To start, set your in and out screws so that you can see about five threads on the top screw. If you have a big belly, you should only see about one or two threads.

Typical threads

Big belly threads

count threads here

We alter the threads so the arm (purple) exits the socket block cocked slightly back, regardless of the belly size. Two larger screws in the arm control the side to side adjustment. The bottom screw is always wound all the way in and then backed off a quarter turn to prevent binding. The top screw is wound out between one and three turns. Start with two and a half turns out. The in and out and side to side threads depend on the body shape of the operator. Once you establish your personal threads, they will not change no matter what rig or camera you are lifting.

The side to side adjustments on some arms are tool-free, but when carrying the sled, these screws still must be adjusted using a 1/4 inch Allen wrench. Other arms always need the wrench.

The Sleadicam Operator s Handbook F

Picking up the rig When you are first learning to operate a Steadicam, picking up the rig does not always immediately feel comfortable. Keep in mind: Lactic acid is going to build up in some muscles, especially "that muscle" in your back (see page 102). However, there should be no acute pain.

Note: When you first pick up the rig, the arm may need to be adjusted to carry the load. See page 46 for detailed instructions.

Approach the stand. Hold the arm close to the arm post with your right hand. Use your left hand to place the gimbal handle onto the arm post. Do not bend your knees. Instead, bow at your waist and slip the arm post into the gimbal. Hold the gimbal handle off to the right side for docking and undocking. Once the gimbal is engaged, the left hand moves to the post just below the gimbal, and the right hand grasps the gimbal handle. With your right hand, push down and hold the Steadicam in place as you straighten your back and step toward the stand. You can relax your grip when you are standing up straight.

The arm will take the weight of the rig as you step forward. Release the lock on the stand and step back, bringing the rig with you. Immediately place the Steadicam to your left side, approximately 6 inches off your hip. You will feel the weight of the Steadicam and its accessories on your legs. The rig should not pull you off balance, forcing you to lean or bend your back to compensate. Stand with your hips at a slight angle toward the rig. Do not force yourself to be perpendicular to the rig.

Note how the arm is angled when standing normally. The gimbal handle is cocked at about a 45° angle relative to the arm section nearest the sled. This position gives the operator a better view of the monitor. It also aligns the gimbal handle with the operator's right hand, enabling a more comfortable (and stronger when needed) grip on the gimbal handle. 42

correct

0

incorrect

Getting started

Always stand up straight and lean slightly away from the sled. You want to float the rig next to you with the least amount of effort. This is the easiest and "free" way to counteract the torque the Steadicam exerts on your torso. Your body is not entirely straight and certainly not rigid. Most of the time your torso is almost vertical. Bending over is awful and makes it impossible to properly fly the Steadicam. It hurts, too. Don't bend your knees. There is a tendency in the beginning (especially for those used to handheld operating) to walk with your knees bent. Don't overwork your muscles to do something the Steadicam is already doing for you. Stand up straight, and lean back. Good posture makes it easy and gives you more control. The first few times you put on the rig, you want to play around a little. Try to get the rig more or less under control, take some steps, boom up and down, tilt and pan, etc., but don't worry too much about what happens. As you get more comfortable, work on specific tasks, but don't take everything on all at once. Play and experiment a bit. Breathe. Laugh. Enjoy the magic.

in and out adjustments: • If the rig is falling away from you, the top screw needs another turn in. • If the rig is falling toward you, loosen the top screw. Below, with properly set threads (right), the operator stands correctly.

Above, with incorrect threads (left), the operator must lean way back to balance the rig. 43

The Stearticam Operator's Handbook Side to side adjustments: • If the rig is falling away to the left, turn the top screw out (counterclockwise). • If the rig is falling away to the right, turn the top screw in (clockwise). • Never adjust the bottom screw, it should always be wound all the way in and backed off a quarter turn to prevent binding.

j

Unscrewing the bottom screw changes the angle of the arm. With side to side screws adjusted properly (inset: bottom all the way in, top out two turns) the operator can balance the rig without strain on his body or the vest.

The operator is forced to lean sideways, expending a lot of energy to balance the rig. Note how the weight of the camera now pulls his vest sideways.

Fine tune your socket block adjustments Keep in mind: The goal is to adjust the threads of these four screws so that when the operator is standing with good posture, comfortably, the rig floats next to him.

Standing with good posture, try to float the rig next to you. Release the tension in your arms and note where the rig wants to go. If it falls quickly or violently away from you, toward you, or to either side, adjust the socket block screws to compensate. Once you can float the rig next to you, try floating it farther away or in a different spot. You will have to lean slightly back as the rig moves away from you; otherwise you will have to hold the rig in place with your hands. While operating, you should always be in balance with the rig: holding the weight with your body, not your hands.

44

Compare these photos. Even though Laurie is "leaning back" her back is almost at the same angle in both cases. "Leaning back" is more about moving your torso away from the camera.

Gelling started

How do you know you are in balance with the sled? When you are standing still and the sled stays next to you, you will notice a precise amount of pressure high on your back, and another pressure on your lower stomach and hips in the front. These pressures change depending on how heavy the sled is and exactly where the post is in relation to your body. You will also notice that there is almost no pressure on either hand. Try closing your eyes as you balance with the Steadicam. Feel what happens as you slowly move the rig around. What does it feel like to be off balance? In balance?

Jerry's standard "in and out" threads:

Note: The ends of both in and out screws have been rounded on a belt sander so that the threads aren't destroyed in use.

As you move the camera, try to have one part of your brain monitoring these pressure points and keeping them constant so that the rig floats next to you.

Rest position There are times when you have the rig on but are not actively framing a shot. You might have a long walk back to your stand at the end of a shot. You sometimes stop to discuss the shot with the director. In order to conserve energy, put the rig in the rest position whenever possible. When the Steadicam moves away from your body, more effort is required to balance it. Therefore, the rest position for the Steadicam is close to your body. You can pull the rig toward you until it leans against your side. Or better, let the rig rest on your shoulder. This way the weight is supported entirely with your legs, you feel no pressure in the vest, there is no force pulling on your back. Give your muscles a moment to relax between takes. If you find yourself doing repeated takes of a long shot, have either your assistant or a grip carry the rig back to the stand for you.

45

The Sleadicam" Operator's Handbook Adjusting the arm to carry the load definition

I

Isoelastic: adj., an arm

is isoelastic when the force required to lift the arm all the way up or push it all the way to the bottom of its range is small.

At this point, you may find that you need to adjust the lift capacity of the arm. Different Steadicam arms have different weight carrying capacities. In other words, each Steadicam arm is built to lift a specific range of camera weights. Each time you change to a different camera, or even add or remove an accessory, you will have to adjust the lift of the arm. The Master Series, Ultra, G-Series, and Flyer arms are all adjusted the same way. The key is to have both arm segments working together to carry the load and dampen the operator's movement.

Older arms like the 1IIA arm, are much less isoelastic than the Steadicam G-series arms, especially when not lifting their maximum capacity.

When you mount the Steadicam on the arm, the rig may pop to the top or fall all the way to the bottom. If this is the case, then you will need to make a big adjustment. Each arm section has a small vertical knob to control lift capacity. The knob will turn easily only when the arm sections are at a slight up angle. For more strength, turn the knob to the right (tighten). For less lift, turn the knob to the left (loosen). First, adjust the tension in the arm section closest to gimbal (forearm). The arm should hold the weight of the sled at a slight up angle.

Next, adjust the arm section closest to the vest (upper arm). Here, find the proper strength that allows the upper arm to "follow" the forearm section. The two arm sections should work closely together, with neither section leading or lagging behind the other.

Note: The G-50 and G-70 arms have an additional adjustment to change the isoelastic feel of the arm. See page 264 for details.

If you find the upper arm following along, then suddenly "clunking" up or down (i.e., going over centers), it is probably a result of your posture, not the arm tension. Readjust your stance, relax, and try booming up and down again. This usually solves the problem. Just as in life, when you become fatigued, your body starts to slouch — you lean on a chair or table. This kind of faltering while wearing a Steadicam will quickly lead to a bad end. If you are tired, hang the rig up. Don't learn bad habits because you are tired!

Moving with the rig

Getting started

the operator makes it float Walking is controlled falling. Everyone walks by leaning forward and then placing a foot underneath the new center of gravity — otherwise we would fall down. How we shift our e.g. determines how we move, how fast we go — sticking our e.g. way out in front makes us run to stay upright.

Walking correctly is thefirststep to good operating. For most operators, there is little difference in how they walk normally and how they walk wearing a Steadicam, except perhaps that with the rig, they walk backwards a lot. Controlling how you walk will have a huge effect on your operating. In one sense, the Steadicam is a pendulum, and it responds to any lateral movement by rocking and rolling. If you shuffle along, hesitate, shift your weight from side to side, or simply don't pay much attention as you walk, the Steadicam will rock and roll. It will be much harder to control the rig and get a good shot.

Walking with the Steadicam To make a Steadicam move more than a few inches, you must walk. If you walk with a purpose, there's a chance that the Steadicam will move with you and with purpose. If you are not imagining a precise movement and timing, the Steadicam will not magically create a useful move or intelligent framing. Steadicam operating is about freedom and exercising choices. The operator makes the Steadicam fly. In general, the key is in accelerating smoothly, moving along a controlled path, and stopping precisely. This is not to say starting or stopping slowly or always moving at a constant pace. Rather it's about walking or dancing consciously, with an idea in one's head. The idea is the shot, and you walk beside the frame. If you want the shot to move precisely along a line, then you must move precisely along a parallel line, in concert with the shot. If you want the camera to slow down and come to rest at one spot, then you must slow yourself down and come to rest at a precise spot next to the camera. And you must do it before the camera stops. Be conscious of your own movement, anticipate what the Steadicam will do, and control what happens.

The Steddicam^ Qperdlor's Handbook

If you want the Steadicam to be still, you must be actively still.

The basic rules of flying: • Stand up straight. • Don't bend your knees. • Walk with a purpose — the shot. • Keep the post in a small range of positions relative to your body. • Turn your hips slightly toward the rig. • Always walk forwards or backwards, never sideways. • Shift your weight cleanly from one foot to another. Don't stomp. • Start and stop with the weight on one foot.

Walking backwards and making a switch may put the rig temporarily far from one's body, but you are always, always, always in balance.

Moving through space Your hands start the rig in motion, then you take your first step. If you walk along with it (maintaining good posture), the rig will continue on that line until you do something different. Your body is the support system, and when in balance — even in motion — you will have no effect on the rig except to suspend it in space. Your hands do all the work in pointing the camera, changing direction, and maintaining level. When it's time to come to a stop, stop your body first, then use your hands to "kiss off' the move.

48

Gelling started

"Walk and talk" shots A walk and talk shot requires the operator to walk rather quickly, usually backward. This is a skill in which you will want to have great confidence, so practice it a lot. Get used to going everywhere backward. Walking backward is no different from walking forward: a controlled fall. With the Steadicam, it is quite natural. As you lean back (good posture, standing straight, of course) the rig follows the operator with little effort. The trick is maintaining the correct pace while balancing the rig. A slow move requires a minimal lean, while a quick move needs much more.

Changing speed During the shot, the camera can be required to change speed or direction. It is logical that a very slow move calls for very deliberate steps, where you place your heel and then roll your weight and the weight of the rig over your foot. Faster moves also require very deliberate footwork. When you walk quickly without a Steadicam, you tend to take bigger steps. Wearing a Steadicam, don't increase your stride, but take small, rapid steps. Be very careful when you come to a stop with the Steadicam. Most people want to stop with their feet together. Don't. As you slow down and stop, you continuously shift your e.g. toward the end position. If you shift your weight to both feet at the end of a move, your e.g. shifts just when everything is settling down to a locked frame. The result is an unwanted bump, shift, or roll in the image (or all three!). And what if you move from that spot? You must shift your e.g. and disturb the image again. Not good. Always start and stop with your weight on one foot.

Tip: When you hang up the rig, take off your vest. At least open up the buckles to let the blood flow freely, flushing out the lactic acid. Then the muscles relax, the heat dissipates, and you can breathe more freely. 49

The Steadicam^' Operator's Handbook

Therighttouch operating hand and arm hand Now that you have the rig comfortably on your body and you can maintain balance while moving through space, we will examine the role each hand plays in operating.

The

operating hand has two

basic tasks — one is to point the camera in therightdirection; the other is to keep the sled level. Generally, only very small forces are required for panning and tilting the sled, so the grip of the operating hand on the post is extremely light — just enough to get the job done. Often, the force is as light as you can make it without losing contact with the post. Big moves and fast pans require a strong grip, but the operating hand returns to the light grip as soon as the action is complete.

definition Operating hand: n., the hand which the operator uses to grab the post just below the gimbal. Usually the left hand.

Handgrips Most of the operator's efforts are directed at a point just below the gimbal, near the e.g. of the sled. We don't use the fingertips to contact the post but the meat of the thumb and a wrap of the fingers around the post. The thumb and index finger should be opposite each other, directing their forces across the e.g. Forces applied at the e.g. exert the least leverage and angular influence on the sled. The operating hand should always be in a comfortable position. Uncomfortable hand positions result in a loss of control and excess force being applied to the sled.

The ideal grip: the thumb and forefinger are opposite each other, the pinkie is placed gently against the post.

Garrett's classic "Sistine Chapel, God-to-Adam" loose, relaxed handgrip (above).

50

Cellini) Allied

The operating hand should not lift the sled — that's the job of the arm and the arm hand. Point the camera at the action Aiming the camera with the operating hand is often an act of urging the Steadicam to move (or to stop moving), gently correcting the frame. The better the sled's balance is for framing, the less work the operating hand will have to do, and the more precise the operating can be.

Keep your hand moving: The grip constantly changes as the situation warrants, anticipating what is required. A fixed grip on the post is a sure sign that the operator is not using his operating hand wisely.

Maintain level Keeping the rig upright requires anticipation of the pendular action of the sled. It's already too late when you react to an off level shot. Depending on the direction the Steadicam is going to travel, different grips are required to prevent unwanted movement. Although the sled can be balanced very lightly top to bottom, it is always a pendulum, and the operating hand stops the sled from unwanted tilting or rolling when speeding up or slowing down.

Above: the pinkie acts to prevent pendular motion as the operator starts the Steadicam moving forward. Below: fingers move around to the front of the post as the operator stops the Steadicam's forward motion.

Most often, we prevent the sled from tilting and rolling by placing the third or fourth finger against the post, in line with the direction of movement of the sled. These fingers act as "stops" to keep the sled from tilting or rolling. The one instance when the thumb must drop from the e.g. is when the camera accelerates or decelerates laterally. In these cases the thumb acts as the "preventer." Otherwise, it's best to keep the thumb up at the e.g., opposite the index finger. Less angular influence, more control, and less work.

Normal handgrip

Drop the thumb to prevent The operator starts the sled moving before he pendular action. takes a step.

51

The Steadicam " Operator s Handbook 1

In certain circumstances, like outside on a windy day, a full grip (relaxed and light on the gimbal) can be used to point the sled and simultaneously prevent unwanted pendular action in any direction (photo at left). However, there is never a good time for the "fingertips only" grip (photo at right).

Panning Squeeze the post between your thumb and forefinger to start a pan. As the post spins, walk your fingers around the post. Always keep your thumb and forefinger high against the gimbal. This contact with the gimbal gives you valuable feedback about level.

Tilting Your handgrip must be precise to hold a dramatic tilt with success. Place your pinkie in the center back of the post and push. The camera tilts up. The pinkie does all the work. If your pinkie misses the center, the camera will roll off to one side.

Note; The same inertia that makes the Steadicam steady also makes it hard to pan or tilt. The sled cannot instantly be pointed in another direction or instantly stopped. The tilt axis is the most inert axis, which makes starting or stopping a tilt difficult.

In a tilt down, the fingers move around to the front of the center post and pull the post back until the weight is laying against the second and third fingers. It is critical that the post is squarely on your hand or the camera will roll to one side or the other. We normally boom up when we tilt up, and we boom down when we tilt down. If we want the lens high when we tilt down, or low when we tilt up, it can be done, but it's more awkward.

52

Here, the shot called for the camera to point straight down at about shoulder height — a rather uncomfortable position for the operator. Note that the operating hand is above the gimbal.

Getting started

Some things to avoid Placing your operating hand far from the e.g.: The farther your operating hand is from the rig's e.g., the easier it is to disturb the image.

Having the operating hand jump on and off the post: When your operating hand is off the post, you instantly lose one form of feedback about the rig's behavior, and you may end up correcting problems later (too late!) in the game. You wilt also risk disturbing the image as you replace your hand on the post. Keep some minimal contact with the post at all times.

Death grip: If you find yourself gripping the post with more than a light touch, you are interfering with the rig and causing excess movement in the frame. Most of the time, your hand should hold the post very lightly.

Useless pinkie: The Steadicam is not a teacup! Don't let your pinkie relax and become a liability leaning on the post. Your pinkie is used all the time.

Dropping the thumb or placing it at the rear of the post: A thumb behind the post leaves the operator with no good way to prevent certain unwanted motions, and no good way to start and stop a pan. It's the worst. Keep the thumb horizontally opposed to the index finger, except when preventing an unwanted tilt or roll.

Micro-managing every move: Let the Steadicam do its magic. Trust the force and all that. Once you start the sled panning, let it freely continue on its own until it's time to squeeze the post to bring the pan to a stop.

Tilting and panning to keep the frame: Tilting and panning are important components of framing, but don't forget to use your feet and the arm to adjust framing spatially. One of the Steadicam's most useful features is its ability to easily and quickly shift position to change the frame. Making an angular change (panning and tilting) makes the background shift more than the foreground, and this can be distracting or, worse, cause you to frame off the set or into the lights. Moving the camera spatially is generally easier, certainly quicker when needed, and often less distracting.

53

The Steddkarn' Operator's Handbook v

The Ctrtn hand has several tasks — to keep the Steadicam in one place, to start and stop spatial moves, and to keep the camera on the proper path while moving along.

definition Arm hand: n , the hand which grasps the gimbal handle and places the rig in space. The right hand when operating normally, the left hand when operating goofy foot.

The arm hand has as much effect on framing as the operating hand. The operator's feet carry the camera from place to place, and the operator's balance keeps the Steadicam sled roughly in the right spot. The arm hand fine tunes the camera's spatial position, in addition to maintaining or changing boom height.

Something to try: Make yourself a target like this one, 18" in diameter. Stand a few feet away so the target fills your frame. Without moving the Steadicam spatially, pan on the horizontal line. Then tilt, and go around the box. Pan and tilt to go around the circle and across the diagonals. Now do the same without any angular moves (no pan or tilt). Instead, use your arm hand to boom. Push and pull the rig to follow the lines in the target. Which moves are easiest with the pan and tilt technique? Which ones are easier moving the camera spatially? Now try the exercise with a combination of spatial and angular moves. What gives you the most control? Try this exercise with the pattern taped to a picture window. What happens to the background if you move angularly? Spatially? Ultimately, you want to be able to control the foreground/subject placement in frame as well as what happens in the background. You will need a variety of techniques — and combinations of techniques — to make great shots.

Starting and stopping Two moments, when the camera starts to move and when the camera stops, are extremely important events in a shot. The move signals to the audience: "Things are changing!" The stop lets the audience know that we have come to something important. "Look at exactly this, will ya?" Controlling the nature, precision, and timing of these starts and stops is a prime concern for all operators, and the Steadicam operator has enormous creative control over these moments.

Starting and stopping the sled: The camera moves, then the operator moves. The operator stops, then the camera stops. Starting the move The arm hand pushes the Steadicam in the direction of the move. The operating hand anticipates and prevents unwanted tilting or rolling of the sled. The camera floats away from the operator, which changes the forces of the vest on the operator's body. As the camera moves farther along its path, the operator must take a step in order to stay with the rig.

The camera is in motion before the operator moves (left).

55

The Steddicam Operator's Handbook A n operator can't move without affecting the frame, so moving the camera first offers the most control at this very important moment.

Note:

Unnecessary changes in the camera's speed or direction make it harder to keep the sled level.

In addition, with the sled moving, the sled has gained momentum to keep on moving, and the frame is changing. Any of the operator's movements that "get through" to a moving camera are reduced by the momentum and are less perceptible in a frame full of changes. If the operator is very still, moving the camera with the arm hand will soon bring the sled toward the edge of its "sweet spot." The sled will begin to fall or float in the intended direction. The operator walks alongside the floating rig to keep it in the sweet spot. Getting the Steadicam tofloatin the right direction (rather than micro-managing and forcing it to go hither and yon) will create the smoothest and strongest moves.

Organize the stop You and the Steadicam cannot stop instantly. The body stops first, and then the camera is extended slightly to "kiss off' the shot. Sometimes the time between the operator stopping and the camera stopping is in the order of microseconds; sometimes the delay is quite long and the rig ends up far from the operator. Choose which foot to land on, if possible. This is less of a conscious choice in the moment, but might be something to put into muscle memory during rehearsal. I operate with the sled on the left side and I very much prefer to end a forward move with my right foot in front and my weight on my right foot as well. This position leaves my hips turned slightly toward the camera, in an ideal Missionary or Don Juan position. I start most shots in the same position, for the same reasons. However, I might have the weight mostly on my left foot if I was going to start walking backward. In either case, if you misjudge the end position, the last thing you want to do is shuffle to a new end mark. Always move your weight from one foot to the other in a continuous way along the direction of travel of the sled. If you end up on the "wrong" foot, that's life, no big deal. It's just slightly less comfortable, slightly less precise. The more you work with a Steadicam, the more you will naturally come to the end of the camera move on the foot you prefer. Holding a locked frame requires you to be in the center of your balance, where the camera has the least desire to float away. Every little move and correction you make to the sled is also an opportunity for the sled to behave like a pendulum. The better your balance, the smaller the camera movement and the least amount of correction is required. For some operators, this sense of being centered is a Zen thing. For other operators, it's just being very, very still. Working at specific exercises with the Steadicam will teach you to frame precisely and to balance efficiently.

56

Getting started Exercise #1: Walk the line In this exercise, you will practice precisely starting and stopping the camera. Mark the floor with a line of tape or chalk. The line should have stop marks at either end. The line is for the camera, not the operator. Place the Steadicam post directly over the line at the start mark. In perfect form, start the sled in motion with your hands. Don't forget to prevent any pendular motion with your operating hand. Walk along the line. As you approach your end mark, anticipate the stop. Move your operating hand around to the front of the post to prevent the bottom of the rig from swinging out when you stop. It is very important to hold the locked frame for several seconds before you send the camera back down the line to the first mark. Now send the camera back down the line to the first mark. Walk backward and come to a precise stop on the mark. Note that the move now starts with fingers around the front of the post and ends with the pinkie as a preventer. Do this several times with the monitor turned off (no image). You want to feel what is happening and how to control the Steadicam before you micro-manage the framing. Next, add a target on the wall. Trim the sled to hang vertical and place a target on the wall so no tilting is required as you walk along the line. Travel forward and backward along the line, keeping the target in your frame. Once you feel like you have mastered this exercise, zoom in and try it some more. Depending on the height of your target, you may have to boom up and down as you travel along the line.

As you practice: • Control your stops and starts. • Maintain lens height with the arm hand. • Keep the camera aimed at the target. • Walk forward and backward smoothly; do the exercise at different speeds.

57

The Steadicam^ Operator's Handbook

The camera's path The Steadicam operator's job is to get the shot. The camera usually has a predetermined path on which to travel. There may be times when the operator cannot simply walk alongside the Steadicam. There may be obstacles, or the camera may change direction. However, the operator still must get the shot, without giving away any changes or difficulties encountered during each take. Once the camera is set in motion (remember: the arm hand starts the camera moving), the operator can move freely about the Steadicam without disturbing the camera's path — as long as he maintains perfect form. If the operator is always in good balance with the Steadicam, then the Steadicam will float along its intended path, oblivious to the position of the operator. The operator can move around the traveling Steadicam, barely affecting the chosen path. When the operator maintains good form, the Steadicam can be easily moved horizontally within a small circle. Minor framing corrections are effortless. Operating out of form and off balance means that the camera wants to go in some other direction, and the operator must force it to take the correct path. Not good.

If the operator is out of balance, all corrections are forced and more difficult. Imagine what happens when an out-of-form operator changes his relationship to the camera. He must continue to force the camera along the true path, while at the same time that "other direction" the camera wants to take is changing. The operating was bad enough when the operator stayed in one spot relative to the camera, but when he starts moving around the camera, it's next to impossible to make a good shot.

Good form keeps the camera on a path, regardless of the operator's path. Being out of form hurts, looks bad, makes it nearly impossible to operate, and sends you to the chiropractor. Being in form is transcendent and good for you. Good for your back, good for your shots. Looks good. Easier. Giving you time and energy to concentrate on why and how to move the camera. Don't fight it! Stand up straight!

58

Getting started

Making the switch

(you've walked the line, are you ready to danc Everyone feels pretty comfortable walking forward. You can see where you are going. You don't trip. You are able to avoid unexpected obstacles that may cross your path. This is a great way to operate the Steadicam: walking forward with the camera pointed forward. What happens if the shot requires the camera to look in the opposite direction (behind you) while still moving down that same path? What if the camera pans 180° during the shot? Or what if the camera skims along a wall, leaving no room for the operator? There is a solution. We call it making a switch. The operator moves around the camera while the camera's path remains constant. This movement involves changing from Missionary to Don Juan or vice versa. Remember, we use the term Missionary to describe shooting with the camera facing forward (as we usually do), and Don Juan to describe shooting with the camera facing the rear. The point where they cross is when the rear of the sled is aimed at you. We tend not to operate in this no man's land between the two positions. It is uncomfortable, the sled must be far from us, and our view of the monitor is compromised.

Where does Missionary end and Don Juan begin?

Missionary: shooting forward and to one side.

Basic line dance In order to practice making a switch, we add this action to our line exercise and the result is the basic line dance. During this exercise, the camera is always aimed in one direction. Do not pan or switch the camera around to aim at the other end of the line!

59

As you walk around the camera, you must move a few inches away from the rig, just enough to get around it. Stay in balance. As soon as possible, step closer to the rig, returning it to your sweet spot. If the switch is done properly, the post remains at a constant angle off your hip as you walk around the rig. This alleviates any strain on your back, and makes it much easier to keep the rig floating along the proper path.

The switch

Missionary to Don Juan

Stand up straight As you step around the rig, you must remain in perfect balance. If you feel any pressure in your hands as you make the switch, you are not balancing the rig with your body. Stand up straight. Don't bend at the shoulders or waist. Lean away from the rig as you step farther from it. The sensation is like doing one curl with weights. Once you step around the rig, and slide back next to the sled with the electronics close to your thigh, your muscles can relax. Ideally, you should get the rig back into your sweet spot quickly. This leads to the obvious: a slow switch is a lot harder and takes a lot more concentration than a fast one. Make sure you do the exercise at various speeds: fast, slow and everything in between.

Operating hands Let's assume the shot has no framing changes as the camera moves along this line. Once the camera is set in motion down the line, your boom hand works to maintain a constant camera height, and the fingers of your operating hand walk around the gimbal, insisting the camera remain pointed down the line at the target. If you don't walk your fingers around the gimbal, you will end up with your wrist at an uncomfortable angle. This usually results in a less than perfect shot. Your hands are framing the shot, not holding any weight. Your hands are separate from the mechanics of your body supporting the camera in space.

Gelling starled Exercise #2: The line dance

In this exercise, you will practice making a switch as the camera travels along the line. Precisely start and stop the camera at your end marks, holding a locked off frame.

stop here

As you walk backward, camera facing forward (Missionary), the foot closest to the rig steps across the camera's line of travel (#4). Preparation for this entails speeding up your body but not the camera, creating a space across which you can step. Next, the other foot follows (#5) and the hips open up toward the line (of camera travel). The camera floats past and as the post pulls by your hip, your hip follows as if attached. You now have turned so you are walking forward with the camera facing behind (Don Juan). Come to a precise stop. From this position you are ready to make a switch back into Missionary, as follows:

stop here

^^5fc

4*>

Start the camera moving down the line. The lens is pointed behind you so you must walk backward (Don Juan). With the foot closest to the rig, open up your hips to the line. Let the camera float past as you shift your weight to the forward facing foot (#3). Once the camera is past, step across the line with your other foot (#4). Stand up straight and lean back. This is critical at this point. You are holding the rig in balance farther away than usual. Once you have both feet across the line you will have to take quick steps to catch up with the camera. You want to get your hip back to that perfect distance from the post (about 6 inches). Do not pull the camera to your hip. Walk to the camera. The goal is not to disturb the path or speed of the camera as you are making the switch. Stop the camera precisely on the end mark, lock off your frame, and hold it a few seconds. Once you feel confident moving around the rig, try the line dance exercise again: monitor on, framed on your target. Zoom in to make it harder. If you're getting good at this, try it with your eyes closed for a few seconds at a time. Can you feel what's happening as you switch? Feel the camera floating along? How well can you hold a locked frame with your eyes closed?

The Steadkam^ Operator's Handbook

Viewing the monitor The operator generally has the most control in Missionary, and most shooting is done in Missionary. The operator has the least control and poorest view of the monitor when making a switch. However, operators often make switches and operate in Don Juan because that is the easiest, safest, or best way to get the shot. Don't panic when you lose sight of the monitor. To keep your shot flawless, the best thing is to maintain good posture. If the framing was perfect as you lost sight of the monitor, and you maintained the path of the camera during the switch, then when the monitor comes back into view, your frame should still be perfect.

The view from no man's land. Do not break your form to view the monitor!! Finish the switch smoothly and get out of no man's land!!

Why is the line dance so important? The line dance exercise refines those skills you will need to place the camera in space without regard to obstacles on the set. You must be able to smoothly, freely, even quickly make a switch during a shot. Any break in posture will be noticed on the screen. Remember: only switch while the camera is in motion. As you introduce the switch into your repertoire, you will note that it is not always necessary to make a complete switch. The camera rarely needs to turn 180° during a shot. However, as we discussed before, the terms Missionary and Don Juan describe a vast range of camera positions.

The classic line dance has the operator walking backward, and then forward, and the camera does not pan. A good variation is having the operator walking only forward (or backward), with the camera panning from the Missionary to the Don Juan and back again, aiming from one target to another. You can set up several targets to catch at different points along the line.

You might need to switch into Don Juan only for a moment in order to avoid a table, a light, even an actor, in your path. On the other hand, you may start out a shot in Missionary, walking backward, and then choose to switch to Don Juan walking forward in order to get the camera to track extremely close to a wall.

1

62

You also might perform a switch simply to utilize the smooth pan of the gimbal. In other words, instead of panning your body as the subject goes past, do a switch and let the camera pan beautifully on the gimbal to get the shot.

Getting started

Often moving your feet a tiny bit will eliminate the switch and keep the rig in one position or the other. Turning your hips slightly may make the difference between being in a good position or in that awful, really bad, terrible, must be avoided at all costs, middleof-the-switch, no man's land with the back of the sled aimed at you. Never attempt a switch, or move your body ever so slightly while the camera is still. This is a recipe for failure!

Make a switch only when it's economical, mandatory, sensible.

Variations on the line dance The line dance has many variations, designed to give you the basic skill set to move the Steadicam with precision. Mastering the line dances will help you take maximum advantage of the Steadicam's unique qualities.

Positioning your body In this exercise, you will practice turning your body to accommodate the camera's direction of travel. This may involve a switch or a partial switch. Ideally, as the camera tracks along the line, your hips should turn toward the rig so that you are walking forward or backward. Do not cross your legs over each other. This will introduce a lot of bounce and require your arm hand to do extra work.

Here, the operator makes a switch in order to continue the shot walking forward. The camera travels along its path, undisturbed.

As you come to a stop, prepare yourself for your next move. For example, there are times where the camera's next move is toward the operator. Stop with the Steadicam a few inches farther away from you in order to have room to start the camera in motion before you take a step. You can either pull the camera toward you and start to walk backward, or pull the camera toward you and make a switch to walk forward.

The Steadicam- Operalor's Handbook Exercise #3: Walk around the square With tape or chalk, make a large square with one diagonal line. This time, your target is a horizontal line on a wall at camera height. In this exercise, you will again be concentrating on precisely starting and stopping the camera. However, as you come to the corner of the box, you will have to adjust your stance ( r e - Q lationship to the rig) slightly in order to change the direction of the camera. Two sections of the square are similar to exercise one: starting and stopping along a straight line walking forward and backward. However, on the other two sides of the square, you must turn your body toward the rig and walk forward and backward.

Add a switch along each line. Have someone give you instructions as you come to each corner: "Go across the diagonal with a switch. Go forward with no switch. Go to the right with a switch."

I

When you come to a stop, you must be prepared to continue in any direction. With a line as a target, you don't pan the camera. Change the line to a single target (crosshair). Now you have to pan to keep the target in frame. When you start to feel confident, zoom in. Move the single target closer to the box for an even bigger challenge! Have fun controlling the small pans.

Maintaining lens height If we walked along doing nothing with the arm hand, the Steadicam would rise and fall with our steps. For vertical stillness, it's important to hold a relatively constant force with your arm hand for a given lens height. While walking or moving, the arm hand works like a shock absorber to stop up and down movements.

64

The Steadicam is often the tool of choice because the camera must move over uneven ground, cross over a curb, over a threshold, even travel up a flight of stairs. In these instances, the arm hand must work to minimize the effect of the changing terrain on the frame.

Here's a very typical use of the Steadicam: crossing the street preceding an actor. The operator must maintain the smooth flight as his body steps up onto the curb. There's no reason for the camera to "step up" before the actor does. Therefore, as the operator steps onto the curb, he must boom down with his arm hand almost the equivalent of the height of the step. He then booms back up as the actor steps onto the curb.

Exercise #4: Stepping on and off apple boxes in this exercise, you will learn to maintain a specific lens height as you encounter vertical changes in your path. Use the same line as for your line dance. Tape down a series of apple boxes directly in your path. This exercise can be done with the camera pointed ahead of you, and also pointing the camera 90° to your right or left to create a tracking shot. Give yourself a horizontal line target (with camera facing sideways) or use your original target (camera pointed forward). As you fly the camera along the line, you must step up onto the box, booming down to maintain lens height. As you step off the box, you will boom up to keep the camera at the correct level. When shooting to the side, you must push the camera ahead to avoid hitting your knees as you step up. Always walk forward in this exercise. Step on and off the boxes facing forward. Use a spotter until you feel comfortable doing this alone. Concentrate on precisely starting and stopping the camera at your end marks. Make switches at either end of your line. But only switch when the camera is in motion. When you start to feel confident, zoom in. Note how the boxes are taped to the floor.

The S l e a i a r Operator's Handbook Changing lens height In addition to maintaining the boom height, the arm hand is responsible for any required spatial movement on this same axis, or simply booming up or down.

Some specific booming techniques: • Stay in form. Make the sled float at all times. • Do not bend over to get the camera lower or lean back when shooting up. • Lift the rig with your arm hand, not your operating hand.

Exercise #5: Boom up and down In this exercise, you will boom the camera up and down in order to keep the target in the frame. Rig a rising line (a rope works well) several feet away from and parallel to the line. The camera flies over the line on the ground. Point the camera at the rising line 90° to your left or right. As you walk forward you will boom the camera up. As you walk backward you will boom down.

Next, make a switch as the camera travels on the line. You'll have to switch while the camera is booming up and booming down. Keep your target in frame. Always concentrate on precisely starting and stopping the camera. Zoom in. Add boxes. Close your eyes.

> Maintain good posture and switch when the Steadicam is near the middle of the boom range.

How to pan precisely Let the gimbal do the work. If you have balanced your rig well, you can deliver beautiful pans with very little effort. Simply squeeze the post between your thumb and first finger and give it a spin. The speed of the pan will depend on how much force you use. If your rig is dynamically balanced and you give it an even spin, the rig will pan flat.

Getting stdfted As the post is turning, maintain a comfortable hand position. Do not pan your hand with the camera. If you do, you will end up with your elbow jabbed into your side or sticking way out, and your wrist bent at a 90° angle. This is uncomfortable and makes it almost impossible to keep the shot level. Instead, walk your fingers around the gimbal handle, or for faster pans, just let the post slip through your grip. The trick is to keep your grip and wrist at the same comfortable position relative to you. When it is time to stop the pan, apply some friction with your fingers. If the pan has a lot of momentum, as you stop the pan with your fingers, kiss off the move in space with the arm hand. This is just like the slight movement of the rig when you are starting or stopping in the line dance, except here the camera is moving sideways. Once stopped, the grip goes back to the lightest possible touch.

Exercise #6: Starting and stopping a pan In this exercise, your Tine" is actually a circle around a target (a fountain is fun). Keep the target in frame while starting, stopping, and switching along the circular path.

Variation: Circle with an actor Create a circle and central target. Set the lens to a fairly wide angle and have the actor walk on the circle, more or less opposite the camera. Work on various framing relationships between the actor and the centra! target. For starters,fixthe actor and target in the frame as you walk around. Then try changing the relationship. Move only one element around the frame and fix the other. Change which element you keep fixed, and where it is in the frame. Then move both at once. Try moving them together across the frame, and then move them in opposite directions. The idea here is to freely move your lens to change the relationship between two objects on the screen. Like all line dances, be sure you go in both directions and add switches. Also change the speed of your framing shifts. If you like, you can complicate the whole exercise by adding boxes or momentarily closing your eyes. How hard do you want to work at this? How good do you want to be?

How to tilt well Tilting is affected by the bottom heaviness of the sled. It takes a lot of effort and concentration to get the tilt started and to bring it to a nice stop. Holding a tilt at an angle (other than the one it is balanced for) requires a constant effort; therigalways wants to aim in another direction. The more bottom heavy therig,the bigger the effort required to hold a tilt. For extreme tilts, it is a good idea to rebalance the rig, making it less bottom heavy (slower drop time). A sled with a motorized stage also can be rebalanced for each part of the shot, making tilting much easier and more precise. The good news: the same basic handgrips for starting and stopping the rig become the handgrips for tilting up and down. To tilt up, simply place your pinkie in the center behind the post. Push. The farther your pinkie is from the gimbal, the less force is required. But don't let your thumb and forefinger drop below the gimbal. This can lead to loss of control and a bad horizon. Practice placing your pinkie in the right spot. If it is not dead center on the post, therigwill want to roll off to one side or another. To tilt down, move your fingers around to the front of the post. Pull or lift mostly with your ring finger. Again, centering your grip on the post will guarantee success. If you miss the center, the rig will want to roll off to one side.

You will note that the more extreme your tilt, the more difficult it becomes to maintain a proper handgrip. Whenever possible, you should both boom and tilt in order to maintain balance and expend less energy. As you tilt up extremely, boom up. As you tilt way down, boom way down.

End a tilt precisely by moving spatially — either by booming and/or moving your feet to land the final frame.

Using boom to help tilt up or down Extreme tilt ups: As you tilt up, boom the camera up and over your shoulder, almost into the rest position. As you tilt back down to level, aim the base of the sled at your target and you will be level when you arrive. Extreme tilt downs: As you tilt down, bring the ''" sled in close to you. Do not push it way out in front of you. Do not bend over.

j^^^ *

^ W W

The Steadicam- Operator's Handbook Exercise #7:

Push in and

circle a target

In this exercise, the camera follows a path that starts out straight and then en-circles a center target. Keeping the lens pointed at the target, you will hone your many skills: walking, switching, and panning with your operating hand.

Follow the arrows in the diagram and then stop. Hold the frame. Now reverse direction and end up where you started. All line dances are continuous — use the time in the rig to really work on controlled, precise, starts and stops. Zoom in. Add

boxes. Make switches.

Close your eyes. Are

you

still on target? On the path?

Exercise #8: Tilt and switch In this exercise, you will tilt from one target to another; a high target at one end of the line, and one low one at the other. As you get good at this exercise, change your speed moving along the line. Slow way down. Speed way up. When can you make a switch?

Design your own line dances Feel free to design your own exercises at this point: Combine different skills, change the height of the target, alter the speed of the camera. Practice all the line dances and change the position of the target on your monitor. Make the target move around the frame in a predetermined pattern as you do the dance. You might try moving the target horizontally, vertically, at an angle or in a circle or figure eight. The idea is to be able to place the target anywhere in the frame as you work on other skills. You might also try having multiple targets, shifting from one to another, and varying your speed during the line dances. Practice so you can move the Steadicam as you want in space and change the framing at the same time.

The Steadicam" Operator s Handbook

Memorizing the shot Once you have become proficient at most of the exercises we have discussed, you will probably be longing for a real Steadicam job with lights, actors, and a director. However, once on the set, the target will be moving, the camera's path will be precisely predetermined, lines will be delivered, and sound will be recorded. The physical issues of Steadicam operating are only the foundation of your skills as a Steadicam operator. Beyond balancing and moving the camera smoothly through space, you will be memorizing a surprising number of details about the shot and how to perform it well. Memory functions through many systems: kinesthetic (procedural), verbal, visual, and auditory.

• What are the specific frames that the DP or director wants and all the frames in between? In other words, what's in the frame and what's out at each moment during the shot? • What's the pace of the shot? How fast or slowly does the camera move at any given moment? • When does the camera tilt or boom or pan during the shot? • What obstacles must be avoided during the shot (doorways, people, sets, furniture, etc.)? • What verbal or visual cues tell you to move or reframe the camera? • And finally, when the take is over, "How was it?" What went wrong during the shot and why? How can you solve this problem? Was the boom/light/set in the frame? Most important: How can you improve it for next time? This is a lot to think about — but all incredibly necessary in order to achieve the best possible Steadicam shot.

While Steadicam operating is very physical, there are many more skills involved beyond balancing the rig, moving through space, and pointing the camera.

Getting started

Muscle memory: long-term applications Everyone has learned to walk, most likely rides a bike, and probably can swim. The memory involved in learning these types of activities is called kinesthetic or procedural memory. We simply refer to it as "muscle memory." You will use this same type of memory to learn to operate a Steadicam. As you repeat the actions involved in operating, your brain makes a big filing cabinet labeled "Steadicam." Here it files all the muscle control and movement instructions involved in floating the rig next to you. As you become more proficient at operating, you become less conscious of your brain accessing these files and you simplyflythe rig without thinking.

Note: It is essential that the vest is fitted properly for you to accurately and repeatedly train your musctes.

Once your muscles are trained, your mind concentrates on the big picture — the shot. Visual memory: what to look for • When the edge of the table enters frame, boom up to find the actor. With your visual memory, you can "see" the shot in your mind without actually doing it. This allows you to operate the Steadicam, visualize the next move to a specific frame, and get there. Downhill ski racers use this kind of memory to tackle the course. Often, before the race, you see skiers sitting with eyes closed, imagining their journey down the slope. In this way, a ski racer can anticipate the next turn before he gets there, improving his reaction time and ensuring he stays on course. As a Steadicam operator, you can use this kind of memory to enhance your performance as well. You must be comfortable with the sequence of images (both still and moving) that the shot includes. If you are searching for the right frame in your mind, then it will look as if the camera is searching for the right frame and the shot will be useless. You must, with great intent, move from image to image, telling the story. If you are not confident about the story you are telling, then the audience will sense it. Listen carefully to what the DP or director is describing to you. Also note the way he is saying it; how he moves around the set; his energy level; the tone of the story. Pay attention to the size of the actor in frame. Look at the edges of the frame to see what should be in or out of the shot. Then, think about all the frames in between those specific moments that have been discussed. Those frames are your responsibility. You will create the pace, make the move at the right time, and if no actor is in the shot at that moment, you must fill the space with something interesting. As you rehearse the shot, you must memorize every frame, not just those that the director mentioned.

73

The Steddicam" Operator s Handbook You will find it useful to imagine that you are watching the movie on a big screen as you move through the shot. The story will play very differently on a 40 foot wide screen, as compared to even the biggest Steadicam monitors. When you are comfortable with the story and the sequence of moves required of you, you can concentrate on landing precise frames and pacing the shot to match the story and the actors.

Verbal memory: what to listen to • When the actor says "Betty, the baby is coming now," you arc around to the left into an over the shoulder of the actress. Just as the ability to think ahead visually gives you confidence, learning the script will improve your operating. Many times, your cue to move, change frames, speed up or slow down will be dependent on listening for a specific word or phrase in the story. Listening to the actors, memorizing not just what the lines are — but how they are delivered — will give you information about how to perform the Steadicam shot. You must know on which line the actor starts moving, how fast he says the line before he sits down, and on which word you start the slow pull back to reveal the assassin in the corner. So add this to your memory of what frames are included in the shot. Verbal cues will help you nail specific timing issues during a shot.

Auditory memory: what to listen for • When you hear the door shut, you start your move forward. Auditory memory involves listening for specific sounds that give you information about the shot. For example, there might be a sound cue that lets you know when to whip pan to the window. Also, remembering a specific sound that places you in space can help with navigating. For instance, as you near the exit to the beach, the sound of waves crashing leads you right through the door.

Kinesthetic memory: what to feel Tip: When you pick up the rig for the first time in the day, move it in space. Pan the camera, do a couple of switches, boom up and down fully. Refine the feel of the machine to your body at that moment.

• Micro-rehearse difficult moves. When the actor stands up, there is a specific boom height you want to reach. Repeat this over and over, until you can confidently hit the exact height without thinking. Kinesthetic memory guides your physical body. Moving your body through a series of positions over and over again, it becomes easier for your brain to tell your muscles to perform that same sequence during the shot. As discussed above, in the long-term this type of memory helps with basic operating and posture. When you learned to ride a bicycle or type on a keyboard, at first it took a lot of concentration, but eventually the action became so rote that now you don't even think about it.

Repeat this again after lunch, and whenever the rig has been As Steadicam operators we also use this kind of memory in the short-term to help us with difficult parts of a shot. Micro-rehearsing involves repeating a small porreconfigured in any way. tion of the shot over and over again until your body position and movement become so familiar that you no longer think about the mechanics of it. This helps your mind relax when you get to that part of the shot, because your muscles have the specific move memorized. It is very useful to apply this technique with the boom hand — memorize the position of your arm to hit the boom height exactly every time. In general, you should memorize

Gelling storied the top and bottom of your boom range so as not to inadvertently bottom out the arm and roughly land at your end frame. Another useful application is when you must get the camera in a specific yet difficult position. Helping your body memorize the specific pressures that are felt as you lift and push the Steadicam away will give you the confidence to get the camera in the exact spot take after take.

To help with the monumental task of memorizing shot after shot all day long, we learn to use many different types of memory. Using these memory skills, you can remember the shot (what comes next), the dialogue/ actor cues that make you change the frame, when to change the frame (boom up?), the obstacles you must avoid as you move through the set, all while you balance the rig and keep it level. When you finish a take, you can recall what went right and what went wrong so you can improve it the next time around. But it doesn't end there. Once you finish one shot and all the memorization required, you hear, "We're moving on!" And the process starts all over again.

Exercise #9: A practice shot A good exercise shot will have: One or two actors A precise story, preferably with specific lines and some action A complicated move that includes several of the following: starts and stops, switching, booming, panning, tilting, holding a locked frame, moving around furniture or through doorways Good compositions

Think about: • Going after a specific idea — tell the story «Timing, how your movement enhances the story • Focus on the camera's path and speed, not your own

TheSleadkanr Operator's Handbook

/ apologize. The Steadicam is not a black box, push button type invention that wakes everything steady. It's an instrument, and, like a guitar, it's useless without a skilled operator. New owners, who, in particular, are thrust into Steadicam operating without benefit of a workshop, often have a harder time understanding that these rigs are just slow, slightly bottom-heavy pendulums. Neutral balance just doesn't work — if a mosquito lands on the lens the camera will theoretically tilt straight down — and therefore the human being, not the machine, must forever and always be in charge. Embrace the concept: Wliether it's the biggest or smallest rig, you are shepherding a pendulum around on the set with your camera aboard. It's easier to keep level when you're walking straight ahead, harder when you change speed or direction. Give the centerpost (most rigs) or the handle (handhelds) a brief nudge when you start moving, an opposite push to stop, and a little side pressure when you're cornering, and it works. Without that slight input, it will swing back and forth forever. Don't over-intellectualize this — just keep shooting, controlling level and framing with your operating hand, and playing back the results. When you learn how much to dampen your pendulum, it's steady. It's

as simple as that. — Garrett Brown

76

Section Three beyond the basics

The SleaÉanT Operator's Handbook

Low mode a new range of lens heights

There are many simple (and relatively inexpensive) ways to rearrange or extend the parts of your sled to help you get a specific shot. One of the first and most important rearrangements was done for Stanley Kubrick on The Shining, where Garrett placed the electronics and monitor above the camera to create a new range of low lens heights. On the set, Danny Lloyd used to move his finger and taunted Garrett in his Redrum voice, "Low mode! Low mode!" That creepy voice haunts us to this day.

Building the rig in low mode Reconfiguring your rig generally means you must add some widgets. For instance, for low mode, you need two accessories: a means to securely put your camera mounting dovetail on top of the camera and the indispensable F-bracket. Don't forget to flip your monitor over.

78

Beyond the basics The F-bracket The F-bracket is necessary to reverse the gimbal handle and put the arm back into a proper relationship with the sled. Without the F-bracket, the arm is next to the camera, and switches are impossible. However, not using the F-bracket makes for a quick high low mode and might be just the ticket to getting the lens over that high table. One key safety point for all F-brackets to gimbal handle arrangements: do not rely on any clamp to hold the gimbal. You must install the provided safety pin in what is called double shear, or sooner or later you will drop your camera on the floor.

If your sled does not have a safety pin system, get out an eighth inch drill and get to work. Drill all the way through and insert a steel nail or a hardened (black) steel screw. Do not use soft "butterbolts." You also need to examine the F-bracket itself to be sure the post going to the gimbal handle can't slip out. Amazingly, some F-brackets come without this safety pin and these parts also need to be drilled and pinned for safety. For instance, the Master Series' J- and F-brackets relied on two small set screws to keep the post from falling out. Eventually, they failed. In workshops, we've seen them fail within minutes of being tightened. Get used to the idea of getting out the drill and hacksaw to make things work right —

The Sleddicdni Operator s Handbook Low mode brackets and cages Most cameras do not come with a suitable rigid means to attach the camera mounting dovetail to the top. All sorts of custom cages, handle clamps, and camera-specific low mode brackets have been made to address this problem. No single solution is best for all situations. Seasoned operators generally have several low mode brackets in their kits for the specific cameras they are likely to encounter, as well as various handle-type clamp systems.

The best cameras for low mode have actual camera mounting threads built into the camera body, like the workhorse Panavi¬ sion Lightweight II. Do not confuse real camera mounting threads with a threaded hole intended for mounting a light or other small accessory on top of a camera. Cameras with an optional 100% videotap and integrated low mode mount, like the Moviecam Compact and the Arriflex 435, also work very well. Many video cameras have enticing carrying handles on the top. Although it's easy to attach a clamping bracket to the handle, it may not be strong enough for low mode. Make sure the handle does not flex or vibrate the camera when rigged for low mode. Most handles are not designed for the kinds of stresses we put on them.

The dovetail can be attached directly to this custom handle for the Panasonic Varicam. The very solid VLS bracket is shown below.

80

Some very small (and plastic) handles on the new DV-Cam type cameras are easily crushed by a typical handle clamp. These cameras should be carried in steel cages weighing a few pounds. When you design your cage, make sure you have access to change batteries and tape, and that the lens doesn't see the supports. Be sure you can flip open the camera's LCD screen, and you can put on or remove any accessories like matte boxes, microphones, auxiliary lenses, and the like. The weight of the cage should be distributed so the gimbal is close to the top of the post. Separate the plates to raise the e.g. up off the camera mounting platform. Also make the cage weights as thin (side to side) and as long (fore and aft) as possible, to create the most pan inertia. Really fancy cages have multiple plates to create different weights for different rigs (or practicing), quick release mechanisms for the camera, and plenty of mounting holes for the camera and the Steadicam dovetail plate.

Beyond the basics

Quickfixfor video Sometimes the easiest, strongest, and fastest way to work in low mode with a video camera is to shoot upside down. You simply move the gimbal until the rig hangs upside down, add your F-bracket, and turn the monitor. Most editing software has the ability to flip the video right side up, but check to be sure this solution is possible

before you shoot.

"

Tipi If

VOU find balancing in low mode confusing, just

remember that moving any weight Uphill Will level the sled, just like in high mode.

Balancing in low mode Balance the sled just as you would in high mode, and for the same reasons — to facilitate getting the specific shot. Practice getting theriginto low mode and back to high mode by yourself and with your assistant. So many times we've heard production worry that it's going to take 15 minutes to make the change to low mode, so they start calling for the dolly! They're astonished when we tell them we'll be ready in 2 minutes. With almost anyrigand a bit of practice, flipping to low mode can be done in under a minute, easily. And once you get it in low mode, you can start operating — rehearsing the shot, working out the hard parts, adding that special magic. Because operating in low mode is a bit harder than operating in high mode, it's really important to balance therigwell, both statically and dynamically. On some rigs you can flip the monitor without moving the monitor's e.g., thus preserving dynamic balance when going from high to low mode.

Step by step: switching to low mode * Attach a dovetail plate to the top of the camera (directly, or with a low mode bracket). * Flip the monitor upside down. •Static balance the rig with the camera on top (yes, and upside down). Follow the same balancing procedures as in high mode. * With the rig held horizontal, release the gimbal clamp and move the gimbal away from the camera (about 1/2 inch). Tighten the gimbal clamp. The camera will now hang at the bottom, right side up. •Check your drop time. •Attach the F-bracket to the gimbal handle before picking up the rig. It's a good idea to balance in low mode during prep and make marks in order to expedite the conversion during production.

81

The Steadicam'*' Operator s Handbook

Operating concerns in low mode Operating in low mode is a bit harder than operating in high mode. Although the sled's weight is the same, you generally have to hold the camera a bit farther away to clear your legs, which requires more physical effort.

In low mode, the operating hand grabs the post under the gimbal, just like high mode.

Also, you will find that your hands are not at the same height anymore. Your operating hand reaches down for the gimbal and your arm hand is perched higher on the arm. This unevenness in hand height creates a strain across your shoulders. It gets worse as you try to push the lens really low (and you flipped everything to low mode to get the lens low, right?). In low mode, you often tilt way up to hold a frame (especially on rigs without a tilt head), which puts a strain on the operating hand and makes panning a whole lot harder. Extreme tilting also puts the monitor out of a normal viewing position, so you end up arching and twisting your body to see the image. And it's no better in Don Juan.

What can you do to make operating easier in low mode? First and foremost, really good form and balance make operating a lot easier. A tilt plate or integral tilt head can keep the post more upright and the monitor in a more viewable position.

order to get the camera lower. Maintain good posture!

Use a slanted F-bracket to minimize the hand height differential. A motorized stage makes balancing and trimming possible without straining to reach the stage, now at thigh level.

Note: The slanted F-bracket (right) creates more space and keeps the gimbal yoke at a better attitude for operating than the straight one (left). 82

P4r4

Beyond the basks

The joys of low mode operating In high mode, you are often told what the actor is going to do, and you are left to your own devices to figure out what they want you to do with the camera. With low mode operating, you are putting the lens out of the normal human (high mode) range, The director is trying to make some specific point or comment with this lens height, and this gives you a big clue about how to move and pan the camera.

If given a low mode shot, we try to emphasize why the lens height is low. If it's a dog or child's POV, then — in addition to being low — we try to move the sled like a dog or a child moves. If the camera is low off a motorcycle to emphasize speed, we try to get the lens close to the deck and barely fly over and by objects to increase the sensation of speed. If we are low so we will look up at our imposing subject, then we get in close and tilt up more. Go for it. Push the limits.

Low mode in The Shining One of the most famous low mode shots of all time is the big wheel shot in The Shining. Part of what makes the shot so compelling is Kubrick's relentless and emotionally cool center-punched framing, with the camera religiously held level fore and aft. The camera pans ahead of the subject, making it easier to understand the huge empty spaces of the Overlook Hotel, and at times the camera pushes ominously closer to Danny. Because of the low lens height, the carpets are the graphic elements that change the most as the camera races along. This aspect of the image is surprisingly enhanced by the harsh sound of the wheels on the marble floors disappearing as Danny rides over the carpets.

The Shining 0:34:48

83

The Steadicam"" Operator's Handbook

Navigation keeping safe on your feet Most Steadicam operating involves walking backward with your eyes glued to the monitor and your brain occupied with balance, level, and framing. Each shot consists of an established sequence of frames that tell a story. In order to achieve these frames, the camera must follow a specific path. If you drift off this path, the shot is compromised. While it is smart to have a grip spotting you, it is not recommended that he physically lead you through the set or around obstacles. Depending on a grip to navigate throughout the shot is self-defeating. The force he puts on your body will likely disturb your critical sense of balance with the rig. You will end up fighting between the pull of the grip and the pull of the weight of the rig. Just imagine a grip following a couple on the dance floor. He reaches in and lifts one of the dancers right in the middle of their tango. Not a pretty sight.

Scout, scout, scout We cannot emphasize enough the importance of scouting the path you will take to do the shot. This is critical on location where the production has less control over the set, but it is equally important on a set considering the number of people working, moving, setting lights, spilling drinks, rearranging props or furniture. Do not only check for obstacles, holes, or slippery areas that might trip you at foot level, but consider where the camera will be flying and where you will fit as the camera makes its journey through the set.

Horizontal Lens Angles 35mm 1.85:1

24 mm Make yourself a lens chart and determine how to configure your fingers to approximate the different lens angles.

84

Beyond the basits Steadicam operators often use their forearm and fingers to help scout a shot. We can estimate what's in and out and whether we and the Steadicam can fit in tight spaces. Our fingers can approximate horizontal lens angles, and the forearm is about the size of a sled. We use one arm for Missionary and the other arm to simulate Don Juan. During the scout, it also helps to stand up straight and walk next to the "lens" — just as you would walk with the Steadicam. Boom up and down with your arms. Learn how you must move. Be sure, however, to break this "mime dance" and place your eyes exactly where you want the lens, in order to see any problems the lens might see. To communicate with others on the set, it's probably better to use more traditional ways to describe the frames.

Director's finders are extremely useful, but keep your eyes open. The director can easily place the finder where you can't get the lens.

Learn the set, learn your path If you watch an experienced Steadicam operator do a shot, he seemingly never takes his eyes off the monitor. He has learned the path. But he will take his eyes off the monitor at critical moments. When he is holding a frame, or doing a simple walk and talk, he can safely look away without disturbing the image. Walk through the set without the rig, following the path you will take with the Steadicam. Discover where you will need to make turns, do switches. Note what obstacles you need'to avoid. Next, pick up the rig and walk through the space, rehearsing the shot. Establish cues (mental marks) for yourself which will help to navigate you through the shot. For example, as the monitor clears the table edge, start the pan to the right. Find marks within your range of vision. Don't try to look behind you or around the camera. Rehearse the move enough times to feel comfortable making your way through the set for the duration of the shot. You must memorize what's in the frame, how the Steadicam travels through the set, and where your body must go to get the camera where it needs to be.

85

The Steadicam^' Operator's Handbook

A trick to avoid taking your eyes off the monitor Tilt your head to change your field of view. A human's visual field is wide and ellipsoidal, almost 180°. With your neck bent down a bit, you can rotate your field of view to include both the ground in front of and behind the rig. The monitor is still centered in your view, and you can confidently move in any direction. This happens naturally in Don Juan. Because the monitor is behind you, your head is at the perfect angle to see in front of and behind you. When in Missionary, simply turn your head toward the camera until you can see both the monitor and behind the rig. This orients your field of vision fore and aft, not side to side. Your peripheral vision allows you to keep your eyes on the monitor and minimizes the chance of disturbing the frame while straining to find your path. Place marks, or establish visual cues within your peripheral vision. Consider using the edge of a table that you pass, or placing a line on the floor that directs you to your next frame.

Tip: Glancing over your shoulder can easily upset your framing. If, to be safe, you must look away from the monitor, do so. Make sure you are in perfect balance. Turn only your head, don't twist your upper body. Be careful not to pull the rig with your operating hands — you will likely disturb the image.

Here, the operator put a line on the ground. As he backs over the line, it naturally comes into his view. Other visual clues, like the end of the railing on the stairs and the change in the direction of the planks on the deck, also help to guide the operator.

Beyond Hie basics

Physical marks Using marks keeps everyone sharp. The camera's path is clear, the actors' positions are set. This helps with lighting, setting foreground objects, and timing stops and starts with the actors. Everyone is on the same page.

What should a mark look like? Tape marks on the lloor are most common. Always mark the position of the Steadicam post. There's no guarantee the operator will be in the same relative position to the rig every time he comes to the mark. Little X ' s are hard to find when you are walking backward. The classic Steadicam solution to finding a mark is a big " V . " Everyone has the ability to estimate where two nonparallel lines will intersect. As the operator moves through the set. lie can easily find the vertex of a V. Using peripheral vision, the operator can determine exactiy when the mark is under the post. Keep in mind that a wide V makes it easier to gauge the convergence, but it enters your field of view a lot later than a narrow V. The V can be arranged so that one side is the actual path of the camera. In this case, the other line closing in will aid the operator in timing the stop perfectly. One line of the V could be set up to point where the camera needs to point. As the operator comes to a stop on his mark, he can perfectly aim the camera down the line. Or a third line could be placed to indicate the direction to point the camera.

A large V can also help guide the operator precisely to a narrow doorway.

These large V marks can also be useful for actors, and they make it easy for you and an actor to hit your marks at the same time. By watching the actor approach his V, you can gauge your speed and his as you travel to the vertex of your own V. You simply adjust your speed to land on your mark at the same time the actor lands on his mark.

87

The Steadkam Operalor s Handbook 1

Sometimes it is not possible to put down tape marks because the floor is in the shot. You may be able to use the V during rehearsals as you learn the shot and then remove it for the take. Also consider making your V out of rope and have a grip pull it out of frame during the shot. Marks are not exclusively on the floor. Try using a line on a wall or even the ceiling. The ceiling works quite well with the rig in long low mode: you are already looking up at the monitor.

See how Jerry is looking up past the monitor at the V on the ceiling?

Here, when the camera points down the line and the actors hit their marks, the frame lines up perfectly.

The line on the ground leads the operator to the doorway. Here, the tape marks the camera's path from point A to B to C.

88

Beyond the basics

Do you really need marks? At first glance it may seem odd to use a lot of marks with the Steadicam. What happens to the inspiration, the creativity, the going with the flow? With marks, your real creativity is unleashed, because you don't have to spend all your time compensating for bad timing, people not hitting marks, bad backgrounds, or bogeys in the frame. With a plan, you can make the most creative stuff work, with your characters properly lit, and with the least amount of effort. How many marks do you need? Enough to get the job done to your satisfaction.

The ability to move the camera freely is a gift, but it comes with a responsibility to use it ivisely. Too often, everyone on the set is either lazy or sloppy with marks and timing (and anything else you can imagine) because they think the Steadicam operator can magically compensate or create miracles. Don't believe in magic; don't rely on it to make your career.

89

The Sleadicanr Operator's Handbook

Ranges definition Range: n., navig. a line established by markers or lights on shore for the location of soundings.

When on a boat, it's hard to know exactly where you are. Over the centuries, many techniques have been developed to help sailors avoid rocks and shoals. One technique is called a range. We can use a range to precisely place ourselves on a specific line on the set. This is useful when trying to slip through a doorway or other tight spot. Most marks are for the camera, but a range is lined up for the operator's position. Here's how you do it: Place yourself and the rig in the doorway. (Be sure your position relative to the rig is consistent each time you pass through the door.) Look around for something that is in line with another thing even farther away. For example, you might see that the center mullion in the window along the back wall lines up with the telephone pole outside the window. Now, as you move along your path toward the doorway, glance up to see the pole. When it lines up with the window, it is safe to back through the doorway. Choose objects that cannot be moved and that will be in clear view as you do the shot. Also be aware that a change in actor position or an unexpected cross by an extra could block your view at that critical moment.

When the pole lines up with the center line on the window, the operator knows it is safe to track right with the camera. The operator and the Steadicam move without worry through the opening.

Navigation safety We encourage you not to use a grip to guide you through the shot. However, a grip should be used to protect you from injury. If there is an area you are trying to avoid, such as a drop off", uneven ground, industrial machinery, etc., do not simply count on your own ability to navigate. Always have a grip watching your back. If your own navigation fails, he is there to stop you from stepping outside of the safe area.

90

The vest's pressure on your back is part of your feedback system for balancing the rig. When a grip pushes on your back, it feels as if gravity has somehow gotten weird, and

Beyond the basics

you are compelled to balance the rig despite this change. You can lean with well over 100 lbs of "free" force, and the grip will often lose the battle. Pyrrhic victory, though, ending with both of you bumping into something on the set — or falling into "the old crevasse." Alternatively, have the grip poke you sharply in the ribs to correct your path or if you are heading for danger. Or find another solution, something that works for you without interfering with your operating or your balance.

91

Hit'ShMilii am Otit'iaiof "s Hanilbouk

Two more aids to navigation A variation on the range is called holding the gap, which is especially useful when going backward. If there is a narrow gap between two fixed things, such as between two trees, two fence posts, two buildings, etc. or a doorway, window, or other architectural feature, you can use the gap as a guide to moving the camera on a line directly toward or away from the gap. As the camera moves toward or away from the subject, you can keep on the path by not allowing the gap to widen or collapse. Everything gets smaller as you back away, but the eye is very sensitive to any changes in the gap. Although the range is typically viewed by taking one's eyes off the monitor, gaps are typically seen in the monitor as part of the image and the composition, and gaps can be anywhere in the frame. In the photos of the burned down building, the gap between the edge of the crumbling wall and the metal pipe directs the camera's path back through the rubble. A gap changes radically if one doesn't travel directly toward or away from it. Gaps works best when the line between the two objects forming the gap is not perpendicular to the line of travel, i.e., when you are square to a doorway, you can deviate from the ideal line quite a lot before you notice the gap closing. This technique is very similar to the one we use to hold a fixed relationship (i.e., the gap and the angle to the camera) between two characters in a raking walk and talk (see page 181).

In these photos, there are several gaps. Which one is constant? Notice that it doesn't matter whether the camera is panned right or left; the gap is constant as long as you are on the path.

92

Beyond Ihe basics A variation on holding the gap is "holding the plane." We can hold a narrow, flat surface — such as a door or window — constant in the frame. This time, if the surface widens or collapses, we are no longer on the chosen path. It helps if the surface has some raised or contrasting elements so we can better judge the relative changes, especially as we get farther and farther from the surface.

Comfort level You must be comfortable with your ability to navigate through the set to the end of the shot. If you are unsure about the location of a hazard, then your operating will suffer. Don't operate when you are not confident. Walk through the shot again. Memorize your path. Use your navigation techniques to give you confidence. Set up a safety grip either to walk with you, or strategically station him to protect you from a specific danger. Only do the shot if you feel safe.

Note how the gap is opening in this series of shots. The camera is tracking left.

93

The Sleadicatf Operator's Handbook

Keeping the camera level Conventional operators can fall asleep on the dolly and the horizon remains level. Alas, Steadicam operators must stay awake and constantly adjust their grip on the post to keep everything level. Anticipation is the key, because once we are off level, the shot is blown.

We sense what is level in two primary ways Visual clues: In the monitor, we can watch for verticals like buildings or trees in the center of the frame. However, we have to be sure that our visual references are, in fact, vertical. Verticals at the edge of frame may appear to be off level if the camera is tilted (not level fore and aft). The verticals are said to keystone. When the Steadicam is at rest, a mechanical bubble level works very well, but it is useless as one changes speed or direction. Some electronic level systems are acceleration compensated, and they are useful tools for indicating level throughout the shot. Train yourself to look at both the vertical references and at the bubble when it is useful to do so.

Tactile clues: With training, our operating hand can sense if the rig is upright. It wasn't easy to walk around with a drink in hand when you were four years old, but by seven you weren't even thinking about it. This long practiced skill helps to keep the post vertical in your grasp. We can sensitize our handgrip to keep the post vertical by practicing the various line dances with a bottom heavy rig (1-2 second drop time). Keeping this rig level will take a lot more effort than a less bottom heavy rig. Try making switches or go around corners with your eyes closed, and record the results. Feel the post, the pressures exerted as you move through a shot. Practice.

94

Beyond the basics

Using a bubble for horizon control Most sleds have an adjustable bubble level mounted near the monitor. Some sleds come equipped with electronic levels, and the level indicator is superimposed on the monitor image. Both types of level indicators must be set or adjusted to actual level. A small spirit level is placed on a surface known to be parallel to the bottom frame line (usually the protruding dovetail plate). The operator then adjusts the sled so this small level indicates that the frame is level. Holding the sled in this position, the operator adjusts the mechanical or electronic level to read level.

Electronic level adjustment on the Ultra (above) and the Ultra (below). 2

It's a good idea to check your level system several times a day and every time you flip from high mode to low mode. It's also important to check your mechanical level as you tilt the monitor, as this may change its indication.

J am a connoisseur of bubble levels! Use thin double-stick tape to attach one to the camera and another to the monitor as close as possible to the image (even with Merlin), and compare them to be sure they agree. Add the monitor bubble to your cycle of attention when moving in a straight line; any lateral moves will make it dart around, so ignore it until your path settles down.

m

Remember that you are carrying a stick. Assign a mental circuit to tell your hand to keep the damn thing upright! And finally, pay attention to doorframes, pillars, and other verticals as they pass through the center of your monitor screen and ignore them elsewhere. 1 sometimes draw a thin line with a wipe-off Sharpie up the center of the monitor for comparison. As with other aspects of operating, it's a Zen thing. Don't over-think it. Just go at it in all the above ways and level shooting will become second nature. — Garrett Brown

The electronic level line is deliberately placed on or near the bottom or top frame line, so when it jumps off level, it interferes with the frame line and really catches your eye.

95

The SteadkanT Operator's Handbook

All level indicators measure acceleration A bubble level measures the acceleration of gravity, and, when you are not moving, it indicates if your camera is level or not. But when you are moving — especially sideways, i.e., along the axis of the level — you are also getting a strong indication of lateral acceleration mixed in with the level signal. Sadly, there is no easy way to distinguish between the two. When you are moving, the level may indicate you are off level when you are actually level and accelerating, or off level in the opposite direction and accelerating even more strongly in the indicated direction. Or the level may indicate you are level when you are not, because the acceleration compensates for the tilt. A glass of water makes a nice level indicator. You all the effects described above.

can play with it to see

What all this means is that you can only trust your bubble when you have set it up properly and when you are not moving, or when you are moving very carefully (and usually slowly) straight forward or backward. Alas, these are the same moments when one has the most opportunity to judge level in other ways, such as looking at verticals in the frame or sensing the verticality of the post. Take your glass of water again. Hold it level and move it about like a Steadicam. Notice that most of the big waves come at the start of the moves. Some electronic levels have additional electronic circuitry to filter out some of these large acceleration components. On the sled, the electronics "knows" that you can't tilt the Steadicam that fast, so the big "off level" signals are ignored. This Bubble Tamer circuitry helps make the bubble more useful, but it is still not perfect.

Future technology What we all need is a level indicator that knows the difference between lateral acceleration and tilt. With such a level, we can always trust it to indicate level regardless of our movements. We can now watch the level as we round comers, track laterally, whenever. Even if you have a fully acceleration compensated level, you still have to set the level to the frame, just as you do with any other bubble system.

96

Once you have the smart level, you can incorporate the level indicator into your cycle of concerns whenever it is most important to do so. You don't have to be still or moving slowly forward or backward when you choose to look at the indicator.

Beyond the basics

Steadicam® posture Your posture is a dynamic response to your environment, not a fixed position or attitude. How you stand and walk with the Steadicam has a huge effect on your operating, your short-term stamina, and your long-term health. With proper posture, your body efficiently carries the weight and torque of the sled and you can breathe fully. You also use your back as nature intended, moving with the least amount of strain and effort, and with the most control.

How do we stand well with the Steadicam? Look at the pictures on this page. A l l the operators have a good posture, regardless of the position of the sled or type of vest they wear. It almost looks like they are standing without a Steadicam. Cover the Steadicam and check out the postures.

Each operator with good posture has basically moved the heaviest part of the body — the abdomen — slightly away from the sled. The back is vertical, and the legs and feet remain in a natural relationship to each other, transferring all the forces efficiently and safely. The operator's torso is erect and open, the front relaxed. Breathing capacity is maximized, and the ankles and legs are more stable. The back muscles are properly working with the vertebrae to carry the increased loads.

None of the operators is holding the sled tightly to the chest in "the timid mouse position." Instead, the arms are in a powerful yet relaxed position, ready to move the sled as needed.

97

The Sleaditanr Operator's Handbook Adopting bad postures

Tower of Pisa posture; Bad for the ankies; hard to walk, inefficient.

Guitar hero posture:

In the short term, it feels good when those muscles aren't screaming for oxygen, but in the long term, it is potentially very bad for your back.

Whoopie posture: Compressed and tight. Bad for operating and bad for the back, heart, lungs, legs, etc.

98

Many operators adopt other postures that are inefficient and potentially dangerous in the long term. Often operators lean away from the rig with a straight body. This "Tower of Pisa" posture makes it hard to walk forward, and it forces the feet to be extended. In this position, the ankle is subject to increased rotational flexing and injury. Stability is reduced, as are the freedom and speed of movement in all directions.

In this photo, the operator is in what operator Chris Fawcett calls "the guitar hero" posture, with the hips thrust forward and the torso leaning back a great way to counter the weight of the sled. This posture is an attempt by the operator to regain a better walking position for his feet than the Pisa posture, but avoid working the erector muscles of the back. It is an inefficient posture, and it puts extra strain on the neck and legs. Most importantly, it relaxes the lower back muscles, allowing the lumbar vertebrae to be squeezed together, with potential damage to the disks and arthritis from all the rubbing. This posture defeats the normal and resilient load-bearing mechanics of the back and stops exercising the erector muscles (i.e., "those muscles"). This last photo shows the operator leaning forward, rounding his shoulders, and compressing his chest. This posture restricts breathing, moves the weight forward of the spine (rather than to the rear of it), stressing all the internal organs, including the heart. The lungs work as air bags to transfer weight through the diaphragm and into the abdomen. Combined with a tight waist belt, increased pressure in the abdomen will reduce blood flow returning from the legs and may result in leg cramps.

Beyond the basics

Why do operators adopt bad posture? Many people have bad postures and/or a weak back before they ever pick up a Steadicam. When the additional load of a Steadicam is introduced, the operator tries to avoid the pain of exercising the erector muscles of the spine. He may use the Pisa or guitar hero postures to allow the weight to be transferred through the pelvis, or through the spine as if it were a stack of bricks, with the consequent compression and rubbing of disk and bone. In the short term, this is less painful than exercising "those muscles," but it is a long term recipe for problems. In addition, in the guitar hero posture, the operators thrust the heaviest part of their bodies forward, so they must use the lighter, air filled upper torso and head to counteract the weight of the sled. This increases the bending of the back and forces the head to drop forward to see the monitor, with additional stresses on the neck vertebrae and muscles. The rounded shoulders posture is often a result of wanting to see the monitor and/or not trusting the body to take the load of the Steadicam. Eveiything is kept quite close to the body, making it difficult for the Steadicam to float properly. The operator can't make the most precise moves with his arms. Walking is restricted; the legs can't move well with the upper body crunched together. Walking backward — which Steadicam operators do a lot — is extremely difficult. In general, the more distorted a Steadicam posture is from a normal, athletic posture, the more likely the operator is doing something wrong or dangerous. By the way, the skeleton does not normally carry a load as if it were interconnected sticks or the spine a stack of bricks. In fact, all joints in good health do not result in the contact of bone to bone but rather in the maintenance of a general relationship to each other. Our bodies are held together and support loads by bones in compression and muscles and ligaments in tension, in what is called a tensegrity structure. Failing to exercise the body's muscles means that something else must take the loads, and that something else will eventually have a problem: herniated disks, damaged joints, arthritis, etc. An in depth discussion of posture and how the back works is contained in several articles by Chris Fawcett on the Steadicam Operators Association web site: www.steadicam-ops.com.

Best posture

The Steddicam Operator s Hdntlhook

Your vest and your posture The Steadicam sled is restrained from dropping to the floor by the operator's body. The mechanical arm transfers the sled's weight to a vest. The vest transfers the sled's weight and torque to the operator. The operator's body transfers those forces to the floor, and the sled does not drop. An operator in good form will look exactly the same whether in a traditional hard front vest or hard back vest, because he is doing the same work to hold the sled in place. A n operator out of good form or posture will also suffer, as will the operating. Where the arm is mounted to the vest is irrelevant, as far as how the vest works and posture is concerned. With any vest, the waistband presses into the operator's pelvis directly away from the sled, and the upper part of the vest is pulled toward the sled. As the sled is moved around, our postures should respond dynamically, keeping the sled in place and from falling to the ground.

Hard back vest Hard back vests carry the weight differently from hard front vests, placing almost all of the weight on the hips. The rigid waistband is very tightly held to the operator's hips to control side loading and to precisely control the socket block. Almost all the forces are localized into the front half of the waistband, and into the operator's pelvis. The operator's back is held rigid by the vest's structure and inflatable bladders. The erector muscles do little work, and the torso has almost no effect on holding the Steadicam sled in place.

Back mounted vest This vest should really be called a "hard back" or "stiff back" vest, because the point where the extra armature meets the vest — in the back — is irrelevant to the functioning of the vest.

00

With a hard back vest, with its tight waistband and rigid structure, all movements of the hips are transferred to the socket block. The arm has to do more work to absorb the body's motion. Extremely slow moves require more careful control of the hips. Also, because the vest is rigid, it cannot respond dynamically to the changing forces as we move the Steadicam in relation to our bodies. The various forces are always directed locally, increasing the pressures at specific points around the pelvis. From a health perspective, the tight waistband also reduces blood flow from the legs back to the heart and compresses the nerves to the legs. Operators must be extremely conscious of standing in place for any length of time (just as we must all be aware

of sitting for long periods in any vest) and they risk cramping, numbness, and falling down when trying to take a step. Loosening the waistband, and making it bigger to spread out the loading will help. With the hard back vest, the upper part of the rigid back pushes into a small area of the thoracic vertebrae as the operator leans back — with great leverage. While efficient, these vertebrae are not designed for this type of loading and direct pressure. The most common bad posture seen with hard backed vests is the "Whoopee," perhaps because there is no immediate painful consequence (other than less precise operating!). The increased localized pressure on the waistband is a concern in the short term, and the long term effects of bending your spine and not exercising your back muscles is not good.

Traditional front mount vest With a traditional vest, the same forces from the sled are spread more globally over the body. The waistband is neither overly tight nor rigid, which transfers less of the hips' movement to the socket block and promotes proper blood flow back from the legs. The loading is shifted dynamically as you move the sled. The torque is transferred and spread out from the rigid front spar via chest and shoulder straps in tension to the entire torso. A properly designed front mount vest is as efficient at resisting the sled's torque as a back mount vest, and does it in a way that spreads the loads and does not press against your thoracic vertebrae. The front mount vest also carries some of the load on the shoulders, and in some positions, part of the weight on the buttocks via the lumbar pad. The operator's back is free to move and flex naturally, and consequently, the erector muscles must do more work. In the short term, "those muscles" build up lactic acid and hurt, especially when the operator is new and out of good form. In the long term, the muscles are strengthened (via zero impact exercising), and good posture is encouraged. Even carrying the heaviest cameras for the longest times, the back muscles do not hurt when the operator has good posture. The butt and the legs may bum and fail, but not the back. In general, a traditional vest encourages good posture and works dynamically with your body to carry the Steadicam. But all vests require good posture to work well for the Steadicam and for your body.

The Steadicar Operator's Handbook

General health and operating Steadicam operating is a physical job. Therefore your general health is a factor in your ability to perform well.

Some things to keep in mind: • Don't smoke, for the obvious reasons (shortness of breath, death, etc.). • Increase your aerobic capacity through exercise. • Warm up your muscles before working. • Stretch before and after you work with the rig. • Stay slim and fit. Tip: Consuming a large meal before you are expected to carry the rig around is not a very good idea.

Steadicam is not just for the young and vigorous. But it is for the physically fit. There are many Steadicam operators who have worked into their 50s, even 60s. In order to improve your chances for a long and prosperous Steadicam career, you need to stay in shape and protect yourself from injury.

The basic fit The Steadicam can be worn by people of various statures. However, if your waistline is such that it prevents you from fitting the vest snugly on your hips, you may experience some discomfort. You will find that the weight of the rig will hang on your back muscles instead of sitting on your hips. Remember, the function of the vest is to channel the weight down to your leg muscles.

Important muscle groups Your leg, lower back, and abdominal muscles carry the Steadicam, the bulk of the effort coming from your legs. Balancing the Steadicam is primarily achieved with your abdominal and lower back muscles. However, these muscles are not pushing and pulling 80 pounds all the time. When you maintain control, the adjustments are small and the effective force is minimal. On the other hand, your leg muscles are always carrying the entire load, so keep your legs strong and healthy.

02

Erector Spinae ("that muscle")

Beyond lhe basics

All the muscles must work together Steadicam does not require brute strength. Balance is the key. Therefore building up one muscle and not strengthening another can lead to strain and possibly injury. There are dozens of muscles in your legs and lower back that you use to balance the Steadicam. It is difficult to exercise with weights or machines and successfully tone all these muscles evenly. The best exercise for a Steadicam operator is wearing the rig — and operating, not simply walking around with the weight. If you are just starting out with your first rig, be careful to build up slowly. Once you fatigue a muscle, other muscles must compensate and this can lead you down the path to bad posture. Take a break when you feel your muscles getting tired. Of course, general exercises to build strength in your back and legs will help. You should initially work on strengthening the muscles of the abdomen and lower back. The stronger your abdominal muscles, the more they can help your back muscles balance the Steadicam. If you are starting out with below average strength in your stomach, you are more likely to experience muscle fatigue in your back.

The operator's leg muscles carry the load.

Additionally, increase the weight carrying capacity of the leg muscles by working on your gluteals, quadriceps, hamstrings, and calves. Remember, you won't simply be holding the weight, but will be moving lithely at different speeds, in all directions. This requires fitness in the oblique muscles of the legs and hips. Don't ignore the importance of your hips and the muscles that stabilize this critical joint. A lot of stress can be put on the hip joint when changing direction with the Steadicam.

More important than strength Condition yourself aerobically. Steadicam shots can be long. The sound mixer won't put up with your huffing and puffing at the end of a shot. Build your aerobic capacity to a level where you are comfortable wearing the rig for extended periods. And our last bit of advice: S T R E T C H your muscles after wearing the rig. Yoga is a great way to stretch, lengthen, and relax all of the muscle groups used in operating.

Yoga lengthens your muscles after a long day of shortening them.

103

The SleadkanT Operator's Handbook

Women and Steadicam*

How's a little girl like you gonna carry that heavy thing? Depending on the camera and the type of rig you are using, a Steadicam can weigh up to 90 pounds. But with the correct fit of the vest and proper balance, carrying the rig can be achieved by persons of slight frame and girth. There are not many female Steadicam operators in the world, a small portion of the entire community. However, I think there are many factors that contribute to this besides the weight of the gear. When the Steadicam was in its infancy, the tendency was for operators to tinker with, redesign, and build many new parts. Many early operators were the kinds of guys who liked to tear things apart, figure out how to make things better, and actually build stuff out of metal in their basements. This was not typically what women were trained to do in the late 1970s. Over time, even traditional camera operating has remained mostly a male occupation. In 2006 (the 21st century!), less than 10% of all camera operators in California were women. The industry and especially the camera department has been slow to include female technicians. Another limiting factor for women was the Steadicam vest. It was not designed to fit the female form. It took until the late 1990s before the manufacturer of Steadicam even offered vests of different sizes. Thankfully, today's vests fit both men and women very well.

Liz Ziegler, one of the first female Steadicam operators, was a skilled machinist before she took up Steadicam. This may have given her a slight advantage over her peers, as at that time any knowledge of designing, building, or refitting equipment was very useful as an operator. Liz also had a great understanding of the Steadicam vest and its need to fit the operator's body closely and comfortably. This led her to design and build her own form-fitted vest. Liz is still one of the best Steadicam operators in the world. 04

Although female Steadicam operators are few, the obstacles to becoming a world class female operator are diminishing. We now have better gear and a more welcoming attitude from the industry. Let's not kid ourselves. There are challenges involved in being a female Steadicam operator. But most of these challenges are faced by our male counterparts, too.

Beyond the basics

Stature I am only 5'6". Most of my work with male actors involves using a long arm post and floating the camera considerably above my shoulder height which requires a lot more energy from me than someone much taller. M y favorite jobs are with children where the rig hangs comfortably, camera right about shoulder height. However, when Garrett (6'6") gets called in on a children's show, he almost has to put the rig in low mode to get the camera at the right height. Each job will present new challenges, and every operator learns to be creative in finding ways to overcome them. Be prepared. Find out as much information about the job as you can — before you show up on the set. Is it a movie about talking dogs or about a basketball team? I carry in my accessory kit several different length arm posts. I use these to get the camera as close to the right height as possible. A rig with a telescoping post allows me to lengthen the rig, which raises the height of the camera without raising the height of the gimbal. M y arms can remain at a comfortable height. If there are no other spacial restraints that make operating with a long rig impractical, this is a great way to lessen the strain on my upper body. This works best with lighter cameras. Extending the rig with a heavy camera only slightly raises the lens. You may have to elicit help, bring or build platforms to get you higher. You may want to organize a vehicle or dolly mount in order to get low enough and still be able to operate.

Carrying the load No 180 pound male Steadicam operator I know will carry a 110 pound load. But as a percentage of body weight, that's exactly what I have to carry all the time. Eighty pounds for me is like 110 pounds for Jerry. Not fair! But it's my job. Flying heavier rigs has actually forced me to become a better Steadicam operator. I'm not strong enough to carry an 80 pound rig in bad form. M y back would surely be a mess! I must always maintain perfect balance, taking the weight on my legs, not tugging on my back or arms. On the set, it is even more critical for me to maintain a certain composure than for my male counterparts. There is already a doubt in people's minds that I can lift the weight of the rig, so I must never complain, groan, huff and puff, etc. It is also difficult for some men to ask women to do tough things. No one wants to see someone suffering — panting, sweating, stumbling. The last thing I want is for a director to hesitate to ask me to do a difficult move because he thinks it might be too hard or might make him look harsh because I am physically struggling to get the shot. Therefore, it is my responsibility to arrive at work in top condition — muscular and aerobic — with the tools to creatively solve problems and never to complain. H

105

I once had to run up a hill, tracking with the actor who was running up the same hill. The camera was panned to the right and in order to get up the hill, the rig had to be pushed way out in front of me so I wouldn't kick the bottom of the sled. I knew there was no way I could keep up with the actor who was only wielding a sword, while I was carrying an extra 75 pounds. I didn't make a big deal of it. There was no need to announce that it would be difficult; instead, I solved the problem. I enlisted the help of one of the grips. I had him run along with me, his hand in the back of my vest, lifting with each step. Together, we easily matched the actor's pace.

Fitting the vest The vest must fit like a second skin. For a woman, adjusting a factory delivered vest to fit snugly is not always the easiest task. Just like men, women come in all shapes and sizes. However, the female form presents an additional factor — breasts. Some women have noticed that as they tighten down the shoulder and chest straps on the vest, their breasts are accentuated as they stick out beyond the central spar of the vest. This creates an unwanted distraction. Our goal is to fit in with the crew and perform our operating tasks without calling undo attention to ourselves. I find that if I wear a flattening-type jog bra, my chest is pressed evenly against my ribs and I can tighten the vest down adequately. The solution depends greatly on your chest size. You may find this doesn't work for you, and you may have to find a way to alter the vest in order to get it tight enough. If the vest is too long, no amount of tightening will help. M y first vest came with my brand new Master Series rig. I found a way to strap the vest on so tight that it almost felt like a second skin. However, the center spar was simply too long for my torso. The shoulder pads weren't pressing down on my shoulders. I tightened the hip pads to hold the rig on my hips. As the work day progressed, the pads would compress, the whole vest would slip lower until the shoulder pads were making contact. Unfortunately, when the vest was this low, the hip pads would press on the nerves in my upper thighs. At the end of the day, I had no feeling in my upper legs. This was obviously not a good sign, and I began to work on getting a shorter vest made. Tiffen now makes three different vests for different sizes of Steadicams, and all of them in two highly adjustable sizes. Whatever make or model of vest you use, be sure it fits you well. It's good advice for operators of all flavors!

Tinkering The most recent versions of the Steadicam are tried and true. They come out of the box ready to go — plug and play (like my cool new Macintosh!). Unless you can't curb the urge to tinker, you needn't be a machinist or an engineer to be a Steadicam operator. You simply must have a good understanding of the physics of both the Steadicam and your own physical ability. You can always train yourself to be stronger physically, and you should condition your body in order to prevent injury. The field is wide open for both men and women. Women needn't think they aren't technical enough to be a Steadicam operator. Wow. That sounds so out of date. Why did we ever think that way?

Beyond the basics

Fewer muscles required With the latest versions of the Steadicam, upper body strength is no longer an issue. The Model lis and Ills floated nicely in the middle of the arm, but had to be muscled up for a boom. In fact the actual lifting force to boom all the way up or down could be well over 10 pounds. This was a lot of effort on the operator's part and was not inherently easy for women. With the new G-type arms, only a couple of pounds is needed to boom fully up or down, so upper body strength is no longer an obstacle.

Advantages Not surprisingly, there are advantages to being a woman learning to operate a Steadicam. Women tend to walk more smoothly than men. Women take smaller steps and are generally lighter on their feet. It takes some effort for men to retrain themselves after walking a certain way their entire lives. Usually women have taken some kind of dance class. They are accustomed to the kind of movement required of a Steadicam operator. Women have a lower center of gravity than men (hips vs. shoulders). Balance is one of the major elements in operating a Steadicam. The confidence a woman has in balancing the rig because of her low e.g. is a big plus. Women also bring a different sensitivity to storytelling than men. Women tend to be in tune on a much more emotional level. This can help to "read" actors better and anticipate their movements. Women tend to think more globally and less linearly than men. This creative way of thinking aids in problem solving on the set. Certainly, a woman Steadicam operator gets noticed by everyone on the set. At this point, we are few and far between. If you do a good job, then you will be remembered months down the road when the same producers are looking to hire. It seems a bit odd to devote a part of the book specifically to women. Each Steadicam operator is unique. We could talk about short operators, or skinny operators, or even bulky operators and how their physique might affect their performance. Man or woman, we bring our own personal attitudes, experience, abilities, and advantages to the job.

107

The SleadicanT Operator's Handbook

Are you ready? taking the leap into operating As a Steadicam student, you might not ever feel totally ready to shoot that first job. There's always one more thing you want to master before exposing yourself to the heartless filmmakers and impatient producers crowded around the monitor at video village. But, the day comes when you must.

Where to start A good place to start is to volunteer for a student production at a local film school. Volunteer for documentaries, industrials, commercials — even music videos — not just for student versions of "movies." Most Steadicam operators got their start doing just that. We did. Film school. A h , yes. In most cases, film students have no money, but are rich in time. (As you move up the film budget ladder, you will find that generally the opposite is true.) You arrive, all pumped up, ready to go at 6 am only to discover that the paint is still drying on the set, the crucial prop is missing, and the actors are still in makeup. This means that your first foray into operating on a set may actually end up as a day hanging out eating donuts. At the other extreme, once you are in the rig and the students realize how quickly they can get a shot set up (because you are wearing the rig), you may never get a break. Beware, for you are a tripod that responds to commands, a dolly that needs neither track (couldn't afford it), nor a dolly grip (he didn't show up, had a paper due in Art History). You are a film student's dream come true. As appealing as this seems (especially compared to sitting around all day), don't get lured into this scenario! Although you believe you will get loads of great practice — you're in the rig with a real camera, shooting every kind of shot imaginable — you are probably not productively honing your skills. This is incredibly similar to the practice you've been doing at your house, chasing the neighbor's dog around the yard. In order to get the most out of working on a set, you should encourage using the Steadicam in very definitive ways. If the director seems vague, ask questions to get him thinking about the story. Don't waste time and effort making shots that will end up lying on the (virtual) editing room floor. A Steadicam shot must be well thought out.

108

Beyond the basics

Choose wisely How do you avoid getting into these situations? First, prescreen the production. Talk to the director and director of photography and ask why they want to use a Steadicam. Is there a specific shot they are trying to get? Do they have a difficult location where no other (affordable) camera support is available? Most of us did some really interesting things way back when we were young and our legs were good. 1 remember one shot chasing a child down a narrow forest path, dodging this way and that, over logs, around rocks. The shot came to a quick stop as the camera pushed in to an extreme close-up. It was really exhilarating to be able to pull it off. But it took a lot of preparation, scouting the path, rehearsing the timing with the actor. But in the end, it was a great shot that really helped tell the story.

If you are presented with an energetic, interesting task, ask yourself: How can I make this shot the most amazing thing on my reel? Then do it. Sometimes, the director may be trying to include an homage to the Bonfire of the Vanities opening shot, or create his own Russian Ark. Discuss this with him. Is it reasonable to try to pull it off? W i l l you have the time, support, and stuff you need? This may be a great opportunity as Steadicam work is mostly walk and talks and variations of walk and talks.

myth-buster "Only big guys can survive this." Not so! Operating a Steadicam requires balance and stamina, not brute strength.

Agree to join the crew if you feel the experience will benefit you. You may feel like any experience would be good at this point, but you may end up frustrated with the results. A well-planned shot with storytelling purpose will give you the experience you need.

109

Tiie Steadicdm" Operator's Handbook Some hard lessons Needless to say, my first feature was ultra low budget. The locations were outdoors: the beach, the woods, lonely country roads. Production had to make a choice: Steadicam or dolly? There would be no dolly. Of course the promised Arri B L III, a relatively lightweight 35 mm sound camera, was not available. Instead, I was ambushed by the world's heaviest studio matte box and a bloated beast of a camera, the Arri B L TV. Nice, and no dolly. The thoughts in my head started whirling. Every time the camera moved, it would be me carrying this load. Could I do it? Of, course. I was strong. I wasn't going to let anyone tell me I couldn't. After all, I wanted to be a Steadicam operator. I'd heard others tell nightmare stories about endless shots with heavy cameras. But this was a great opportunity. M y opportunity. Every move would be Steadicam. A n entire movie overflowing with my work. How could I not give it a try? Exactly how heavy is this camera? It's not simply about the weight. Many Steadicams have no problem supporting an Arri BL TV or Panavision's Gold "Conversion" (converted to Steadicam use by removing the eyepiece). Balancing a heavy camera requires you to lengthen the post. This longer rig can be unwieldy. When you tilt an elongated rig, the battery sticks out so far that it is virtually impossible to make a switch. A longer rig also may limit the height of the camera. The rig could hit the ground before you reach the bottom of the boom range. It will also create more inertia making quick moves very difficult.

110

Beyond the basics I learned the hard way that you really sink into sand dunes carrying an extra 80 pounds. Could this get any worse? Tip: chicken wire can be laid into the sand to provide a platform for the Steadicam operator. Unfortunately, I missed that note at my workshop and suffered through another grueling day as a not so experienced operator. Flying a big heavy camera is tiring. You wear out much quicker than when using a Steadicam friendly camera. The script was filled with endless pages of dialogue — not bantering exciting words, but characters baring their souls to each other, endlessly. I kept finding myself further down the dirt trail than I had scouted, struggling across unfamiliar terrain, eventually passing muscle fatigue and actually achieving muscle failure. I just couldn't take another step. We ended up cutting the really long shots into two or three parts. I was lucky. No one blamed me. The camera assistants were wom out from carrying the equipment from the vehicles to the location. The consensus was the camera was heavy, and maybe the shots were too long.

The moral of the story: be prepared. Find out everything ahead of time. Read the script. Get a list of locations. Anticipate adverse conditions: uneven ground, high altitudes, extreme heat or cold (wind, rain, snow), etc. Insist on the proper equipment. Get a good Steadicam type camera. Bring what you need to get the job done right. Also, come with the right attitude. You are part of the team, telling a story. Do your homework. Read the script. Get excited about what your skills as a Steadicam operator can offer to the production.

Steadicam friendly, "tighter," and quiet 35mm film cameras: • Panavision's Lightweight II and Millennium XL • Moviecam's Compact and SL •Aaton 35-111 • Arriflex BL II and III and Arricam LT The SL Cine and Arriflex's IIC, III, 435, and 235 are all lightweight MOS cameras. The Arriflex cameras require special long-throat magazines to work well with a Steadicam. Tip: Only those with great resolve should attempt flying an IMAX camera! Ill

The Sleadkam Operatof's Handbook

My big break by Dan Kneece

I was a Stcadicam operator living in South Carolina with a little over 2 years' experience. My work to that point consisted of a few movies for the Earl Owensby Studios in Shelby, Nortli Carolina, and one picture for William Olsen called Rockin' Road Trip. Unexpectedly, I got a phone call from the De Umrentiis Entertainment Group in Wilmington, NC. I had approached them earlier through Frank Waldcck at joe Dunton Cameras. Back then ]DC was located on the DEG studio lot. i had given Frank my first reel — my only copy of a single 3/4 inch tape of me chasing my little brother, Bobby, in a circle outside our house. I followed him -with my Stcadicam Model 11 and then leaped the neighbor's fence because Bobby did. That W08 it. That was my reel. Frank gave DEG that reel and they offered me a job. They told me they were starting a picture, a picture called Blue Velvet. There was a problem. I was 'working on an Earl Owensby film at the time. We had to travel to Hilton Head Island to shoot down there, and as luck would have it, the day they wanted me at DEG was the day I was to travel from the Owensby Studio to Hilton Head. I asked Owensby's director, Worth Keeter, if i could try to work it out to do both jobs. He gave me the go ahead so I said yes to DEG and headed off to Wilmington. A year or so earlier my friend ies Mizzell, a composer in Columbia, SC, and I had seen a picture called Dune. We really liked it and developed great admiration for the film's director, David Lynch. We thought if there was anyone in the movie business we would love to work with, it would be David. When I arrived in Wilmington I went to the DEG studio lot and was allowed to drive to /DC. / saw Frank Waldeck there and found the first assistant cameraman, Lex DuPont, prepping the camera package. He told me a little about the film, we looked over the gear, and I left. Somehow I didn't get the director's name. I was in my hotel room at the Green Tree Inn when I heard a call sheet slide under my door. When I picked it up, I discovered the film's director was David Lynch.

112

Beyond the basics

I was a relatively new operator at this point and the thought of working for someone I admired this much terrified me. That night I didn't sleep a wink All I did was stare in the mirror and tell myself, "You can do this, You can do this, You can do this," over and over and over. Fear is a great motivator sometimes. The next day I went to the set and prepared the Steadicam. That was when I saw David Lynch for the first time. He was a very dashing fellow, dressed neatly, with a magnificent head of hair. When lie called "action," it was like a celebration of cinema itself. Understandably, I was in awe. The shot consisted of Kyle MacLachlan busting through a doorway onto a set of concrete stairs much like a fire escape but enclosed on three sides. Still, if one were to trip over the railing it was four floors straight down. So Kyle comes busting out of that doorway and rushes down a section of stairs to the first landing. There he meets Laura Dern and together they rush down another section of stairs to the second landing where they talk for a moment.

113

The Stcddicam'*' Operator's Handbook

My Steadicam Model II was loaded down with an Arri BL III 400 foot magazine, and a Joe Dunton anamorphic lens that seemed to weigh about 7 pounds alt by itself. I don't remember the focal length any more (as it was 20 years ago), but I think it was somewhere around 24 mm. My Steadicam arm was a standard 51 pound arm modified by John Barry in Australia to be adjustable. It was cranked all the way to the top where it still sagged a little, requiring me to hold up the rest of the weight. I picked up the Steadicam and zvalked onto the stairway. In Steadicam school, Garrett Brown taught us that it is better to boom than to tilt as it is easier to control. One look at that staircase and I knew no amount of boom would save me. I had to tilt and I had to do it quickly and precisely to make this shot work. I positioned myself The door exploded as Kyle came quickly through it and rushed down the stairs. As he did I panned and tilted as quickly as I could and rushed down the stairs behind him. Behind me rushed David Lynch and Fred Elmes staring at my Steadicam monitor as they ran because these were the days before video transmitters became readily available. Lex DuPont ran someiohere in the mix pulling focus with my brand new, state of the art Seitz focus system. If we tripped and went over that rail it was a four-story free fail. There was no space for error or a spotter.

Blue Velvet: 0:24:34

114

Beyond the basics

Kyle met Laura and stopped on thefirstlanding. I knew the step I wanted to stop on so I began slowing down, but the camera kept going. I dug in my heels. My heels slipped and I bounced dozen two steps into the mark, luckily without shaking the camera. Kyle and Laura delivered some dialogue and took off again. In a rush I followed. I had to make it down two more steps, around the landing, down another flight of steps, and bounce onto the mark on my heels once again. The camera did not shake and came to rest just as we'd all hoped. The actors delivered some more dialogue, rushed out, and we cut. All involved were very happy and that shot was the beginning of a 20 year relationship. I have worked with David on every picture he's done (except Straight Story, because it required no Steadicam), plus the Twin Peaks series and several commercials. I worked with Fred on Wild at Heart, Cold Dog Soup, Night on Earth, Hulk, and several commercials, and with Lex DuPont on many projects where he was my focus puller and then when he became DP on NYPD Blue. Our second assistant, David Rudd, is now a huge music video DP, and my brother, Bobby, is now a doctor in New Orleans specializing in Pediatrics and Internal Medicine. As for me, I'm still doing the greatest job in show business, operating a Steadicam.

Dan Kneece

115

TheSleaditaiiT Operator's Handbook

116

Section Four Steadicam and filmmaking

117

The Sleadicam'*' Operator's Handbook

Basic shot design and the Steadicam operator Even the best director can't describe every frame of a shot. One of the most fun and challenging parts of being a Steadicam operator is having a deep involvement in the final design of the shot. It is your responsibility to make the shot work. You are the one who has to move the camera through space. Where are you going with it? What are you looking at? For how long? With the freedom of movement the Steadicam provides, you can do almost anything; so how do you decide what the lens should frame at each moment during the shot?

What is happening in the story? Start gathering information. Listen to the director describe the action. This is not always as simple as it sounds. The director is busy and shares very little. Sometimes he is exhausted and what he does tell you makes little sense. If you are a day player, you have a lot of catching up to do. Hopefully you have read the script, or at least the sides for the day. This is your job. Find out what the shot is supposed to show, and the larger role it plays in the whole film. For example: A group of boys are playing in front of a house. One of the boys goes inside and gets a gun. Any number of things could be happening here. You must be conscious of the emotional elements of the scene also. Is the boy mad at one of his friends and intends to use the gun in the yard? Or is there an outside threat he is protecting his friends against? Is there an urgency to his action? Or is it methodical? Ask questions. A Steadicam operator, in addition to flying the camera around, is responsible for a kind of performance. The speed, energy, focus that you put into the shot will define the story for the audience.

Extremely important: You must decide the best way to configure the rig to help you achieve the shot. Don't pay too much attention when the director tells you it's a low mode shot, or you must be in Don Juan here and make a switch there. Pay attention to the key moments, the specific frames, and the camera positions.

Steaditanr" and filmmaking

What are the specific frames? What are the key points of the scene and how does the director want to see them? The director's job is to have a vision in his or her head — a series of moments in the story that need to be captured on film. It is your job to link these moments in a meaningful way, focusing all energy on the narrative.

Look at the shot with your eyes Once you have settled on the "must have" moments in the scene, it is time to consider how you will go about achieving them. Walk through the shot without the rig. Remember to get your eyes at the right height. If the camera is going to be on the floor, get down there to see problems or opportunities. Note things like backlight flares, seeing off the top or side of the set, restricted space. What lens has the director or D P suggested? This can make a big difference here. It's a good idea to carry a director's viewfinder in your kit. Having the ability to look through a specific focal length lens is extremely useful in determining your exact path, making initial marks for yourself, and solving problems. You can accomplish all this without carrying the weight of the rig.

Getting the camera where it needs to go On Four Faces of God, the director asked me to start 12 feet in the air, track across a courtyard, catch the actress in closeup as she rounds the corner, let her enter a brick building, then magically rise up to about an 8 foot lens height and peer into a window to see her crossing the lobby. This was obviously going to be a high mode shot, but if I extended the telescoping posts to achieve the highest camera height, I wouldn't be able to get the camera at eye level for the actress's close-up. I had to find another solution. I used ramps at the beginning and end of the shot. The result was amazing. Swooping in on this character from high and far away to a close-up really gave the shot the energy it needed. And then, just as the audience felt like they were finally going to get to know this girl, the move at the end turned the audience into spectator once again.

19

The Sleddicam'^ Operator's Handbook

What is the most difficult part of the shot? Can

you configure the rig to make this moment easier?

For instance, if the space is tight and there are a lot of little pans, you might configure the rig very short with the monitor and battery in close. If the shot has a lot of tilts, balance top to bottom with a long drop time. Set the tilt head so you do the least amount of tilting. How high or low do you need to get the lens? Is it a high, low, or long mode shot? Older type Steadicam arms have a boom range of about 24 inches. G-series arms reach 32-33 inches. Know your arm's boom range and the lens heights you can reach with your gear in all modes. Are all of the critical frames within this range? This could be the 24 inches from your knee to your waist or from your chest up over your head. If the range of lens heights is greater than your arm's range, can you climb a set of steps, traverse a row of appleboxes, sit down on a box, walk in a trench, or get on a dolly or a crane? Do whatever it takes to get the lens at the right height. If no solution is readily available, you must suggest an alternate (but just as interesting) frame to replace the one that does not fit in your range. Once you have determined whether high or low mode works best, you will also decide the length of the post, the tilt head angle, the proper inertia (fast or slow rig), and bottom heaviness (for ease of tilt) of the rig. Don't make these decisions in a vacuum. You must also consider the set, the path you and the rig must take through the scene. Are there any spatial limitations on the size (length, height, width) of the rig?

The

camera's path and your path

The camera's path is primary. You must be committed to keeping the camera on its path at all costs. Walk through the shot wearing the rig. Determine your movement through space. You may need to make a switch to Don Juan and back to avoid objects. Can anything be moved out of your way? Does it appear in the shot? Should it be flown out of your way during the shot? Whether inside or out, always walk the path you are going to take with the rig and clear any items that may trip you up. Familiarize yourself with the director's "must have" moments. Burn those images in your memory.

Do not compromise the path of the camera because of the arrangement of the set. Typical workshop shots in the United States involve spies, guns, drugs, and love triangles, as well as stops and starts, switches, stairs, gratuitous movement around the actors, whip pans, and of course solid lock offs. Good practice for the real world.

Sleadicam'" and filmmaking Design the shot — what story are you telling? Configure the rig — for optimal height, distance, reach (over a table) Control your path — have items moved in or out as needed, create your own height Play the part—you are the audience's desire to learn about the characters and the story; reveal this at an appropriate speed; think through the camera, not your body

Now it is time to rehearse Are you clear on when you move from one place to the next, when to reframe? Most of the time an actor will move, deliver a specific line, or a certain noise will cue the camera to move to the next frame. Sometimes one is asked to do something that is possible or even mechanically easy, but hard to justify or to find the right timing. Once I was asked to pan off a couple at a table in a coffee shop to the guy behind the counter, but there was no specific moment or timing to motivate the move. I suggested we have a waitress' arm come in and pick up the check off the table and walk to the counter. Following the movement of her arm through the frame drew the camera to the counter, creating a visual continuity that connected the spaces and action, and also drove the speed of the pan. If you fail to create a meaningful transition, you'll find the editor is always tempted just to cut the shot at that moment and pick it up later. Remember, you are the audience's desire to experience the story. What could pique your interest and lead you to a different space in the set? Once you have worked out your transitions, start to involve yourself in the mood of the entire scene. Don't forget that what you see on your 4 or 5 inch monitor might soon be projected onto a 40 foot screen. Even with an 8.4 inch monitor, you must work to imagine your shot on the movie screen. You may have to alter your speed to assure it's right for the shot in its final form. Find some way to put yourself in that movie theatre, watching the film. Some operators like to imagine the musical score to help maintain a specific energy or speed during the shot.

Move wisely One big difference between conventional operating and Steadicam operating is how much we utilize movement toframethe subject. While there are dollies and cranes and jibs out there that also move the camera, most of the spatial movement with those devices is done by the grips, and the conventional camera operator's choices are limited to panning and tilting. Steadicam operators can move the camera anywhere within the range of their arms and legs, and this range is easily extended by ramps, stairs, cranes, and vehicles. Overusing this ability to move the camera can also be extremely boring. There are so many examples of pages and pages of dialogue on TV shows with the characters walking dawn endless, hoisting corridors, the two or three or more figures locked in theframe,never changing their position in relation to the lens. They all might as well be on a treadmill infrontof a bluescreen.

The SteadkanT Operator's Handbook

Take after take by Janice Arthur Minneapolis, 1988. It's about 5 years into my career and I get a commercial showing what a family had purchased from all kinds of shops at a big mall — from the family dog's point of view. On a stage, the production company built a kitchen nook, a living room set, a small hallway, and a den. The products were arranged throughout the rooms, like clothes on the couch and framed pictures leaned on the walls. The hallway had a vertical mirror, and finally, the den had a mall shopping bag. Start on the water dish and then sniff the coffee table, "jump" up on the couch, investigate the clothes, "jump" down, skim by the framed photos; get to the hallway, look at myself in the mirror, and react to a sound in the den. Push the door open, go into the den where dad putts a golf ball into the bag. Follow the ball into the bag — again show the mall logo — then "dog paws" reach in under the camera and fetch the ball from the bag as the shot dissolves into the mall logo. Low mode, a piece of cake. This was one of my first jobs where I was exposed to all the creative possibilities that a big agency and huge budget allow All of it was really cool, and one of the nuances of the spot involved the hallway "mirror." It was a piece ofplexiglas and we had Henry, a real Springer Spaniel, on the other side. The dog was to look at me (the camera) and then go to its ownerI trainer when I panned away and dashed into the den. We -worked out the details one by one and I was thrilled to see that I could actually find the golf ball. On an early rehearsal I was so happy I congratulated the grip for getting the "paws" into the frame. I reached behind me to "pat" his leg and I got much more personal. Oops. He was surprised and I didn't do that again.

122

Sleadicain'-" and filmmaking

Soon we got the rhythm going and we really had it in 15 or 16 takes with several "safeties." But the agency just keep getting sillier. "Ahhhh, the doggie was just a little early, Ooooo, wasn't Henry a touch bored?" or whatever imagined look and expression they could muster. We kept shooting and shooting and shooting. Poor Henry stopped reacting to his cue after thirty takes. They tried everything. It was surreal, if not just a little more than cruel. Henry had amazing energy, and he only had to sit and then walk 10 feet to his owner, bu t fi fty takes, ten rehearsals, and all the agency chatter did him in. Ultimately, every take became a "hold your breath" moment as the big variable worked or didn't. He was a trooper; he was therefor everyone. After fifty takes, we stopped, only because we had run out of film. Henry was absolutely flat out and could not be roused. He was as spent as I've ever seen any dog. I'd worked with his owner/trainer before — the woman knew filmmaking and animal care — but I felt sorry for him.

IH4

Soaking wet at the end of the day, I went in the washroom to change my shirt. I looked into the mirror and let out a gasp — I'd sweated so much that my brand new tee-shirt had dyed my torso bright blue. I recovered enough to laugh, but it took weeks to regain my natural color.

I finally got to see the commercial. The "decision makers" picked a take that had poor Henry looking up — which the camera never does. I know they picked it because Henry's walk away and my camera move exactly matched. That became the most important aspect of the shot. So it goes. Janice Arthur

123

The Steadicam' Operalor's Hdndbook

Your role as storyteller play the part As strange as this may sound, as a Steadicam operator, you are playing a kind of part in the film. In every frame, a choice is made: what to include and what to leave out of the shot. Each time you make a framing choice, you are determining how the story is told. The camera is moving, now you have more choices to make. How does the camera move through space? Is it slow and methodical? Is it quick and full of energy? Are the pans rapid or slow? Let's examine one scene shot two different ways: The script says, "Two boys are playing. One of them, Julio, notices something off screen. He stops playing, goes into the house, and gets a gun off the kitchen table." Dull script.

Version #1 The director says to you. "Basically, the camera starts outside on the boys playing. Julio turns and moves toward the house. The camera follows him as he goes inside where he finds a gun on the table and picks it up. It starts pretty wide: here's the frame (as he hands you the director's finder). This is exactly what I want. After Julio's look off screen, I want you to precede him in a raking shot to the house. Inside, the camera moves in and watches Julio pick up the gun in a tight shot of the gun." Again he hands you the finder and shows you the frame. This director has said a lot, but you still have questions. Outside: Is there a push in or out, any camera movement before Julio notices something off screen? Does the camera respond in any way to his look off-screen, or just on his movement? What is the height of the camera during the move? The move: Is the move fast? Should the camera precede him through the door? You offer the idea that preceding would help the shot — less ground to cover at the end of the shot, and it emphasizes the character. The director says, "No, I need to follow Julio and only catch his face after he picks up the gun. From over here." Hmmm, a new end mark. More questions on the final frames: Do we tilt up from C U gun to see Julio's face after he picks up the gun, or do we pull slowly back to reveal Julio's look? How exactly does the shot end? Does Julio exit frame? Are we still moving? Subtext: Does the audience already know (revealed earlier in the story) what Julio sees off screen? Is this part of the story suspensefill or simple action? The answer here will help you to pace yourself and determine a mood for the move.

Sleaditam" and filmmaking

Version # 2 Same dull script, but the director says to you, "The camera starts outside on the boys playing. As they continue to play, the camera pans away to the house. It slowly moves through the door and pushes in on a gun lying on the table. A hand enters the frame and grabs the gun. Here's the shot." With a video viewfinder this time, he shows you the shot he has recorded with the assistant director on a scout several weeks earlier. Clearly, we're telling a very different story in this version, and the whole visual plan is laid out for you. But you still need to ask questions. Outside: What angle, height, and distance is the camera from the boys? Is the pre-visualization accurate; is that the camera height he really wants? "Well, I don't know, perhaps it's better a bit lower, like this." At what point does the camera pan off? Is there some action on which to start the move? "No, I'll cue you." Is the shot someone's POV or is the camera playing the role of an omniscient storyteller? This is a much more difficult shot than the first example because the camera takes on a consciousness. The operator must play a role key to revealing the story. The moment the camera pans off the principal action, the audience's interest is piqued. They want to know why. Where is the camera going to take us? Therefore, the strength of the move will either make or break this moment in the film. You ask for a countdown cue — three, two, one, move. The move: Is it quick or methodical? Should it feel connected to the ground like a person? Or should it float like a spirit toward the house? Once inside, does the camera go straight for the gun on the table, or does it look around the room first? Should the shot be a high angle of the gun, or from eye level? Whose eye level? When do we shift from the low level outside to the higher level inside? The final frame: Does the shot end as the hands come into frame and grab the gun? Does the gun leave frame? Does the camera ever reveal who picks up the gun? Subtext: What's really going on in this shot? Has this omniscient presence been here throughout the movie? The same action can be presented in different ways, creating very different reactions from the audience. Therefore, you must ask very specific questions that clearly define the camera's path, speed and intent. Be familiar with the story and understand the style of storytelling. Know the role you are playing. Are you a specific character (POV shot)? Are you an omniscient (all-knowing, all-seeing) force that is revealing the story to the audience through unmotivated moves and foreshadowing? Are you simply a witness to the action, learning the story along with the audience?

The shot must be clear in your head If you haven't made any of these decisions before you start the shot, then you will be forced to simply react to the action. Consider the shot described above. You have a frame of the boys in front of the house. Julio looks off-screen. If you haven't made a

125

The Steadicam^ Operator s Handbook plan, you might be inclined to pan off Julio to discover what he is looking at. Meanwhile, Julio has started his move to the house. You pan the camera back and in your urgency not to get too far behind, you push quickly toward him. You follow him through the door, but haven't made a plan about how to reveal the gun. You linger on the C U of the back of Julio's head too long, and are forced into an awkward tilt down to see the gun on the table. What a mess! What story did this shot tell? This kind of shot calls attention to the camera. If you are unsure about what to have in the frame, the audience is not going to be clear on what is happening in the story. You must decide how to reveal the information, what to show the audience, and in what order. You might leave something out of frame because you want to surprise the audience with it later. You are the visual storyteller. Each decision creates a meaning and supports an emotion.

For example, the camera peers through a window, spying on the people inside. If the camera simply shoots through the glass panes without moving, there is nothing that tells the audience why we are staring through the window. However, if the camera starts with the wall in frame and then slowly, carefully slides to where it (and we) can see inside, then we are drawn into the scene thinking someone is looking through the window. If the camera pulls back, as if hiding, upon a look from one of the characters inside, then we infer that whoever it is looking through the window doesn't want to be seen.

126

d $ in

SleadkanT and filmmaking Your shot could be 10 seconds or 10 minutes. Before you can successfully operate that shot, you must be completely comfortable and familiar with every moment in the shot. Hence, the longer the shot, the more effort; but even with a short shot you must take it all on. Your focus should be extreme, driving through every frame of film. Forget about the physical space and effort you are making to get the shot, and focus simply through the camera, flying the lens through the scene in a way that reveals the story to the audience.

Point of view The Steadicam is by far the best filmmaking tool for human, animal, or alien POVs. You can create both a smooth, naturalistic view and any movement that is consistent with the human's — or the beast's — movement. The Steadicam can hold the angry stare of a wronged woman as she walks by her ex-husband, float from one object to another like a child in a candy store, or frantically search the house for the missing keys, the bomb about to go off, etc. The Steadicam can also instantly alter its behavior from the omniscient, removed storyteller into a character's POV, and back again. Such a versatile tool!

Basic techniques for creating a good POV Change the framing from your standard composition to a "center-punched" framing. In the real world, we look directly at the object of interest, and as operators, we need to mimic this look to sell a POV. This technique also works for rifle scope, binocular, and other telephoto POVs, whether done on a dolly or with the Steadicam. Be aware of the artifice of the masked binocular view — it's not what things look like through binoculars at all — and the need to frame your subject in one of the two "orbs" of the binocular mask rather than in the center of the frame. The lens height should be at the character's eye height, and stay at that height. If the character bends over a balcony to see something, the lens should mimic that movement, but if the character just looks down, the lens height should not drop, just because that's the easy thing to do with the Steadicam. Move and frame as the character is moving and looking at things. For a moment, you are the actor or actress, and you must observe how he or she acts to properly sell the shot as a unique POV. Do not just glide along like a typical dolly or Steadicam shot, but look at an object, then look at another object until it registers, then look at something else. How long you look at something and how you shift your attention from one thing to the next should be character driven.

The Lost World 1:15:25 A great (small) dinosaur POV by Chris Haarhoff. It's one of three quick and disorienting mini-dino wide angle POVs, with great "ground rush." The three super low mode shots are followed by a locked off bird's-eye view shot that totally lacks depth, as all the little critters have their lunch.

The Sleddicam Operator's Handbook Nell 1:29:02

In the movie Nell, there is a sequence in a hospital as Jodi Foster is escorted down the hallway by Liam Neeson and Natasha Richardson. Nell has never been in civilization before, and it's very strange and frightening to her. Most of the time during the scene, Jodi Foster held her head down and had a hard time making eye contact with anyone. I used her acting to guide the POVs (one of several is illustrated here). The camera is at her eye height and looks directly at things (there's no attempt to frame conventionally), but the looks are oddly away or off when anyone looks at her, and the camera has a very hard time looking up at the hospital attendants. It's sort of like a horror movie for Nell: she wants to see, but she doesn't dare look. Watch the sequence on the DVD. There are other characteristics of Jodi Foster's acting that we did not use for her POVs, such as the quick, direct looks she sometimes gave to people who passed by her. I felt one part of her character was the disassociation from the world, and adding those quick moves into the mix would feel too connected, and way too complex and confusing. Michael Apted (the director) and I did not discuss why I shot the POVs (or the omniscient shots) as they were shot. I just showed him what I thought was right, and he either said yes, or nothing, or change it in some specific way. We certainly did not have a discussion on set (or anywhere else!) about Jodi Foster's wonderful acting and what it meant for my framing.

Getting in and out of a POV The classic way to get to a POV is to cut from a character's look to a new shot (check out the Bulworth shot on page 137). When we are done with the POV, editors classically cut back to the character still looking at the subject, or to something else entirely. With a Steadicam, we can shift from omniscient to POV and back without cutting, but it must be done carefully or the transition will simply call attention to itself. Usually, the character gives a strong look, and the camera drifts by the character, framing what he

Sledditdrdndlilininakiln] Carlito'sWay 2:11:20 would see. Coming out of the P O V usually involves the character re-entering the frame into an over the shoulder — a Hollywood POV. One really great thing about these shifts is how subtle and strange they can be. The audience may not even realize they are in a POV for several seconds. Look at two transitions in and out of a P O V from the wonderful end sequence in Carlito's Way. Carlito is pursued by a bunch of mob guys in Grand Central Station, and needs to get to a train and safety.

«

Watch the D V D again and again and see how Larry McConkey moves past Al Pacino on the balcony, and the shot becomes Carlito's P O V looking down at the concourse below. It's not a pure P O V at all — in fact it's more nerve wracking because the camera feels too exposed and Carlito might be seen by the bad guys. The camera swoops around to find Al again. A t what point did the shot shift from being A l ' s POV? How does the audio help? A few seconds later, as Carlito is about to go down the escalator, Larry slides the Steadicam by Pacino's shoulder in the standard way to become his POV. Oddly, the shot travels down the escalator, which we know Carlito did not do. We pass by a woman on the escalator. It's a really weird move, but so controlled and sure that it works. At the bottom, the camera finds the mob guys and we are surely back in the omniscient mode. But it's a disturbing ride that nicely sets up the whole gunfight on the escalators.

Try to emulate the POV of a young man looking for a beer can opener (or knife, keys, whatever) in the kitchen. Change the POV to that of a nervous burglar, or to that of a perceptive detective at a crime scene. Do another POV of a man looking through binoculars (use a long lens) or through night vision goggles. Compare to McConkey's work in Silence of the Lambs. Okay, do a dog, cat, or alien POV, but make the creature a specific character, and give it something to do.

The Steadicdm'*' Operator's Handbook

Commercials often offer fun POVs for Steadicams On my website, www.jerryholway.com, you can view a reel of commercials, two of which have amusing POVs. One is the viewpoint of a very healthy boy riding his tricycle inside the house, terrorizing the dog and his sister, and finally meeting up with mom. So many things make the commercial work: the art direction, the acting of the dog and the humans, the voice-over in counterpoint to the action, the sound effects, etc. For the Steadicam's part in the magic, we tried to imagine how the boy would drive the trike, how it would take corners, bump down the stairs, etc. We also tried to centerpunch the framing, so, for instance, as we passed by the sister in the tub, the camera's cross-hairs were locked on her face. We also mixed up our special effects — never give them a chance to figure it out! — changing the placement of the kid's hands and the handlebars in frame, looking to the side, etc. We shot it MOS, of course, and I found myself making all sorts of noises to help me get the shots. "Bump bump bump bump bump," down the stairs, shaking the camera up and down as I descended, "Waaa!" as I went by the sister. The radio-controlled rig for the handlebars and the kid's hands was amazing. Think about how you would make it all work on your Steadicam.

Moving composition Operators work very hard to find the perfect opening and ending frames of a shot. Our compositions are strengthened with graphic lines, stacking colors, and balancing masses within the frame. All the traditional compositional theory applies. Composition is just as important in a moving picture as in photos and paintings. All operators should be aware of the rule of thirds, the golden mean, compositional mass, perspective, color, lighting, etc. And because our shots seldom remain static, we have a lot more going on than setting up that perfect opening frame. What separates moving pictures from static pictures is time and sound. Time forces us to consider how one composition evolves into another, not just how things look when we arrive at a frame, or how we look at any isolated frame in a shot. Time forces us to examine relationships between frames, series of frames, and a series of shots. Our response to the images is updated continuously, as the movie unfolds.

130

Sound infuses and alters our perception of a shot as well. Turn off the sound on any movie and note how your perception of the experience changes. Freeze the image, and a wonderful moving shot can suddenly be very dull and flat.

Steadicdm and filmmaking IXi

Making it work is not a simple task In the movie world, where we generally aim for a verisimilitude of reality, we are constrained from shot to shot by considerations of left and right, consistent vectors of movement, headroom, and matching action, eyelines, and sizes. The DP must match the light, the sound department the audio, and the director the action. If anyone gets these basic concerns wrong, the audience will be confused. How many discussions on sets have there been over how to match two shots?

Artful framing: Look at the examples from Carlito's Way (page 394) and Bulworth (page 136).

Often operators subvert both moving and static compositional concerns to the story. The need to see a piece of action is more important than the aesthetics of the movement and framing required to see the action. As a result, many Steadicam shots are dull and uninvolving, even though they have strong camera moves and clearly show the necessary action. Really good Steadicam shots are idea driven, have strong camera moves, fit into the sequence of shots, and are artfully composed over time.

Train yourself One reason we want you to move the target off center in the line dances (and to move the target around in a controlled manner) is to enhance your ability to place the subject anywhere in the frame. Eventually this placement will be part of artful composition; most compositions do not call for an exactly centered subject. Within a moving shot, the compositions should also change.

The Pelican Brief Side A 0:30:40

You might drift, drive, smash, or creep from one composition to another, but try to shift your compositions as the story shifts. Lock your compositions to the changes in the action, just as you would time your stops and starts to the action in the frame.

Shift your compositions as the story shifts. A classic example of a good moving shot with changing compositions comes from The Pelican Brief. Fletcher Coal, the White House Chief of Staff (Tony Goldwyn), is besieged by reporters. Watch how and when Ted Churchill lets him cross the frame and change size, keeping the audience interested and involved. Also look to the foreground crosses, and Ted's subtle shifts of boom height that either isolate the Chief of Staff more or reveal the sea of reporters behind him. The end of the shot is a beautiful lock off, which — despite the close crosses by the extras — keeps our eyes locked on Tony.

131

The Steadicam "' Operator's Handbook

Patterns of movement as compositional elements

rf-kt - W

Filmmakers have long been attracted to train engines and other mechanical devices with repetitive motions. We can use patterns of movement within a frame as compositional elements, and with the Steadicam, we can structure the camera's movement and relationship to the action to emphasize a pattern. One excellent example of a strong camera move using good compositions and passing through good compositions comes from the opening sequence of Pride and Prejudice. Simon Baker's Steadicam shot follows a wellcomposed, static long shot of the girl crossing a low wooden bridge over a pond. It starts as a classically composed M C U , raking on Lizzie Bennet (Keira Knightly), and then lets her cross frame. Then the camera and girl track parallel to each other for another 16 seconds. The camera only pans slightiy, almost imperceptibly, to catch some background action as she passes through the courtyard. Sometimes Lizzie is partially blocked by the billowing laundry. Sometimes the laundry is translucent, other times she is hidden completely. She appears and disappears, over and over, without any overt work by the camera, and the audience anticipates each new revelation. The shot literally bursts into new and interesting compositions. The final occlusion is the longest — Lizzie is hidden by a large sheet for many steps — and then when we clear the sheet, the camera stops its movement briefly on a very different and formal composition, before carrying on into the house. The camera move seems stronger because it does not search for great frames (panning, tilting, or moving in and out), but appears to move confidently along a simple path that results in the camera being in the right place to catch the action and reveal wonderful compositions. Without the sheets periodically blocking our view, the shot would have been visually much duller, less graphic, and lacking in rhythm. A l l of this is carefully orchestrated with Keira in one spot in the frame and with sheets of varying opacity, size, and textures.

132

Pride and Prejudice opening

Sleddicdm'" and filmmaking The question then becomes how this pattern and the emphasis on compositional elements focuses the audience's attention. What becomes important is not the space or others in it, but a young woman's thoughts and her emotional state, separate from the physical world. When a camera moves in lock-step with the action without panning, then the shot is typically more graphic and less naturalistic, and therefore the graphic elements are emphasized. Conversely, if we move the camera independently of the action and simultaneously pan or tilt even a little bit, it's more like the way we typically move through a space and view the world. It's more natural, and the result emphasizes the spatial relationships — such as how far apart two characters are, where a character is in the space, and what's happening in the here and now. Look at the end of this same long shot, where Keira crosses the courtyard and stops to watch her father and mother through the windows. Although the camera briefly holds a nice static composition, the audience is focused on the space between the characters, in part because of the way the Simon moved the camera more naturally in and out of this composition. Now the audience is wondering more about the relationships between the characters, and picking up more clues about the time and place of the story.

How does the shot cut with the scene? Steadicam shots do not stand alone, but must work within the context of the movie and cut well with other shots in the sequence. You don't want your brilliant shot to stand out like the old sore thumb, calling attention to itself. Sometimes fitting in is just good solid technique — no floating horizons and clean stops and starts. If the sequence isn't a single, long Steadicam shot, then you need to know how your shot is going to cut into the sequence. Generally, you need to match the style of the A camera, including the headroom, the leading, the sense of balance, and its energy. As the A camera shoots, watch the monitor at video village, just as you watch the actors for their movements and timing. Get into the A camera operator's groove. Sometimes much more is called for. In the newspaper office sequence in The Pelican Brief, the first shot is operated conventionally, off of a dolly, and the second shot is Steadicam, operated by Ted Churchill. The first shot is a medium telephoto, tracking shot, perfectly operated by Dick Mingalone (frames 1 and 2). It accelerates quickly and tracks laterally with the actors.

The

Set up a shot where a moving actor is periodically blocked from view. You both maintain your speed so that the actor either keeps disappearing and reappearing in the same spot or moves across the frame consistently.

Pelican Brief Side B 0:04:59

0 ^jj^j^ 8

133

The Steadkam" Operator s Handbook The only giveaway that it's a dolly shot is the bouncing background. It would have been a great place to combine the Steadicam with the dolly — they could have used the same long lens, adjusted the boom height along the way, and had stable backgrounds. The head of the shot might have had a smoother start up (it's very fast, just our cup of tea!), and Ted might have been able to end the shot in a different spot to ease out some aspects of the cut. We must be clear here. We are not criticizing the decision to use a dolly. There are a zillion possible production factors we know nothing about; we're only pointing out that a Steadicam on a dolly would have delivered a smoother and potentially better shot. Regardless, Ted's job was to do the second shot in the sequence (this page). In many ways, the end of his shot was the easy part. It has two big stops, two small pushes, and subtle reframes as the characters wait at the elevator (last three frames). There are strong verticals in the frame, so everything has to be exactly level. The starts and stops must be perfectly timed with the actor's movements — and the first start and stop is a really hard and fast move. The audience must not be distracted by spurious movements; they've got to understand every word and gesture. Watch the edges of the frame (as Ted must have done while operating). The lock offs are clean, the movements crisp — it's good, solid operating. The cut from the dolly shot to the Steadicam is a bit more complicated. Although the dolly is slowing way down and the characters are receding in the frame, the first shot is not fully locked when it ends. The editor chose to cut on a look by Denzel Washington. Ted's shot is on a wider lens and it beginstighter,moving and holding the look, but the cut has crossed the line, so the characters and the look are reversed. Frames 2 and 3 are the cut. Here the real skill of a seasoned Steadicam operator comes into play. The technique is flawless, but it's what Ted does with his skills that makes all the difference. Very quickly after the cut, the camera must pan left about 90°. Ted holds off panning as long as he can, giving the audience every possible frame to reorient themselves (frame 4). This decision forces the pan to be faster and potentially more disorienting, but Ted mitigates the problem by religiously holding Denzel and John Lithgow in the same place and size in the frame until the pan slows way down. Only then does he back away a bit and let the characters change place in the frame (frame 5). The shot continues tracking right, nicely modulated with great headroom (frame 6), and slides gently into the locked frames at the elevator. These seemingly small choices are critical for great operating, as they keep the audience focused on the story.

Lock your compositions to the changes in the action

Steadkam'" and filmmaking

Even in a simple, quick shot, altering the composition can enhance the story. Look at one shot from Donnie Brasco, as Johnny Depp takes a short walk and sits down at a bar. Note how Depp's character changes his tactics with Lefty, and the shift in his approach corresponds to the change in his position in the frame. Just before this shot, there's a medium shot of Lefty who says, "Imagine Sonny Black down here. The way he is." Then we cut to the long lens shot, where Donnie makes his move. Frame one, composition one: Donnie on the right third, camera just below eye level. He's too strong and must dissemble before pushing Lefty. Lefty mumbles, "Come on," as Donnie starts his move. (That Donnie crosses left is reading way too much into the scene.) Frame two: Lefty (off camera) "Sonny Black belongs in Brooklyn." Here's Donnie's chance to push the sting operation, but he can't push too hard, and he looks down. The camera is rising slightly as it moves back and Donnie grows and crosses frame. Frame three: Lefty has opened up and it's time to suggest a plan. Donnie gets as far as he can frame left, but we still don't settle on this composition, as it's not all worked out yet. Donnie: "Well, I guess, if everything worked out.... (pause)" Frame four: Donnie sets the hook; he sits down and looks up at Lefty. The camera locks on the new composition, with Donnie centered and in control. Donnie: "We could send a few fazools up there, no?" How we move from composition to composition also affects the story. Sometimes it's better to move the camera minimally, letting the characters rearrange themselves in the frame. Other times, it's best to be aggressive with the framing, overtly panning, tilting, and moving the camera to create a new composition.

Donnie Brasco 0:54:42 Note: We talk about the use of a long lens in this shot on page 191. Pick a short scene with a couple of actors from a movie you like — not necessarily a scene shot with a Steadicam. Try to duplicate the actor's moves, but arrange your movement to alter the composition as the actor's intention changes. 135

TheSledif ani Operator's Handbook

Strong camera moves We generally like a strong camera — one that seems to know where the story is going, deliberate moves that are connected to the story. Neither the reasons nor the moves have to be very big, just appropriate to the moment. If we are watching a movie and the camera moves for reasons we can ascertain, then we have a sense that what is on the screen is what we should be watching. Comprehensible camera moves, along with a good story, good directing, acting, editing, sound, production design, and all the rest, keep the audience interested and involved. A camera that moves unintentionally, when still or moving, can take us out of the objective, omniscient mode into an unintended subjective P O V mode. This confuses the audience and limits future choices. When a camera moves for no apparent reason — either intellectually or emotionally — then we are distrustful, disengaged, lost.

An example Garrett Brown operated Steadicam for the movie Bulworth, where you'll find lots of amazing and strong shots. We happen to like this shot a lot. Bulworth and his pals are descending a big set of stairs, surrounded by reporters. The camera moves just enough to get the job done, insisting that you look at one bit of business or another. The directing and the lighting (by Vittorio Storaro) do much of the work of directing the audience's attention throughout the shot. Frame one is the opening frame. It's locked and unbalanced, forcing the audience to look to the right edge. The lighting on the left side is muted and flat, nothing distracting. In frame two, Bulworth (Warren Beatty) emerges. A l l eyes are on him except the video cameraman's. The camera is backing up but is not panning. Our eyes lock on the well-lit Bulworth. By frame three, the camera is descending the stairs, still not panning. Note again the wonderful light on Bulworth — he's miraculously well lit where all was dull in frame one — and it takes our attention away from the camera's descent.

36

Bulworth 0:41:22

Sleaditam and filmmaking Frame four, the camera finally pans as it is forced to descend past the landing on the stairs. Bulworth is getting bigger and more prominent in frame. In frame five, Bulworth is distracted by a reporter in the background, and his assistant Dennis Murphy (Oliver Piatt) begins to take over the frame for the first time. The story is no longer about Bulworth and the reporters, but about something new and mysterious.

In frame six, the assistant fixes his gaze on something off camera, completely dominating the frame. Bulworth is blocked, and the audience is begging to see what Murphy sees. Frame seven shows Murphy's POV, a sea of reporters at the bottom of the stairs, and it takes a second for the audience to see the one reporter, Mimi, in the middle of the crowd. In frame eight we return on Murphy's look; Bulworth is still not lit or prominent.

§

M Bulworth takes over the story again in frame nine, and the camera pans with him and Murphy as they bump through the crowd of reporters in frame ten. The camera locks off and lets them go.

Again, pick a short scene that you like. Shoot and reshoot the scene to emphasize the story points, improve timing, etc. In addition, have each actor also be the director for a series of takes, each time trying to improve the camerawork to emphasize that director's version of the story.

37

The Steadkam Operator's Handbook rtt

What makes STRONG camera moves? • Moving only when necessary, when the story demands it • Stopping when there is no reason to move • Clear stops and starts • Ending all components of complex moves — spatial and angular — simultaneously • No movement in locked frames • Moving and stopping in sync with the action • Minimal panning back and forth, or tilting up and down • Good horizon control • Holding and/or passing through good compositions

How are some of these goals achieved? Practice, patience, study, desire. The trick is to get good enough with the balancing and the mechanics so that you can move the Steadicam as you want, when you want. Learning to control the Steadicam, anticipating what it will do as it speeds up or slows down, can only be done by practicing. A lot. It's not too difficult to be fairly skillful at moving and controlling the Steadicam. But when an operator is really good and confident, then the operator's attention can shift more and more to the story and how the shot will look and work on the big screen. Being centered and in balance will not only keep the sled still for lock offs, but will help you focus on what is going on in front of the lens and what you should do about it. Work on what links one part of a shot to the next. What's the simplest, cleanest, path? Think in terms of lines and arcs and spirals (an accelerating arc!) that the camera moves along in all three dimensions.

Steadicam' dnd filmmaking What are the story points the shot must convey? Does the shot adequately show them? Does the move emphasize something it shouldn't? If the shot has some huge tilt or big graphic move, go for it. The speed of the move and how fast you speed up or slow down should also be shot driven. A l l too often with novice operators, one speed dominates the shots. Use your feet to get you to the right place at the right time. Although your moves may be in sync with the actor, your speed rarely matches that of the action, as the camera travels on a different path. A camera move might have everything else going for it, but bad compositions can completely undermine the power of camera movement. We are making moving pictures, after all. It's one reason why so many Steadieam shots that go round and round characters or down endless halls seem so unsatisfying; they don't linger on any wonderful compositions to stimulate the audience visually.

What makes WEAK or confusing camera moves? • Excess panning back and forth, as if the camera doesn't know what is going on • Hesitations in stops and starts • Ending complex moves one element at a time, i.e., stopping the pan, and then finishing the tilt or the boom or the spatial translation • Unintended movement, bad horizons • Movement for the sake of movement • Movements that result in no essential change in framing (like watching actors walk and talk as if they were on a treadmill in front of a green screen) • Lack of an idea or a dear modality (inconsistent POV or omniscience) • Poor compositions and bad headroom

Find a Steadieam shot or two that you really don't like. Figure out exactly what it is you don't like and then try to remake the shot (or a small part of it) so that it works. I 139

The Sleadicam Operator s Handbook

Of course, breaking all the "rules" at the right moment is part of the game. Snake Eyes 0:05:16

mm.

Going "Dutch Early in the movie Snake Eyes, Larry McConkey does an extreme roll into a dutch angle and back out again. This unconventional movement uses the graphic elements in the frame to create a visual tension that works well in the scene. Cutting into and out of a dutched shot is pretty easy, but actually rotating the camera during a take calls for a lot of skill.

777

1

^<mm

A motorized stage can help with the basic task of holding the dutch angle, especially if the camera is not too neutrally balanced. Either the operator or the assistant can dial in the side to side offset that will make the camera hang at the proper angle, and a return to normal balance will help keep the camera upright for the rest of the shot. Holding a constant dutch angle without rebalancing is almost impossible, just as holding a constant trim for headroom or any critical tilt requires microadjusting the fore and aft trim. Controlling the start and stop of the roll is critical. Like any angular move, kissing the move off in space for the final framing will help with the precision, as will micro-rehearsing the move until it's perfect. The hardest part of this sort of move is the timing. When and how fast should the camera roll over? In the Snake Eyes sequence, not only are the movement and the timing perfect, but the dutched framing also booms and tilts to emphasize characters and details. It's a great sequence to study. Larry's moves are as deliberate and clean as a cut. Again, how you alter the compositions over time can enhance the story or overwhelm it, amaze the audience, or send them off for popcorn. By the way, if you want to be gentle with the changes, then you must be in perfect balance and let the Steadicam do its magic.

140

Section Five movement techniques

141

The Steddicam*' Operator's Handbook

Would you care to

dance?

•I

Steadicam operating has often been compared to dancing. Learning to work with the Steadicam as if it were your dance partner leads to good operating. Employing some dance techniques to maneuver the camera along its path is much more productive than muscling the rig about as if it were a ball and chain that you must drag from one place to the next.

Operating a Steadicam is very similar to dancing — ballroom dancing.

L

For all you salsa fanatics out there, don't get too excited — hip movement is not conducive to good Steadicam operating. When you watch a master operator dance with his rig, the camera does not tug at the operator; the operator does not force the Steadicam. The Steadicam comes alive and appears to be perfectly executing its part of the dance.

Your primary goal is to do everything in your power to make the camera travel beautifully, smoothly along the predetermined path of the shot — without looking like you are struggling. This can be achieved by many of the same principles we find in dance: balance, tension, space, and timing.

Balance The first step to good operating is finding your comfortable "sweet" spot where the rig hangs, balanced, with the least amount of effort. This is your ideal spot to place the rig, while you stand normally, without strain. The common center of gravity is between you and the rig. Maintain a balance around that center at all times. You must be ready to shift your attention, move in another direction, alter your speed at any moment. It is critical to bring the rig with you — to lead your partner. Don't start forward or backward or turn without first sending the camera in the direction you want to go. Maintain good balance with the Steadicam and you can move the camera in any direction, flawlessly.

Tension The process of balancing the Steadicam inches from your hip (by the long muscles in your back and down your legs) is marked by a kind of tension. In dance, there is a specific pressure that each partner maintains against the other in order to communicate intentions. This is how the man leads the woman through the dance,

However, if the woman fails to push back or resist to a certain degree, the man cannot effectively lead her anywhere. So the Steadicam can be considered the female dance partner, consistently delivering resistance in the form of weight, torque, and inertia. The tension of an operator is a certain insistence to maintain balance while urging the Steadicam to move in a certain way. Without it, the rig would fall away from the operator and probably pull him to the ground. This tension is heightened depending on the shot and the concentration of the operator. At different points during a shot you will feel the need to increase tension. For example, when you make a slow and deliberate move past an object close to the lens, your body will tense as you focus on the object. At other times you might even feel relaxed: walking forward in Missionary with a wide lens. It does follow that the slower the move, the more acutely focused you become, and the apparent tension rises.

Space Dancers create space between them by gently applying pressure against their partner's hand. The more rigorous the movement, the more pressure is applied. The dance partners work to maintain this spatial relationship, regardless of the difficulties or intricacies in the choreographed dance. With a Steadicam, it is critical to maintain this space through balance and control. You must never let the camera get too far away from you, or your "partner" will want to run away wildly. If you bring the rig in too close without shifting your balance, the camera might end up smacking you in the face. If you're thinking, "but I can balance it way out there," just because you can maintain balance is not a good enough reason to do so. Carrying the rig far from your body uses up a lot more energy than close. Too close may inhibit your ability to move well through the shot.

The SleddiunT Operator's Handbook Timing Every frame of a shot calls for a specific camera speed. This speed may change several times during a shot. The operator must adjust his movement to maintain the shot's pace. The speed of the operator doesn't always match that of the camera. Often, in order to maintain a constant camera speed, the operator finds himself rapidly speeding up and slowing down as he maneuvers through the set. The operator must learn to separate his own speed from the camera's speed — and to create a hierarchy where the pace of the shot supersedes that of the operator.

Line dances We call our exercises line dances for a reason: to emphasize the way we should learn to move with a Steadicam. In the workshops we teach, we often ask the students if they are in balance when they are holding the final frame at the end of a line. What often happens is that a new operator will be dancing and holding that tension as he goes along the line, but the dance stops when he stops. Just like in the tango, it is so important to Steadicam dancing to keep the tension and the balance when you stop and hold a locked frame. If you stop dancing, the shot falls apart. Dance until the director says, "Cut!" — and then hold a few more beats, just for fun.

The Steadicam is a perfect dance partner: • The Steadicam wants to keep the tension constant. • The Steadicam wants to go where you lead it. • The Steadicam never changes direction without your permission.

144

Is it possible that becoming a Steadicam operator can improve your success at dancing? This will have to be studied more in depth.

Movement lechniques

Moving through space tracking, stairs, sitting, speed Every Steadicam shot presents its own unique challenges. Many Steadicam moves require specific skills and special setups. Let's explore some techniques that will make your operating easier and more precise.

Tracking shots Steadicam is a great tool for tracking shots. The operator can make small framing corrections without introducing angular changes. This is accomplished by using the reach of the arm — placing the Steadicam in space with the arm hand. The background doesn't race and the audience focuses on the actors in the foreground. The operator can also adjust if the talent gets off the marks. This is difficult with a dolly fixed on a track. For a moving shot where the lens is perpendicular to the action (a sideways tracking shot), arrange the rig so that you can walk forward. Simply turn your hips toward the rig until the post is hanging directly in front of you and the camera lens is pointing to your right or left. Depending on the shot, you may have to walk backward.

Watch your horizons The pendular action of the rig is more apparent in a sideways tracking shot. The roll axis is less inert than the tilt axis. When you start the rig in motion sideways you are much more likely to see roll in your shot. You must work even harder to maintain a level horizon. As you accelerate or decelerate, anticipate the need to prevent unwanted pendular movement. Use your fingers and thumb as preventers. Walking sideways, with your feet stuttering or stumbling along, makes it impossible to move your body — and therefore the Steadicam — well. A slight turn of the hips will make it possible to move your feet continuously, smoothing out your movement.

definition Tracking shot: n., a movie shot made by a camera moving steadily on a track or dolly

The Steadicam"' Operator's Handbook

Top to bottom balance For slow, careful moves, a more bottom heavy rig helps to keep everything more vertical. Whenever the camera movement involves a lot of stopping, starting, or speed changes, as in a walk and talk, consider using a more neutral top to bottom balance.

Accelerating sharply The Steadicam is a great tool for pushing in or pulling out fast. Using the reach of the arm can help get the camera off to a quick start. With the rig farther away from you than is comfortable, pull hard with your arm hand in the direction of travel as you take off with your feet. Be sure to move along with the rig. Do not let it get out in front of you. Remember, your operating hand will need a strong grip to prevent any tilt or roll. Sharp decelerations are also done largely with the arm — the rig ending up far from the operator.

Quick take-off, 1/2 second exposure.

For a successful move, you might make the rig less bottom heavy. This will reduce the pendular action of the sled as you start or stop quickly.

Every change in speed and direction of the Steadicam must be perfectly coordinated to avoid the all too familiar floating horizon. A good operator will anticipate the unwanted pendular responses of a bottom heavy, gimbaled system to any change in inertia and will put in a corrective force just as it is needed. Anticipation of the built-in aberrant behavior of the Steadicam can result in seamless control, while reacting to things as they start to go bad invariably results in a never ending series of little corrections which show up as nervous twitches, a wandering horizon, inexact framing and a decided uneasiness in the audience's psyche. A passenger in a car with a driver who acted this way would likely become anxious and might even question the decision to get in the car. I don't want my cinematic passengers to go through that ordeal. I therefore plan for these bothersome changes and practice each of them until I can make these anticipatory "corrections" invisible. Logically, the fewer of these changes the better. — Larr\f McConkey

146

Working on stairs Going up Balance is the key. When you climb without a Steadicam, you lean into the hill. Now, with the rig on, you and the Steadicam have a common e.g. Let the Steadicam do the leaning. You do the climbing. When you climb stairs, you must make room for your knees, especially if you are shooting to the side. As you approach the stairs, push the rig up and away from you. The good news is that the rig wants to continue on its path up the stairs, and i f you have sent it on its way correctly, it almost pulls you along, making the stairs a lot less effort than imagined. Note that as you keep a watchful eye on the screen, you can see the stairs beyond the edges of the monitor. You can confidently make the first step and also know when you have made it to the top, all without looking away from the monitor. If you keep your head cocked at the right angle, this "look beyond the monitor" technique also works well in Don Juan.

Going down Traveling down a staircase involves the same physics as going up, but it looks a bit scarier. Remember to push the rig away from you and lean back, making space for your knees. The rig will be out over the stairs before you take the first step down. This can be a bit frightening, pushing all that weight out into space, but the extra room allows you to operate in a more controlled manner. The nice thing about a standard staircase with a constant rise is that once you've taken a couple of steps, you can continue endlessly without having to look down. Your brain makes a note of the height of the steps and you feel comfortable. However, there are a lot of steps in the world that are not a consistent height, or maybe there are four steps, a long flat space, then three steps, etc. In cases like these you will have to divert some of your attention to your footwork, counting steps, and getting through the shot without falling.

The Steadier Operdlor s Handbook

What's in the shot? Staircases can be utilized in two ways: to lift the camera along a path like a crane shot or to travel with the actor as he climbs or descends the stairs. To mimic a crane shot, use the boom to smooth out the beginning of the move. As you approach the stairs, start the camera moving up, and then you step onto the stairs keeping the camera on its path. Remember to feather the end of the move, continuing the boom. Don't hit the top of the stairs and then feather off the camera move horizontally. Leave yourself a little boom range to finish the "crane" shot.

Following the actor There's one good thing about following an actor up or down stairs: we see the actor on the stairs before we get there. Any boom or tilt the camera makes seems natural, just following the action. The camera's move on or off the stairs also seems more natural, again, just following the action. This natural move can be enhanced if the camera booms with the actor as he or she gets on the stairs. If the camera remains at a fixed height relative to the operator, it tends to emphasize the connection between the camera and the human carrying it, suggesting a POV. So if your shot is a POV, it's good to lock the camera height relative to the operator (and therefore the floor, stairs, ramps, and the like) and use the tilt for framing (see below).

However, if your shot isn't meant to be a POV, you should boom with the actor as you tilt the camera. For example, when following an actor down some stairs, it's useful to start boomed somewhat high if you can, and then boom down and tilt as the actor starts to go down the stairs (see below). Boom back up and tilt up as the actor leaves the stairs and the camera continues down to the bottom. One drawback to following an actor on stairs is that you are looking at the actor's back (and worse, emphasizing his or her behind i f you are climbing the stairs in a cowboy shot). Cuts are often used in a sequence to avoid looking at an actor's back for long periods of time. If asked to follow an actor up the stairs and you want to place the least emphasis on his or her behind, boom up as high as you can as the actor goes up the stairs.

148

A long post in the arm and raising the socket block on the vest can be a big help. If you can, see if the action can be altered to lead the audience's attention to the actor's face — the actor turns sideways, looks back, backs up the stairs, you get much closer or farther away, we introduce a cut, etc.

Preceding the actor We typically precede actors to show their faces. If we don't want to suggest a POV, we must try to minimize the camera's rise or drop on the stairs before the actor gets there. Work to get the most natural shot of the actor.

Preceding an actor up the stairs: • Start the move with the camera as high as possible. You will start up the stairs before the actor, • Boom down each time you step up, usually for the first two steps. At the same time, gradually tilt the camera down until the angle of the lens matches that of the stairs. • As you and the actor climb the stairs, the boom and tilt remain constant. • When you reach the landing at the top of the stairs, you boom up and tilt up as the actor keeps climbing and reaches the top.

Headroom on stairs If the shot is looking down at the actor, give the actor more headroom than normal. This makes operating a little easier and doesn't require a severe tilt of the Steadicam. Looking up at the actor on the stairs, headroom is best kept very minimal. This increases the difficulty of the shot. If the actor leans forward or back, there is a dramatic change in headroom, and the actor's head may leave the frame. The reason the headroom is naturally tighter looking up and looser looking down might have something to do with our biology; we tend to keep our head as level as possible (probably for balance) and we shift our vertical gaze primarily with our eyes, looking up or down just enough to see what is going on. The result is less headroom looking up, more looking down.

Looking up the stairs with tight headroom: • Get everything else under control so you can concentrate on headroom. • Leave yourself room to move the sled closer and farther from you; operate a bit farther away from yourself than normal (space is the key). • Balance the rig more neutral to make tilting easier, and then watch your horizons!

The Sleadicam*' Operator's Handbook

The Shining

/ made a stairs shot which is my all-time favorite. We are moving ahead of Wendy up three flights of stairs, starting rapidly, and smoothly slowing down until we are just barely moving ahead of her as she comes upon Harry Derwent and his strange doggy companion doing Hie unspeakable! A fabulous shot, despite the fact that we did it thirty-six times — multiplied by three fligh ts equals climbing the Empire State building with camera.

2:09:10

In this shot, Garrett consistently keeps the bannister and the finials in the frame. This adds dimension, speed, and tension to the shot.

Spiral staircases It's a sad fact that i f it's easy to operate on one side going up a spiral staircase, it will be easier to operate on the other side going down. No spiral staircase works best for normal or goofy footed operators in both directions. A spiral staircase that winds to the right is generally easier for a normal operator to ascend as he follows an actor, but murder if he precedes the actor. In The Shining, Garrett had to operate with the camera on the "wrong" (right hand) side as he looked back at Shelley Duvall. He had to tuck the camera very close to his body. A goofy footed operator would have simply been in good old Don Juan. Spiral staircases can also be very narrow and very steep. You rig way out in front of you or to let it trail behind you.

may be forced to put the

High or low mode? Preceding an actor going up stairs in low mode requires almost no tilting down. The actor is not diminished as he ascends, but remains strong in the frame. The shot becomes more about the actor's face than the surroundings. In high mode, the camera must tilt down, which emphasizes the space and the effort it takes to climb the stairs.

I 50

Don't forget about the advantages of low

mode if the rest of the shot can work that way.

Movement techniques

Walk forward or backward? If you use Don Juan to precede an actor on the stairs, you will be walking forward, and you can see the stairs clearly. In Don Juan, you may find that the greater confidence you have to move and not fall will translate into more stable images. Regardless, practice going up and down stairs in Don Juan, both in high and low modes. Some operators like to operate so much in Missionary that they will walk backward on stairs, both going up and down. Although the operator has increased control over the image, he cannot see where he is going. Good spotting is a must when you walk backward on the stairs. It's not a big deal if it only involves one or two steps, but with more steps the operator is increasingly at risk for a nasty fall.

A cautionary tale Check out these frames of an actual fall on the set of Third Watch. Mike O'Shea is preceding the actors down a small set of stairs, and he's going backward, so he can remain in Missionary. His usual grip is not on set. and someone not familiar with Steadicam operating and safety is helping Mike down the stairs. Look at the position of the grip on the stairs relative to Mike, how his hand is not on the vest.

Mike thought there was one more step (a hazard of not using Don Juan) and there was no way for the out-of-position grip to stop the fall. The last frame (right) shows Mike a few minutes later doing the shot again (with a gash in his leg). Note the proper position of the grip on the stairs and the grip's hold on Mike"s vest.

151

The Sleadicam"' Operator's Handbook Escalators I love using escalators when I'm riding them and the subject is not. They are generally easy to get on, and you can walk to increase the camera's speed. They are also wide enough for you and the Steadicam. However, getting on and off a down escalator ahead of your actors is very difficult. The big problem is headroom control. Excess headroom when you are looking up at your actors is more of an issue than when looking down at them. You want to keep headroom tight and, therefore, inconsistencies show up more.

Rounders 0:54:44

You get on the escalator before the actors, so your vertical relationship to them changes just as you need to look down at your feet and the moving stairs. At the same time, the actors also get closer to you. By the time you look back at the monitor, there's a good chance they don't have that precise headroom you and the DP want. To help with this problem, try to be boomed low as you approach the escalator. Boom up to hold headroom as you find your footing, and add tilt when you can look back at the monitor. If any of your actors leans forward — say, to talk to one another — they lean into their headroom, especially if you are boomed up high so you don't look up their noses so much. It's amazing how fast they can go out of frame. If they are on different steps, and you are trying to hold the foreground guy's shoulders above the bottom frame, and the top guy leans in for the line, you are in trouble. Your usual correction, to move back, is not readily available while riding an escalator. When getting off the escalator, reverse the procedure you used to get on. Boom down as you briefly look away, and lose the tilt when you can look at your monitor. Going up an escalator preceding actors is much less difficult. It's less critical to watch when getting on, because a rising stair is easier to deal with than one falling away from you. It's not so ugly to tilt fully down to the same angle of the escalator, so an actor's movements don't affect headroom so much. Even if a subject leans in, there's only a moment of excess headroom. Nobody leaves the frame.

Getting low or high Sitting Some shots call for the camera to go beyond the reach of the arm, either higher or lower. If you need to get the lens low, you might build the rig in low mode. But what if the shot starts with the lens low and then booms to a normal lens height (high mode)?

152

A quick solution might be to kneel down, then stand up during the shot. In a less extreme case you might be able to bend your knees enough to achieve the right lens height. But if

Movement techniques the camera stays at the low angle for a long time, your legs may tire too quickly. There is an easier way: sit on an apple box. You can get a rig in high mode just about as low as it can go by sitting down. You are only limited by the length of the sled. Posture is critical. It is more comfortable to lean back and keep the rig farther away than normal. This will give you extra space to maneuver as you sit and as you get up. If you are going to be sitting for an extended period, shorten the length of your vest. This will ease the pressure on the top of your thighs. (See soft mount page 281) When it is time for the camera to rise and move again, simply "fall up." Lift the rig in an upward and forward motion, and stand up when the sled's weight pulls you over your feet.

Where does the rig go?

Tip: The apple box can be secured to a small, wide dolly if you need to get low Some operators prefer one technique over the other. Try it for yourself and see what for a bit and travel along, As you sit, either float the Steadicam next to you or pull it between your legs.

gives you more control or perhaps is more comfortable. Don't forget to consider the path of the camera, where the rig is coming from and where it must go next. There are times when the path of the camera dictates where you must place the rig as you sit. Determine a clear plan for the rig as you sit. Give yourself enough room to feather the stop and to start up again. Also try positioning the box to facilitate the camera's movement as you sit and lift off to continue the shot.

153

The Steddkdm Qperalor s Handbook

Grip assists If the low angle occurs in the middle of the shot, have a grip slip an apple box under you as you sit. The box can be flown out of the way as you get up. Remember, the camera's path is what's important. Rehearse with the grip so you feel confident about sitting onto the box. Pay attention to the flow of the camera move. As with any stop, plan ahead. Sometimes the timing of the shot makes it difficult to use the momentum of the rig to help you off the box. In this case, have a grip give you a slight lift. He should grab your vest between your shoulder blades and lift straight up. This gives you lift without disturbing your balance.

Standing on something What if you need to get the lens higher for a portion of the shot? Simply step up onto an apple box. A platform can be quickly assembled by the grips for a specific height. They can even fashion steps for you to climb up. Don't limit yourself to standing on an apple box. Be creative. If you are in an office and need to get the camera high, stand on a table and walk along. Simply be aware of how much you and the rig weigh, and verify that the platform will hold. Also, have someone spot you.

One-handed operating There are some instances where you will find it necessary to operate with one hand. When working with a lot of extras, or moving through unrehearsed crowds, you might need to use your arm hand to secure a path for you and the Steadicam. There are also times when you have to open or close a door, or move something that was inadvertently left in the wrong position. When you are standing on a vehicle and operating, it is prudent to hold onto something with your arm hand. You'll find this especially true on boats, cranes, and escalators. Remember to rig something to lean against, in addition to using your arm hand. When operating one-handed, both booming and framing are the responsibility of the operating hand. Although not as precise, it is possible to get through many shots safely with this technique. It's easiest to do at the float point of the arm (there's less boom work). So adjust the lift of the arm to float the rig at the best height for the shot. Practice all the exercises operating onehanded. Yes, all of them. The last place you want to try a new technique is on the set.

Movement techniques Really slow moves When the camera is traveling very slowly, the operator's movements must be insanely precise. It is very difficult to keep the boom height constant and the framing perfect. Walk carefully, slowly shifting your weight from one foot to the next. Keep your steps close to your line of travel to eliminate side to side motion. Foreground objects in the shot will magnify any unwanted movement. Here's a little trick that will help in some situations: As the foreground object, such.as a door frame, comes into view, slow your walking way, way down and use the arm to continue the camera's slow movement. Push the camera past the foreground element, and then use your feet to catch up to the rig. Trim the sled precisely for the shot, and you can use a really light grip, minimizing any movement getting through to the rig. To practice shooting slow moves, there's a really great variation on the line dance called the ray. in some ways it's similar to the range that we use to navigate.

One second exposure of a slow move: Often, operators lay their forearm on the arm's upper section. Most of the time, this j not critical. When making slow, precise moves, however, be sure to lift your forearm off the Steadicam arm. s

Exercise #10: The ray The object of this line dance is to keep the optical axis of the lens precisely on a single line (or ray) in space. There's no shifting, panning, booming, or tilting allowed. We create the ray to follow by having two targets, one substantially behind the other. Often the first target is a small opening, and the far target is a cross on the wall. Set the two targets so that the ray is level and within the range of your arm. Line them up and start dancing. Stop and start as always for a line dance. Go slowly and use a very light operating touch. Urge the Steadicam to behave; don't force it. When you get good at it, zoom in. Make switches. Add boxes. Close your eyes. Low mode. Operate on the other side. If you've conquered all those variations, add this twist: make the ray a rising line. Configure the two targets so the ray rises from your lowest to your highest boom height as you walk the line. Trim the sled to the angle of the ray. Do not angle the tilt head if you have one — it's harder this way, and you are trying to learn something. Then zoom in, make switches, add boxes, close your eyes.

The Steadicdm Operator s Handbook A

Floating the camera one mystery revealed If you're having trouble keeping the sled floating next to you, perhaps it will help to understand why leaning in one direction causes the sled to move in that direction. (Note the series of photos opposite.) It's easier to conceptualize what is happening if the arm links can't boom up or down. Imagine a series of fixed horizontal links connected by vertical pins and bearings and free to rotate. One end is fixed (to your body), and on the other end is a weight. It's analogous to those wooden, segmented snake toys. If the pins are all vertical, the weight will be content to remain wherever it is placed within its range of motion. But if the pins are not vertical, the weight will instantly try to straighten out all the links and "fall" to the lowest point. The greater the tilt angle (the more we lean over), the faster the weight moves.

vertical post

One of the operator's jobs is to keep the pins in the arm vertical, so the weight (the sled) is content to remain in one spot. So why is there only a small "sweet spot" where the sled seems to float? If we are standing correctly, shouldn't the sled be able to float to any point in the arm's range without wanting to fall away? The sweet spot is small for several reasons. One is that there is some necessary slop in all those pins and bearings. Another is the arm bones twist slightly under load — less with some arms like the G-series and more with greater loads. The rod ends of traditional socket blocks also flex as the camera is moved around. When the stresses on all those joints change, the average angle of the pins shifts from vertical. When the pins are not vertical, the weight will move.

Movement techniques

When the operator breaks his posture, leaning toward the Steadicam, it "falls" rapidly away from the operator. Notice that both arm sections boom up at the same time as the links straighten out, so the rig isn't dropping toward the ground. Another big reason for a small sweet spot is that the sled is connected via the vest to our somewhat soft corpus. As we move the sled around, our bodies give a bit, and the vest changes its angle. Consequently, all those pins in the arm go out of vertical, and the sled starts to fall off the sweet spot. The operating trick, therefore, is to constantly adjust and control the angle of one's body — and therefore the vest and the socket block — relative to where the sled is positioned. This skill is only slightly more difficult to learn than riding a bicycle. If we want to lock off a frame, we must stand so the sled floats in the middle of that sweet spot. As we move along, we need to keep the sled in that sweet spot, so that it floats along with us. When we stop, and especially when we stop quickly, it helps to lean back slightly — and briefly — to stop the sled's forward motion. We can also use the sweet spot to help our operating. If we want the camera to start a move or change direction, we can push the Steadicam to the edge of the sweet spot so that it starts to fall or float in the intended direction, and then we start our movement. Imagine being out of form (horrors!) so that the sled wants to fall away to your right. The director, however, wants the camera to go forward and to the left, so you must constantly put energy into the sled and force it to go where you want it to. It's virtually impossible to maintain a constant force, and forcing the Steadicam to behave is generally not productive. It's going to be more work, and the shot certainly won't have that smooth Steadicam quality.

So stand up straight! Lean back slightly, away from the rig, until it just floats in that sweet spot. Fine tune the position with your arm hand.

Relax.

Breathe with your stomach.

What's the shot? 157

TheSleadicam' Operator's Handbook

No second takes by Peter Abraham My tally light is on, so it's my shot. Live. Ninety six degrees, 98% humidity. No second takes. Twenty-three other camera operators, two Supercranes, two blimps, Skycam" soaring overhead — and one billion viewers are watching my shot. A billion. It's the opening ceremonies of the Centennial Olympics in Altanta, and it's unlike any other live show I have ever worked on. The dynamics of live television are the antithesis of feature film work involving a single camera. We never reload and we never go back to one. When shooting a scene with one camera on the Steadicam, the operator has the chance to have enormous emotional input. When doing this kind of large live show with multiple cameras, my role was to blend in. If it was a somber sequence of costumed dancers slowly walking urns with incense smoking in them, I needed to dial in the feeling and speed of my movement accordingly, to react as much as to act. A show of this size is broken dozen into scenes. There zvere overfifteenscenes, with a total of over 250 shots for my camera alone. I kept it straight by Using index cards, with one card per scene. A clear plastic pouch zvas taped to the camera body, and I would slip the scene card to the back of the pile as 1 worked with the rig. The entire show — all 3+ hours — Was counted dozen scene by scene to a click track. Since music is used for almost every scene, this zvas a convenient way of planning out the sequences. (This is common practice with any show using music.) I would plan my shot cards by being given my cues to the music, and then I'd match them to the images I had to deliver. Each of the 12 days of rehearsal commenced during daylight hours in the late afternoon with a review of the previous evening's tapes and shot changes. Live rehearsals zvere done at night. Shots zvere changed right up until show time. There is a tendency on live shows — especially awards shows — to play it very wide and safe. I zvas brought into this shozv partially because the producers knew I tried when possible to avoid that. Some shots demanded it because wide and high showed off the arena, but many of the shots included very slow zooms and longer lenses combined zvith tracking movements.

158

Movement techniques

Rehearse as we might, it is live TV. I've already walked with President Clinton across the track (we didn't stumble!) and completed maybe 200 other shots from my list. But this is a big one. Evander Holyfield steps out onto the track to carry the Olympic Torch and he meets up with the female marathoner from the Greek national team. They start to run, and I go with them. Despite the careful rehearsal, they both stop unexpectedly, and I slam on the brakes. We wait on them (an eternity!), nobody knows what's happening, there's lots of chatter on the headsets, miti then finally, finally they start running around flic track with the torch. There is the zone that operators talk about when they are completely immersed in the moment. All shots deserve that level of focus, but some demand it. This one did, and I was able to slow with them, lock off, and then move on again. Wlien that little red tally light goes on, it could he the third shot or the two hundred forty third shot of the day: the focus and intensity are the same. I wore the Steadicam rig without docking for 2 hours and 15 minutes and never felt it until hours and hours later. A billion viewers can do that to you.

Peter Abraham

159

TlicSldidKdni Operdtor's Hdndhook

Put the rig on the other side goofy foot Goofy foot is operating normally with the sled on the right side. It is the mirror image of what we call "normal" — operating with the sled on the left side. The term is borrowed from surfing (it's a California thing, dudes) for those crazy guys who put their left foot forward on the board. Or is it the right foot? In general, there is no advantage or disadvantage to operating on one side or the other, and (perhaps strangely) it is not more natural to operate goofy footed if you are lefthanded or right-handed. Certain shots and situations are easier if operated on one side or the other, but it's pretty rare that a shot can only be done one way. So why are so few people goofy footed, and more importandy, why should you learn to fly both ways? You should fly the sled the way it feels more natural to you. You should also learn to fly on the opposite side, because once in a great while it's easier to fly the sled on the "wrong" side for a given shot. For instance, running forward with the camera skimming along a wall on your right side is much, much easier if you are operating goofy foot. Why do so many people operate "normally"? In Steadicam's beginning, there was only one arm and one operator, Garrett Brown. He was right handed, and the first (light) Steadicam was operated onehanded. Both the booming and the aiming were done with the right hand. The arm's "elbow" bent only one way, like the elbow in Garrett's right arm. Along came The Shining, and the two-handed technique was born. The arm still came from the right side, so Garrett's left hand began to do the fine work of aiming the camera. It probably didn't bother him too much: his right arm was stronger for the lifting, and as a professional banjo and guitar player, his left hand was pretty agile.

Don't forget to practice operating in Don Juan.

160

Before the advent of arms with double-hinged elbows and quick normal-to-goofy flip over systems, it took a lot of work to go goofy. So most of us who followed Garrett learned (naturally or not) to fly the Steadicam "normally," and we have passed on our knowledge and prejudice to the rest of the world.

Movement lechniqnes

Going goofy So what do you need to do to go goofy? Flip the socket block and change your threads. What was up on the socket block is now down, so the 2.5 turns out on the side to side screws now applies to the other rod end. Be sure the new "bottom" screw is all the way in before you start. Don't be surprised if your goofy foot threads don't exactly match your normal threads — you aren't exactly symmetrical, you don't stand the same way. A l l you need to do now is practice everything all over again, with the left hand doing the lifting and the right hand doing the fine work. Practice, practice. It will come in handy some day.

Operating same side as arm It's hard to operate the sled on the same side as the arm is connected to the vest. Not only are there clearance issues, but no matter how hard one tries, the sled seems to pull away. An old (and erroneous) explanation was that the weight of both the arm and the sled was all on one side, so everything pulled to that side. But if you think about it, that makes no sense. We operate normally with the sled off one hip, and the arm crosses our bodies. We can carry a very light camera or a very heavy one fairly easily, without any change in our threads in the arm, and, by gum, all the weight of the arm and sled is to one side of the socket block. Curious.

In this photo, the arm is folded back on itself so things can pass closer to camera right, but the sled must be held farther from the on? operator's body.

When operating normally, increasing the camera weight a whole lot doesn't seem to affect us much at all. But if we carry even a light camera on the same side as the arm, it is almost impossible to operate. Curious.

So what's really going

If we are operating normally on the left side, then all the vertical pins in the arm are being pulled in that direction — mostly left and a bit forward. Each joint leans toward the sled, and we counteract that condition by adjusting our threads. Almost everyone's side to side threads are out a couple of turns on the top, angling the first joint of the arm out of vertical and, this is important, directly away from the sled. This angling of the joint nearest the body away from the sled compensates for the "slop" in all the joints, and the net effect is that of a perfect system with all the joints perfectly vertical.

The Sleddiunr Operator's Handbook When our threads are adjusted properly, the average lean of all the arm joints is zero, and the sled floats nicely on the left side. When we go goofy and operate with the camera on the right side, all the arm joints lean right. We know how to set our threads with the arm starting on the left side — we start with a leftward lean, again, about two turns out on the upper side to side screw. But look what happens when we are operating normally and the camera moves to the right side. Now all the arm joints lean to the right, and the first joint is still adjusted far to the right. With all the joints angled to the right, it's no surprise that the sled wants to fly off to the right. So, if for some reason you want to operate the camera on the same side as the socket block (and you don't want or need to go goofy), all you have to do is adjust your threads. You'll find that you need to crank in a lot on the top fore and aft threads, as well as go all the way in on the top side to side thread, and out a turn or two on the bottom side to side thread. When you get the threads right, the sled will float as easily on the wrong side as it does on the normal side. Give it try! Expand your operating repertoire! Amaze your fellow operators!

Negotiating tight spaces First of all, what makes the space tight? If it's furniture, set dressing, or an actor, can it be moved? Moved a little? Moved while no one is watching? Sometimes the object that makes it hard for you to maneuver isn't going to show up on screen, and it can be removed or replaced by a grip. Other skills or personnel may be required to move an actor out of the way. What is it about you, the Steadicam, and the space that makes it tight? If you are shooting forward, usually the problem is where the arm meets the vest. If you are shooting to the side, usually the sled length is the limiting factor. You may have balanced the rig inertially in a very expansive configuration, making it impractical for the small space. Understanding where the problem is makes solving the problem a whole lot easier. Often the tightness lasts only for an instant, as, for instance, one goes through a doorway or a gap in a fence. An extreme extension of the rig, or pulling it very close to you, may work for just that moment. Combine this with a slight turn of the hips, and you are through the tight spot. Critical to making this type of move work is to keep the focus on the subject very carefully, so the event of going through the space is minimized. Look at this moment in The Apostle as the camera slips through a gate in the baseball fence.

A big challenge of this shot was to get through the narrow gap in the fence without making a big deal of it and to keep Robert Duvall's drunk and agitated character in the frame — without ending up on his back. It's about the story, not the fence. First three frames (well into the shot): As the camera tracks back to the gap in the fence, we isolate Robert Duvall from Farrah Fawcett, then from the rest of the world. A careful pan left eliminates the fence, and he grows in one spot in the frame. What's he up to? Frame four: I extended my arms and slipped backward through the narrow gap in the fence, giving the camera the most room to move and pan, as I was desperate to get Farrah back in the frame as soon as possible. Frame five is the most awkward moment of the sequence: the camera passes through the fence and that big post jumps into frame. We kept Duvall in one area of the frame to lead the audience's eyes away from the fence post. At the same time, the space is set for Farrah to enter frame right as soon as possible. Frame six. I'm watching the edges and looking off the monitor for Farrah. When is she going to enter the frame? Then Robert makes a surprise move to the left. We don't want to pan left and away from Farrah*s entrance, so I pull back with my arms as much as possible, stretching the frame to the limit. But she's slowing down, delaying her entrance — yikes! — but we just hold them. Frame seven: As the pair comes closer together, we creep in slightly, tentatively, leaving them some space around the edges, and leaving room for the entrance of a third character. Obviously, we could have used different shots and cuts to get through the fence (perhaps even more cleanly), but Robert wanted this shot to be continuous for the sake of the acting. The shot starts earlier and actually continued on until the film ran out (4 minutes every time), but we used a few cut-ins to get the best performances and emphasize the knockout blow with the baseball bat. It's fun to watch the rest of the sequence and note how the camera changes its voice. It starts as a knowing, sympathetic storyteller, but after the baseball bat hit it becomes a shocked and reactionary documentary camera caught in the action. A t the end, the camera shifts again to a knowing but distant, detached observer as the Apostle realizes what he has done.

Micro-rehearse squeezing through the tight spot without disturbing the image. Commit the move to muscle memory. Be very careful as the lens gets near foreground objects. If you are going through a door and you need to angle the gimbal to move the arm out of the way, do it as far as you can ahead of the door. This will minimize the disturbance to the image at the point where it is most noticeable on screen.

The Steadicairt Operator's Handbook

Where to look at the critical moment Maintain the flow of movement through tight spaces, both of the sled and of your body. If you are shooting to the side, and you've shrunk the rig down to fit through a door, don't look from the matte box to the battery and back and forth to see if you have clearance. Concentrate on placing the matte box at a specific, rehearsed distance from the door frame. Trust that if you place it correctly, the battery will also clear the door. This technique will get you through the door much more cleanly, with fewer bumps, scrapes, and blown takes.

Jerry watches the camera magazine clear the doorframe.

How can you and the rig get smaller? It often helps to push the arm across your chest toward the sled. The sled stays in the same place, but the angle the gimbal takes to the arm is changed (perpendicular to your chest). The position is a bit uncomfortable, but the technique pulls the upper arm section out in front of you. This makes you and the Steadicam less wide as you walk forward or backward. Pushing the sled out in front of you has a similar effect. It also helps to place the rig off-center in the door frame i f the shot permits this camera position.

Tip: As soon as you are through the tight space, return the rig and arm to normal operating positions.

Play with the various possible camera positions and watch what happens to the arm as you move around. Do the line dances in some of these constrained conditions, or add a tight squeeze section to a line dance.

Practice, practice, practice. If you are going sideways through the tight space, or operating in Don Juan, pushing the arm across your chest is exactly the wrong technique. Instead, you want to pull the arm in the other direction and flatten the angle of the gimbal to the arm. Everything then skinnies up fore and aft — perfect for side tracking through a narrow space, with your body flat toward the camera, traveling parallel to the lens. 164

Movemenl lethniques

Back mounted vests The extra hardware on the back and sides of back mounted vests make negotiating many tight spaces a lot more difficult. Also, the way the arm attaches to the vest holds the arm in a slightly different relationship to the body than a standard vest. If you have a back mounted vest, it helps to take a good look at what makes your vest both wide and deep, and then you can figure out how to make yourself as thin as possible in different circumstances. Take a look at the operator wearing both front and back mounted vests.

Hard back, back mount vest Socket blocks

Traditional hard front vest

With a traditional back mounted vest, turning your hips has no real slimming effect. As one part disappears, another appears — and the width is the same. The Garrett Brown version of the back mounted vest removes the armature and attaches the socket block to the front in the traditional position. Although the vest is a bit wider on the hips than a traditional front mounted vest, the classic slimming techniques still work.

Hard back, front mount vest

Overhead view of a dual mount version of a back mounted vest. The socket block on a back mounted vest is in a very different position and orientation from the socket block on a traditional vest. The second mount of the dual mount vest returns the arm and socket block close to their ideal position, and, by eliminating the extra armature, reduces the weight and size of the vest.

We know several operators who love the back mounted vest and who also carry a second, front mounted vest in their kits for working in very tight spaces. Otherwise, their old front mounted vests don't get used all that much.

The Sle^riitdm Operator's Harnihook

Limited space between lens and actor Sometimes the space itself is not overly tight, but the need to get the lens far from the actor as he passes or comes abreast of the camera makes things tight. For instance, if you need to back into a corner to let the actor pass by, remember to put the camera into the corner, not your body. This will maximize the distance between the lens and the actor, minimize focus shifts, and slow down the pan. The move will generally have a more pleasant and natural effect on the screen. Another thing to remember, both on sets with moveable walls and on real locations, is that nobody can see what is behind the camera. What might be a close pass by in a narrow hallway can be made much more natural and appealing by backing into an open doorway behind the camera. Your friends the grips can open or close the door as necessary.

The smallest rig possible More drastic measures are called for if you need to squeeze through a long narrow space. One technique is to fold the arm back on itself and operate with the rig in front of you. To avoid hitting the battery with your legs, the sled must be far from your body, and you must really lean back to stay in balance. There is very little room for error here, so it's a good thing to practice at home. I've used this technique several times on moving buses and trains with much success.

Another way to squeeze through The two pictures show the operator getting pretty thin, and there's good control over the framing. But you can squeeze even thinner!! Once I was asked if I could go between the studs in a wall under construction — at a pretty fast pace! The space between the studs was the standard 14.5 inches (37cm). I was shooting forward, so the rig could easily get through the space, but what about the arm and then me?

66

The slip though the stud wall technique depends on the narrowest spot only being a wall and not a long corridor. It's sort of like a high jumper going over the crossbar — not everything has to be thin at one instant, just each part must be thin as it passes though the wall. Operating one-handed, I pushed the sled through the opening, and then twisting, got the arm and then my body through the studs. The action, of course, had to be specifically arranged to be in front of the lens as I went through the studs. It wasn't the prettiest of shots, but it worked, and I was young.

Movement tethniques

Riding through narrow spaces If there is a way to do this sort of shot off of a little dolly, go for it, and fold the arm back on itself (see drawing on the previous page). Using this technique, I survived an entire sequence on a nasty, tight, and very steep stairwell in the movie Sudden Death. The Rickshaw was invented for the movie Two Bits. Robin Beurki was the operator, and the DP wanted him to precede an actor running at high speed through a very narrow alley. Robin concluded that if a grip could pull a two-wheeled contraption through the space, then the Steadicam — in low mode — could follow. What might have been a nightmare became an easy shot for the operator. More importantly, everyone could go a lot faster, and the sequence looked much better. With the Rickshaw, you can be pulled really fast through the tightest space, and all you have to worry about is the framing.

A word of caution:

A narrow Rickshaw is easy to turn over in a high speed turn. If you are going to use it going around comers, slow way, way down or widen the wheelbase.

Tilt head helps to place the camera If you have a tilt head, you can angle your sled and the lens to make it easier to walk down a narrow aisle. If the director wants the lens along the floor in extreme low mode, this may be the only way to get the shot without a dolly. It's a great technique for working in buses, airplanes, and the like, where dollies can't fit.

NFL Films promo Here, the sled was configured as long as possible in low mode, with the tilt head aimed down. The bottom of the camera is parallel to the ground, and the central post leans back, so the lens can get between the legs of the center and see both the ball and the linebacker. The next few seconds were fun. The ball is hiked to the quarterback and he drops back for a pass where he is tackled by the linebacker. The camera has to keep the ball, the quarterback, and the linebacker in frame the whole time, accelerating sharply backward and panning right — very tough to do with a long post held at an angle, and in the mud. 167

The Sleddicam Operator's Handbook

Vertically tight spaces If it's your body and the arm that are hitting things in tight spaces, try using the Buddycam (see page 237). It works especially well if you are in high mode because the grip can duck under the lens if necessary. Another good use of the Buddycam is negotiating vertically tight spaces. Sometimes you can shrink the rig vertically to fit through a tight space — such as through a low doorway or into the backseat of a car — but there's no way for the operator to bend or follow. Again, a couple of grips and the Buddycam may make an impossible shot easy. It's also possible for grips to pass off the Buddycam from one to another, making some really interesting moves.

168

Movement lechnitities

Keep the focus on the story, not on your problem Take a look at the loft shot in In Dreams, and think about how the camera move did not emphasize the low wooden beam as it passed underneath. During the pan left (frame one), the camera booms lower, so the beam in frame two is higher and less blocking. One key to the success of this shot is similar to the shot in The Apostle, keeping the viewer focused on the subject. The camera is driving toward Annette the whole time, her head in one spot in frame. As I passed under the beam, I briefly took my eyes off the monitor and watched the top of the matte box clear the beam. In addition to making the camera follow the right path, I had to do what I normally hate to do — walk with bent knees. We've also seen some young operators go down on their knees and then walk on their knees to be low and stay low! Yikes, that is painful to think about. But it's also easy to squat down onto a little box with skateboard wheels on it, and get pushed around by a grip. Remember, of course, to shorten the vest so that it doesn't dig into your thighs as you sit on the box.

In Dreams 1 : 2 7 : 4 9

Horizontal rigs Another interesting trick is to lay the rig horizontally. Garrett's original "Polecam" was a horizontal rig. Lots of operators have used a horizontal rig in an airplane to fly the camera over the heads of passengers and at a dinner table or similar situation. The trick, of course, is to rebalance the rig so that it hangs horizontal and pray that you don't have to go through a doorway later in the shot.

169

The Steadicdm"" Operator's Handbook Some considerations: There may be a lot of stress on the camera mounting stage. It's best if you use a light camera and possibly add some spreaders and stays (as shown in the pictures). Get a machinist to make your L bracket so it can mount in multiple positions. Try to get the camera's e.g. close to the center post, and find a way to mount your monitor so that it is properly oriented to the camera. A horizontal rig is tough to balance. The gimbal is still set just above the e g of the whole sled, but you can't move the gimbal up and down to set the proper drop time. You've got to move and extend the battery, monitor, or camera to get the right balance for the shot. The sled's inertia is shifted radically. What used to be the pan inertia is now either the tilt or roll inertia (depending on how the camera is oriented), and without modification, it's likely to be too small. Extend the monitor and battery fully, and perhaps add Antlers™ to the base of the rig to increase the inertia. You'll also gain some additional distance (reach) from the camera to the gimbal. Fast starts and stops are very hard to control. The rig is still a pendulum and wants to tilt or roll as you change speed, but there's no good part of the structure to grab and prevent unwanted movement. (The e.g. of this rig is not in the post, but in free air.) Pans are difficult because the inertia is quite large. Fast panning is impossible. Both the camera and the base of the Steadicam will swing in wide arcs. Switches are impossible. Unlike conventional (vertical post) operating, controlling and shifting the point of rotation is extremely difficult — impossible in many situations. Other than ballrooms and sports arenas, most interior locations are designed for vertical human beings to move about, and a long horizontal beast is going to have a difficult time moving and panning through most spaces we encounter.

Movement techniques However, once you overcome these obstacles, there are a lot of fun things you can do with a horizontal rig. You can magically fly over teapots on countertops, or with the camera aimed along the axis of the post, you can poke through windows or openings just larger than the camera. We strongly suggest you practice at home if you know this kind of shot is coming your way.

You can use the on axis orientation for shooting straight up or down, great for spinning shots of cathedral ceilings or vertigo inducing shots over cliffs and balconies.

Keeping your AC moving along with you Another aspect of shooting in tight spaces involves all those other people that move with the Steadicam operator in a normal shot. Your assistant, the boom guy, grips to guide you, electricians holding lights, the director or DP, and the actors and extras — all these people have to find a way through the tight space as well. Indispensable to you is your assistant, and you must help him find a way to get focus. If he can't get near you for that moment, sometimes the solution is to have him focus using a remote monitor. Although an assistant can't normally judge focus very well from the sharpness of the image, he can tell how far away the subject is by its size on the screen. Carefully match an actor's size on the screen to a distance, and a focus puller has a fair chance of keeping things sharp. If the assistant can't get through the tight spot with everything else going on, try using two assistants, one for the part of the shot up to the tight spot, and another with a second wireless transmitter for the rest of the shot. Both transmitters are set to control the lens, and the assistants work out when to switch one off and the other on. Start and stop the camera manually, as turning the transmitters off and on may turn the camera off and on. Again, test the whole scheme ahead of time, as the trick may not work with all focus systems.

The Sleddicdm' Operalor's Handbook

Running with a rig Running with a Steadicam is a lot more difficult than walking with one. It takes a lot more energy and you move more violently. The rig moves more so the vest slips and slides making it hard to operate well. So why run? Sometimes it's still the best way to get the shot. Always consider alternatives to running. One alternative might be to ride on the back of a camera car, four wheeler, western dolly, or some other vehicle. Another is to let the action or actor come to you and run away, and you move only minimally. Do we really need to be locked on the runner's face or his behind? Is that really interesting? Well, sometimes it is, and running is your best choice.

How can you run well with the Steadicam? First and foremost, scout your terrain. Be sure your footing is secure and the path is clear of obstacles. A hidden tree root can snag your foot and take you down before you even know you're falling. We've fallen on wet grass several times. A soft drink, spilled on a set between takes eight and nine, felled a friend of ours; spilled right where he was taking a fast corner.

So scout. Wear the right shoes — cleats will keep you upright on wet grass. And scout again. Falling with a Steadicam is not fun. Even if you survive the fall, there's always the annoyance of broken gear littering the set. Sometimes the gear will fall on you, and that's no fun either. The upside of the gear falling on you is less broken gear. And you get bragging rights for your various scars and lost teeth at the Steadicam Guild meetings.

Movement techniques

Protect yourself If you are going to run, consider wearing hard kneepads and elbow pads (skateboarder's gear). If you fall down really hard on your knees, your career is over. Some operators even wear helmets. Some of us are not that smart. If you find yourself falling, save yourself. Forget about the gear. It's insured, right? Get a light camera if you are going to run. Insist on it. There are so many stories of operators humping 90 pounds of gear around and then running with it. We've done it, but it's a bad idea. You cannot run as fast, as long, or as safely with a heavy camera. It will hurt a lot more when it falls on you. Save as much energy as you can to operate the shot. When you run, even with a light camera, the rig has a lot of momentum and it is harder to change direction or to start or stop. With a heavy camera, you need to telegraph stopping instructions to your feet several hours ahead of time. If the sled gets too far out in front of you, the only way to keep from falling is to speed up. So always run 10 to 20 percent under your maximum speed. A really good fitting vest will also be a great help, as it will slip much less on your body as you run. A lot of older vests (and a lot of the lightweight vests) just won't stick to your body and the quality of your operating goes down rapidly. Although there are many great operators who routinely operate one-handed, we do not recommend running and shooting one-handed. If you are going so fast or wildly that the only way to stay upright is to flail one of your arms around, then the shot is not likely to be operated very well. Try to operate normally, with both hands. If you can't, consider not running and getting the shot another way.

Often when you run fast, the arm bangs against itself, especially where the arm connects to the vest. The unique socket block connection of the G-70 arm, which angles the first joint of the arm to the rear reduces the banging dramatically.

Step by step: running • Scout, scout, scout. • Wear protective gear: kneepads, elbow pads, helmet. • Use a light camera. Ideally an entire running rig. • Stay in control. Don't run so fast you can't stop the rig's momentum. • Operate with both hands. • Run forward, Don Juan if necessary. 173

The Steadicdm Operator's Handbook

Run forward If you have to precede the actor, try running in Don Juan rather than running backward. Some operators are very good at running backward, but sooner or later there's a speed when running forward and seeing where you are going begins to make a lot of sense. Running in Don Juan makes even more sense if you can cock your head slightly (see page 86) so that your peripheral v i sion includes more in front of you. If you have to run even faster, try mounting the camera backward. This keeps the monitor and your vision 100% forward, which is a lot safer. However, there is one little framing oddness to get used to. Normally, if you are losing headroom, you must tilt up to correct the framing. But with the monitor facing away from the subject, you must tilt down. It takes getting used to, so practice this trick at home. Right to left framing corrections remain normal. Some operators in this situation flip the image upside down and look at the bottom of the frame for headroom. Tilting down to increase headroom makes more sense. Try it. It might seem more organic and be easier for you. Check the instructions that came with your monitor to see how to flip the image, and practice working this way at home.

A dedicated running rig With a running rig (smaller and lighter than normal), you have a better chance of keeping up with the actors, you can whip quickly around with the camera, and you can even run up or down spiral staircases if you want to do that sort of thing. Many operators have a designated running rig in their kit. The running rig is either a stripped down, full-sized Steadicam or one of the smaller, lighter, and more compact rigs like the Flyer™. Attached to the sled is an extremely light (usually MOS) camera with special lightweight magazines.

The SL Cine was specifically designed as a small, lightweight 35 mm camera.

51-35 C a M H K SlWOMoooiiw

74

Newer lightweight rigs work much better as running rigs than others. The sleds can be fully featured, so you do not have to give up your focus motor system, motorized stage, artificial horizon, high quality gimbal, or anything else just because you are carrying a lighter load. Also, the Flyer arm performs as least as well as the big arms, and you can use your regular vest. The G-70 and G-50 arms both can carry loads down to 12 pounds, with equal and marvelous performance. With either of these arms, you might not need a lightweight arm.

Movement techniques Stamina A built in rest period is rare for productions; most of the time they want you back to number one as soon as you can get there. The least you should do is have your assistant or a grip hump the sled back to the starting point for you. Dock to a grip or assistant: The grip holds the sled still and the operator bows out and docks normally.

When to run, when to ride When the speed of the run is beyond the safe speed of the operator, it's pretty clear that one needs to ride. But when traveling at "human speeds," the decision to run or ride is not a clear cut choice. One big issue is the stamina of the operator. He might be able to do the shot a few times, but he cannot survive multiple takes without a lot of rest. Another issue is whether or not you can adjust to the situation if the actors or action changes. The ability to instantly change one's position and speed is often more important than anything else. Working with any vehicle requires communication, and most vehicles don't have the flexibility of motion of a human being or Steadicam operator. Little changes in the vehicle's speed can cause the sled to jump off level or lose headroom. Unexpected bumps on the ground may also be a problem. The vehicle rarely moves exactly on the path you want it to, rarely in exactly the right relationship to the action. On the other hand, because you do not have to navigate or move your legs, you can concentrate on framing really, really well. What's the shot? What's most important to tell the story, being inside and close to the action or more controlled and observant? What should the shot feel like? Nobody in the audience cares about your pain or sweat, and you won't care about it tomorrow, either. Get the right shot or at least get the best shot for the movie you can.

175

The Sleddkam' Operator's Handbook Several years ago on the Sopranos, I did a 100 yard, fast walk backward on a golf course with seven or eight actors in 100° heat and 100% humidity. I did it about forty-five times in a row for all the coverage. I really, really wanted to ride a golf cart. We tried to make it work, but there was no way to control the golf cart well enough to get the masters and singles and two shots and overs and all the like, and account for all the variations and blocking, changing speed of the actors, etc. So I got a bit more exercise that day than I expected and lost a little weight.

More considerations Some vehicles make a lot of noise, and that may be a determining factor. Is sound or dialogue important for the shot? More important than your legs? Most vehicles take time to rig. Does production have the time and resources to rig the vehicle shot? Does the shot extend beyond the vehicle section, say, up some stairs and into a house? Can you get on and off the vehicle safely while you maintain the shot? Will you be safe on a vehicle? Can it turn over? Is it really suitable for the terrain? Is there a competent driver who will listen to you and who absolutely will not go faster and closer than you've planned just because some overly enthusiastic director tells him to? Some vehicles have capacities beyond their speed that make them ideal for a shot. They may enable you to get the lens higher or lower (or both, like a crane), or place the lens in some unique position to get the shot. But there may be a better tool than the Steadicam for such a shot as well. There are so many remote heads and unmanned systems out there that can safely get a shot we'd be hard pressed to do. Is there time to rig the remote head?

176

177

The Sleadkanr Operator's Hdndbnok

More on operating focus on the frame Through exercise and experience, moving the Steadicam becomes more and more second nature. But there is much more to operating a shot than getting the camera in the right place and not going off level. Operating a shot is not merely to dance with the Steadicam, but to choreograph a specific dance to a carefully selected piece of music: to tell the story well by managing your movement and timing. As a shot is worked out, a plan develops. Everything gets more and more specific, the problems get solved, and the opportunities for great framing and movement get maximized. Once the shot is "finalized," each take is an opportunity for the actors and the crew to get it right or explore ideas that may improve or enhance the storytelling. There are an astonishing number of things to remember as the take progresses. Ideally, all operators, whether conventional, remote, Steadicam (or any other classifications you can think of!) are in a high state of concentration while filming, always working to maintain precise frames. What is happening? How it is being photographed? How can you adjust to any changes. What happens next? How does "what's next" connect to "what is happening now?"

Operating without a Steadicam With the camera on a tripod, what does a conventional operator do when framing a walk and talk? Here's one example from The Family Stone. The conventional camera was across the street, mounted on a tripod, and somewhat closer to the end mark. The operator's task was to start panning the camera left at some precise moment after both characters enter a clean, well-composed static frame. He was watching the headroom and footroom carefully, as it would become a head to toe shot at the final frame. He also wanted to maintain a consistent space behind the lagging character, and to provide as much lead room as possible on the leading character. Headroom dropped as they grew in frame. At the end, he was told to hold a small, lighted tree on one edge along with the actors. If he could place the tree correctly, the actors would be arranged nicely. As the little tree entered the frame on the left side, he concentrated on the tree, panning and tilting slightly until it landed in the final composition. Then he checked the top and right frame edges, keeping an eye out for the boom dropping in, etc.

I7S

They also did tighter versions, and one of these is all that made the movie. A big decision came when the characters went from full figure (they started head to toe at the beginning) to something less than that. When the ankles started to be cut, the operator increased the headroom ever so slightly. As they grew in size, he concentrated to keep both characters in frame. Eventually, in the tightest sizes (again, not in the movie), the frame could not hold both characters, so there was a very deliberate framing shift to exclude one of them.

The Family Stone 0 : 5 5 : 2 8

Then they went into coverage, singles and overs on each character for the "meat" of the scene. By cutting, they were able to adjust the lighting and the backgrounds for each character's close-up, helping them tell the story and look great and appealing. They were, of course, falling in love, and this is Hollywood.

The operator is thinking about A l l operators must consider: What's in, what's out? Is everything we want to see on screen to tell the story in the shot? And is everything we don't want on screen out of the shot? Usually things go in and out of the shot at the edges, so operators concentrate on the edges of the frame, not the center. Assuming we've predetermined the framing and made mental notes about the edges, we should watch the edges carefully for any deviation from the ideal. Is this the shot with the framing and the timing and the action that we rehearsed? Are the actors doing the same thing at the same speed? A m I holding proper headroom? What changes are there? Outside, this might include the movement of the sun changing the angle of shadows — including your own — or clouds coming or going, or rain, or a thousand other things. What is going to affect this take? What has to change to make it work?

What if it's a Steadicam shot? As a Steadicam operator, one is not relieved of these concerns. Moving the camera is not a substitute for good framing and timing and hitting marks. We simply have more choices to make. The Steadicam operator has control over the angle of the camera, the distance from the action, and the speed of the move. The quality of the camera movement is entirely his responsibility. Imagine operating the above shot with a Steadicam.

179

The Sleariiiam Operator's Handbook

Steadicam operators have more options and must make more decisions As Steadicam operators, we can change our minds as the shot progresses. We can make subtle adjustments in timing, speed, lens height, and lens path, either in response to the actors or to tell the story better. We are constantly asking ourselves, "What if there's a little more space on the right side for the actor's shoulder to be clear? What if I get a bit more ahead of them so I can show a little more of the set? What if the camera lingers a bit longer on the girlfriend's tears? Is the headroom better if I boom up?" If the actor subtly changes the performance, we can alter our plans. Imagine if, as a conventional operator, you've asked the grip to speed up the dolly at a specific point based on the last take, and now the actor changes the pace. Will the grip adjust the dolly or follow the plan? What will you do (pan and tilt) if the grip does one or the other? What's best? The Steadicam operator controls it all; he knows whether or not he will speed up and what the consequences will be. There is seemingly no end to the options that are available to the Steadicam operator. This makes it crucial that we stay in tune with the director, actors, and the story we are all working to tell.

Rarely does everything go exactly according to plan. Sometimes it's not even close. Note: Documentaries and shots without rehearsal pose their own challenge: there is no plan. The operator must watch the action, sense movement and instantly respond. He must also keep an eye on the edges of frame, as he avoids lights, crew, and unwanted bogies.

ISO

Framing lethniqiies

Framing corrections Spatial movement is one of the big tools the Steadicam operator uses to make shots, and it is also our easiest way to make minor framing corrections. We can use our feet and arms to move the camera: booming rather than tilting to maintain proper headroom, extending our arms (and walking or running when necessary) to change the camera's position as the subject begins to slip out of frame. The specific correction we make depends on the problem, and the ability to pre-visualize the consequences of any given move is invaluable. Spatial moves tend to affect the foreground more than the background. Angular moves change the background more. For instance, to correct for headroom on a nearby actor, booming the camera will change the background less than tilting the camera, and booming will be less noticeable on screen.

An illustrated example A typical Steadicam shot is a raking walk and talk of two or more actors. The size of the characters is set by the subject to camera distance and the lens mm. The raking angle keeps the characters either in frame or from getting stacked (blocking one another). Often the character farthest from the lens is set slightly forward to keep him from being blocked (Fig. 1). Everyone walks along, same pace. If the characters begin to speed up and the camera pans to keep them in frame, the separation between them diminishes and they start to stack up (Fig. 2). If the actors slow down, they separate and get flatter to camera. If the camera doesn't back off. they will leave frame (Fig. 3). With the Steadicam. the operator can instantly change speed to keep the raking angle and the frame constant or when the moment is right, change speed and angle to shift perspective and framing. Often the carefully set relationship between the characters changes (intentionally or not), and again, the Steadicam operator has the instantaneous options of changing speed and/or angle to keep the shot going. If things are getting out of hand too quickly, the operator can also change the subject to camera distance.

The Stedditdm' Operator's Handbook

Precise framing techniques When we are operating conventionally on a dolly, crane, or even a tripod, we are reactionary, responding to what enters the frame or to where and when we are pushed or elevated by the grips. As conventional operators, we work very hard to coordinate with the grips and the actors and extras to get the marks and the timing right, so we are less reactionary and more precise in our framing. We do the same things when we operate a Steadicam. Conventional camera operators have developed many tricks and techniques for precise framing, and we can use and adapt these techniques for Steadicam operating. Framing involves placing and aiming the camera in space and, with moving pictures, timing. Typically, after operators have decided on the compositions during rehearsals, they look to the edges of the frame — rather than at the subject. The edges tell them if the camera is aimed correctly, so operators tend to line the edges up with things in the set or a certain distance off an actor's body. All operators memorize various framing clues so they don't overshoot pans or tilts, chop off actor's heads, or shoot off the set. Steadicam operators have some additional tools to help with framing. Our ability to look outside the frame at the real three-dimensional world allows us to view what is about to come in frame, to know how fast the new element is moving, and to see how far we must move or pan the camera. We can feel safer about our relationship to the world; we can move objects out of the way, etc. We can look completely away from the framing to see how our camera is moving toward the final goal and proactively adjust to the situation in both time and space. If you can't rehearse, or you're shooting the rehearsal, working in a documentary situation, etc., then you need to watch the edges and create the compositions as you go along, and this is both challenging and fun. One key to being successful at this type of shooting is not setting the lens wider and stepping back, but carefully watching the subject before the camera rolls. Mick Jagger does not move like Elton John or Bono. Get to know how the actors (or animals, automobiles, etc.) move and actively anticipate what is going to happen. Have a clear sense of what is important for the story. Wide and safe is just that, and often only that. Work harder to make it look better.

Use the trailing edge This technique works for both conventional and Steadicam operating, but it's especially important for Steadicam operators because we can't stop instantly. Physics giveth us an inert object, and physics taketh away our ability to instantly stop or start it. Example: You are panning right across an old barn, and you want your final frame to just include a small wooden mobile visible through a window. If you are watching the right frame line, waiting for the window and mobile to enter frame, you will not have time to react and stop the pan precisely.

The successful technique requires you to examine your final framing and find something that lines up with the left frame line — in this case the upper left comer. Now as you start the move, pan right and tilt down slightly. The roof edge will cross the frame, and you can place it precisely on the left frame line every time, with the exact deceleration you desire. The little mobile on the right will be perfectly framed every time. Looking at the trailing edge is not only good for panning, but as in the example, it's also good for tilting and complex moves.

Pointing the camera A l l humans are well trained in the art of pointing. We knew which clown the teacher was pointing at in class, who was picked for the dodgeball team, what corner we had to go to when we were bad. Now we can use these lessons creatively. We can use short rods or straws on the matte box as aiming tools. These are very useful when the speed of a move — or an actor or a wildebeest crossing the lens — is too fast to watch successfully on the screen. It's also a great trick if the monitor blinks out and you have no picture! We can use other rods coming off the camera or the sled as indicators of lens height or angle. For instance, in low mode and super low mode, it's often difficult to judge how low you can go without the camera bottom hitting an object you are flying over. Fix a horizontal rod to the monitor and line it up with something on the set or tape on the wall, and you can judge the height of the shot accurately. Suppose your subject is partially blocked by a passing train, and when the train clears frame you want to have tight headroom on your subject. You might be able to see his feet under the train and use that to judge the headroom, or look to the train or something else in or out of frame to estimate where headroom will be. If you've had a rehearsal, make a mental mark on the train or some other object in your frame. Look to the top or bottom frame lines for headroom and to either edge for horizontal framing. Steadicam operators also have the ability to "feel" the final frame. Conventional operators climbing and contorting themselves all over a dolly remember their body positions as they go through a shot. As you get more and more experienced as a Steadicam operator, you will get tuned in to how your muscles feel when you are in the right position. You will discover which muscles tell you the most about your balance and position, which muscles to listen to for every shot, as well as for specific shots and moments in a shot. Muscle memory not only involves the sense of your muscles in space, but also the various forces and pressures they must exert on the rig.

When the operator ends the pan with the straw parallel to the wall (and hits his mark), the shot will be framed properly.

We also get very sensitive to the pressures and forces acting on us. We feel these forces in our fingers, through the vest, in our feet, everywhere. As we move toward a rehearsed framing, we not only try to achieve the framing visually, but we try to repeat the feeling of that frame on our bodies. Eventually we begin to catalog the sequence of sensations that lead us to the framing we want. We remember the entire flow of sensations and images, and we use this memory of the whole dance to get the shot.

Tilt and boom To follow an action that moves vertically, we can tilt or boom the camera, or use any combination thereof, just like we can pan and/or track things that move horizontally. Tilting the camera changes the angle of the lens to the subject. This, like panning, introduces a new perspective, sometimes distorting reality. Wide angle lenses exaggerate the effect because as you tilt off level (fore and aft), verticals at the edges of the frame keystone dramatically. Booming, like tracking, takes the audience with the action. When an actor stands up from a chair, the audience stands, too. Here's a very typical example: an actress sits in a chair. Frame one, standing. Note the actress's size in frame, the lens height relative to her eyes, and the framing of the background. Frame two: If the camera only tilts down, the background changes radically and the camera's relationship to the subject changes. This is great if the shot is a standing person's POV, or an objective shot when sitting down puts our heroine in a less powerful position. Note that the actress gets a bit smaller as well with this technique.

\

Frame three: Another framing option is to boom down without tilting. This technique keeps the camera with the subject, and keeps the background nearly the same. It's great for staying connected to the actress. However, if done too perfectly, it has an odd effect: it appears that the actress hasn't moved, and somehow the earth has moved up behind her! Of course this can be great for inducing a bit of unease in the audience. It's your choice. The typical "doesn't call attention to itself method Steadicam operators use to sit someone down is a combination of boom and tilt (frame four). If we boom with the actress and tilt a little, the background changes enough to suggest it hasn't risen up unnaturally, but we don't radically change our relationship to the actress. We might boom less and tilt more for a slightly different effect.

Ffdminq techniques

In most instances, try to use a combination of tilt and boom. Resolving a big tilt down It is difficult to land a level frame at the end of an extreme tilt. Here's one tried and true technique that helps: when the camera is pointing at the ceiling and you must tilt down to find your new subject, watch the bottom of the sled. Point it at your subject. Then let the Steadicam fall out of the tilt. As the rig falls back to level fore and aft, you must work to maintain (or regain) level side to side. Feel the post in your hand and urge it to a vertical position. Watch verticals in your frame. Watch the monitor and the battery as they pass through the subject. Are they vertical? If they are, you will end with the camera level, pointing directly at your subject. One consequence of aiming the post directly at your subject is that the subject will be centered in your frame when you finish the tilt. Practice aiming the post slightly to either side of your subject, so that the final frame has a different, maybe more pleasing composition. Micro-rehearse the tilt until you are consistent with the amount of force needed for the move. Many Steadicam moves are easier to resolve if the final framing is accomplished by moving the camera in space. If you can, end the tilt first and land the final frame with a tiny boom down.

An aside: We suspect that sideways tracking shots seem less like the world is lurching sideways than booming shots feel like the earth is moving up and down. Perhaps we are more used to moving horizontally through the world, and therefore more tuned in to the subtle perspective changes of lateral moves.

185

The Steaclicdm" Operator s Hdndhook

Lock offs Stopping the camera focuses the attention of the audience, "Look at this!" The camera guides the audience. If the camera is always moving, the audience has a harder time determining what is important; it all seems the same. Differences tell the story. Make sure stopped is stopped. The transition from moving to stopped or stopped to moving must be clear and well timed. Does the frame rush at the actor and lock? Or does the camera slide imperceptibly until the frame holds a key in the foreground? If the Steadicam move is indecisive, out of sync with the actor, or simply "breathing" up and down ever so slightly, it is weaker and less interesting. To get the most storytelling bang for your buck, there needs to be a clear difference between the moving camera and the locked frame. Any movement in the locked frame gives away the camera's potential to move, lessening the impact of what's to come. Every locked frame must be precise, including exact elements, at an exact size. There are no adjustments to the frame. The image is still. The audience is not aware of the camera. What's in the frame fills their attention, answers their questions, entices.

Achieving a good locked frame Note: Balance the rig with enough bottom heaviness to trim to the proper angle for the shot. Steadicams with a nearly neutral top to bottom balance are very hard to trim for a shot.

Balance the Steadicam to hold the frame. Trim for headroom. If you have a tilt head, use it to tilt the camera for headroom and keep the post vertical. The less work your hands have to do to frame the shot, the less likely the image will be disturbed. Try to be comfortable, with the sled close to your body. This is dependent on the specific shot and what comes next, not just how close the Steadicam can actually be to the operator.

The operator must be still No matter how sophisticated the equipment, moving the operator's relatively large mass will move the camera. If anything is close to the lens, the movement will show up on screen. Be in perfect balance with the sled, stand up straight, lean back slightly, and be still but relaxed. Tension makes you move, and that gets through to the sled and camera, and eventually to the screen.

You can't force a Steadicam to be still; you must allow it to be still. Let go. Lighten your grip. Relax both hands, so that the least amount of pressure and contact are maintained with the sled. Remember, it's easier to maintain an average force of zero on the sled than, say, an average force of an ounce.

Sii

Breathe like a baby. The term is diaphragmatically, which means with your stomach. This type of breathing will create the smallest possible changes to the vest, and consequently, the smallest possible changes to the sled's position. It's also a relaxed way to breathe — more efficient and less tense.

Once you are locked off, do not change the grip of either hand, and do not move your feet or torso or anything but your stomach to breathe. And finally, like all Steadicam techniques, the operator must have an overwhelming desire to lock off the shot.

Without the desire, a good lock off does not happen. Practice It's always been our philosophy that if we are carrying a Steadicam, we should learn as much as we can for our effort. So while you are sweating (learning a line dance, doing an exercise) move into a locked frame. After holding the frame for a while, move again. Make some of your moves slow, almost imperceptible, and make other moves strong and bold. M i x it up. Try new things. Faster, slower. Choose the moment to move, the quality of the move. Make decisions and execute them, again and again. One big skill for the arm hand is to sense its position in space regardless of how the operator's body is moving — even if the operator is only breathing. To practice, try to lock off a frame with a big foreground object. We like window frames and mullions, so that there are near and far objects in the frame, and any movement of the camera reveals new objects in the background. Watch the frame intently as you try to hold it still, and use the arm hand to further deaden or lock the frame down. If you are in balance and the sled is properly trimmed, the force required to keep the frame still is quite small. Do not try to overwhelm the sled and force it to be still — nothing could be more counterproductive. Just try to gently insist on a position, and gently correct any change of framing. Settle into stillness. Work at this exercise with the Steadicam as close to you as possible, as far from you as possible, in Missionary and Don Juan, shooting to the side, tilting up or down, in every imaginable position and angle of the Steadicam.

Test yourself Each line dance begins and ends with a locked frame for a good reason — to teach you how to stop and start. Record your efforts and play them back. Don't just imagine that you were still enough, prove it. Record your shot, analyze it on the biggest T V screen you own, and be brutally honest about your results. What caused the image to move? After locking the frame, did you move your feet? Change your handgrips? Grip the sled too hard? Were you breathing with your chest? Was your sled in balance for the shot?

The Slcddit iiin Operators Handbook

Whip pans In classic discussions of editing, critics talk about how much more real a scene is when both the man and the lion are in the same frame in at least one shot. A sequence composed entirely of single shots of the man and the lion intercut just doesn't get our juices flowing. Cuts are always subject to jumps in space and time. Whip pans can add energy to a scene, quickly connecting disparate parts yet maintaining a continuity of space and time, both of the action and the camera's relationship to it. The audience is in the middle of the action, and it's more real. Alas, whip pans are tough to do well with the Steadicam, but there are some techniques that will make them easier.

Balancing the sled for a whip pan The centrifugal forces generated by a whip pan are really large, and if you are out of dynamic balance, the rig will try to tilt up or down dramatically. It is very important to carefully dynamically balance the Steadicam so you are not fighting an extra battle to keep the rig upright as it pans.

Your grip for awhip pan You need a big grip to send the rig spinning, and another big grip to stop it. Before the whip pan, adjust to a full but light grip, and then slowly increase your grip around the post. Maximum pressure is reached just before you pan the rig. Spin the rig as level as you can and let it slip through your hand. Your skin is elastic. If you grab the rig hard until it stops panning, the skin in your hand will "wind up" around the post. When the skin unwinds, the sled pans backward, which is pretty ugly on screen. As an experiment, try stopping the rig instantly with a hard grip. The proper technique is to let the rig slip through your grip, and before the end of the pan, increase your grip to brake the rotation. As the rig slows down, you relax your grip. When the rig stops panning, your grip should be as light as possible.

Moving the rig in space as you pan It is nearly impossible to stop a whip pan and nail a precise frame only by panning. Steadicam operators "cheat" by moving the Steadicam in space. The idea is to stop the pan at some point just short of the final framing, and then achieve the final framing by moving the sled spatially. The effect on screen looks like a whip pan on a gear head, but we always have a little move at the end to kiss off the shot.

188

Framing lethniques

There are two basic types of whip pans: whip with a switch or a body pan. You cannot see anything useful on the monitor when you are panning fast. Take your eyes off the screen and look to where the pan will end. If you can, have a line on the floor to help you point the Steadicam to the final framing. Look back at the monitor only as you are doing the final kissing off of the frame. Each technique has its advantages, and which to use really depends on the situation. Whip pans can be done as you walk or run or go around corners as well, so there are many options and ways to make whip pans.

Whip with a switch The whip pan with a switch is often done when one is panning to something and then back, or when the next part of the shot requires you to shift your position from Don Juan to Missionary or vice versa. The whip pan with a switch is also easier if you are aiming the camera to one side and you pan 180° to the other side, rather than from front to back. The Steadicam is moved away from the body during the pan so the battery clears your body and then is dragged back in to the final position as part of the kissing off of the framing. The nice thing about this type of whip pan is the very small back and forth movement of the Steadicam; you can concentrate on nailing the frame.

Whip pans in the middle of shots If the pan is fast enough, it is impossible to tell if a cut is made while the blurred frames are whirring by. Carry the shot to the whip pan and cut. Start the second half of the shot with the whip pan. If the whip ends nicely, continue the shot. If not, repeat the whip until it does land, and then continue the shot.

Note: Practice whip pans long before you get to the set. Always micro-rehearse a whip pan in a shot until you nail it again and again. 189

The Steadkdm Operalor s Handhook 1

Body pan The body pan keeps your relationship to the sled constant, i.e., there is no switch. Generally it is done in Missionary, where you have the most control over the rig. The trick is to keep the Steadicam on the straightest possible path as you pan around, so the camera follows the smallest possible arc. Trying to stop a fast arcing move is hard enough, so don't add that task to your whip pan. Making the straightest possible move may require you to spin with your weight on the foot closest to the Steadicam, but sometimes it means that you will shift your weight from one foot to the other. Much depends on the specific nature of the beginning and end frames, how many degrees you pan, and the type of floor you are standing on. Pick the footwork that works best for you i n each specific situation.

The integral tilt head is a gift to all pans, but particularly to whip pans. If your rig does not have a tilt head, you are limited to making a whip pan with the post vertical and the lens horizontal. Vertical framing must be accomplished via booming with the arm. The tilt head makes it possible to tilt the lens and pan accurately at any speed. Whip pans with long rigs and the lens pointed down are impossible without a tilt head. Panning speed can be increased by adding more force or by shrinking the rig horizontally and reducing the pan inertia. The closer you bring the monitor and battery to the post, the easier it will be to make the rig pan fast, and the easier it will be to stop the whip pan. For instance, if the monitor is / discovered that I can whip pan just brought in half way to the post, it requires about one-quarter the force to start and stop the pan. But be sure you are in as fast as a passing formula one car dynamic balance. at full speed! I surprised the heck out

of the sound guy, who didn't believe I could whip that fast and was standing on my right promising to get out of the way in time.

—Ruben Sluijter

Framing (ethniques

Longer lenses The Steadicam is not just for running around with wideangle lenses. In 35 mm, we typically shoot with 35 to 75 mm lenses, just like our counterparts on the dolly. Some of the most beautiful shots are done with normal to moderate telephoto lenses (50 to 150mm). Steadicam operators use longer lenses for all the same reasons conventional camera operators use them: to make faces look better, to isolate the subject from the background, to reduce spatial clues, etc. Images become more graphic and flat, less naturalistic, more abstract, out of everyday experience. Subject to camera distance increases; things are less intimate or "in your face."

One example On Donnie Brasco, we used long lenses on several close tracking shots in the King's Court sequence. I like one shot of Johnny Depp in particular, done on a 75 mm. In frame one he's not moving and he's close to a matching size to the previous shot of him. As he walks toward camera, we let him grow (even though the camera is backing up) and cross frame and then let him settle into the final, close framing.

Some telephoto lenses need two Steadicams.

Typically, such a moving shot would be done on a wider lens to show the space and Depp's move through it, but Mike Newell (the director) chose to use a long lens. With this lens choice, I think he emphasized the emotional connection between the characDonnie Brasco 0 : 5 4 : 4 2 ters, rather than their exact physical relationship (which is revealed a couple of shots later). We must watch Donnie Brasco's face: he's torn between being deceptive (as an FBI agent setting up a sting) and being an empathetic friend to Lefty. Both the Steadicam and a dolly would have been able to get the shot, so why did we do this shot (and the whole sequence) on the Steadicam? Certainly the shots would have cut, Steadicam to dolly and back. I think there's a more human intimacy in a Steadicam move and less emotional distance than a typical dolly shot, but the acting would get through to the audience regardless of the camera support system. Perhaps Newell wanted a consistency of attitude toward the subject by the camera operator and he liked the way the Steadicam could easily respond to varying performances by the actors. See page 228 for a description of another shot in this sequence.

We talk about altering compositions in this shot on page 135.

191

ThpSlfddkdnr Operator's Handbook Another long lens shot I like is from In Dreams. In spite of the strong objections of my focus puller, Marc Hirshfeld, we did this shot with a 75 mm lens at absolute minimum focus, wide open. He was, of course, spot on with the focus, and the floor was covered with tape marks for my ideal path, distances, actor's marks, everything. Why did we use the Steadicam? Again, there's that human quality to the Steadicam shot, the intimate connection between camera and subject, even on a 75 mm. I also felt that a dolly could not speed up and slow down to keep Clair's (Annette Benning's) face clear of the bottles. A dolly's consistent speed would have emphasized the bottles crossing her face; a cool shot but not right for the moment. At the end of the shot, the camera moves quickly across Robert Downey Jr.'s neck, and then arcs 75 degrees around the couple and locks off as their lips touch. This simply could not have been done on the dolly.

Operating well with a long lens When you start using longer lenses, everything is magnified, including any unwanted camera movement. The longer the lens, the more careful you need to be when balancing the sled for the shot. A motorized stage is a life-saver with longer lenses, almost a necessity. The motorized stage allows you to micro-balance the sled during the shot without moving your hands. You also need to be extremely precise with your balance, footwork, and hand grips. The most minute corrections for imbalance start showing up on the screen very quickly. Keep that "dance tension" under control. Practice all the line dances using extreme telephoto lenses. Practice with the rig both in balance and with the rig out of balance. Note the difference it makes in your operating. Practice balancing. Most operators increase the inertia of their rigs when using longer lenses. Try spreading out the masses of your sled as much as possible. Don't forget to extend the telescoping center post. The idea is to make your sled as resistant to angular change as you can. Consider adding a few extra pounds to the battery and the monitor, or i f you have them, add Antlers" or gyros. The longer the lens, the more help you need. 1

In Dreams 0 : 3 1 : 0 0

Step by step: long lens shot • Balance the sled for the shot, • Operate in perfect form; there's no room for error here. • Increase the sled's inertia: spread the masses and/or add inertia. • Use a stiffening system to eliminate shake. • Micro-balance with the motorized stage.

Longer lenses magnify vibrations. If you've extended any part of your rig, it will vibrate more. Use the stiffening system to pre-tension your sled to reduce vibrations (see page 247). If you don't have such a system built into your sled, create one. Many camera mounting stages are not stiff enough to use heavy telephoto lenses. Run the Vectran™ line to some part of the camera or dovetail plate to pre-tension the stage and reduce its vibrations. Note that you can't adjust the camera mounting stage very much when it is pre-tensioned.

Zoom lenses In the 16mm and video worlds, zoom lenses are commonly used on a Steadicam. For 35 mm film work, normal zoom lenses are too heavy, so generally only short zooms are used. Often these lenses are used at one focal length for the whole shot and therefore don't require a zoom control. Having the ability to change the focal length during the shot opens up whole new worlds of operating. With a zoom control on the gimbal handle, the operator can adjust the focal length for each part of the shot — just as having a remote controlled stage can adjust the sled's balance for each part of the shot. Now an actress's close-up can be in moderate telephoto, even in the middle of a walk through the halls of Congress on a wide lens. The trick is how to hide the focal length changes into the fabric of the shot. Combining movement with the focal length change is a must, especially if the controller you have is essentially a focus or iris (position) control and not a true zoom system. Garrett Brown used a zoom control while working on the live broadcast of La Traviata. In the 23 minute shot in the fourth act, he made hundreds of small zooms. Watch the whole shot; it's amazing on so many levels.

Zoom control To change focal length during the shot, you will need a zoom control attached to the gimbal handle. The simplest of these devices is essentially a duplicate of the built-in control on a video lens. One example of this type of controller was Cinema Product's J-7. The zoom control should be ergonomically positioned on the handle, easy to operate with your thumb, and easy to maintain a constant pressure as you move the sled around. The cable that goes from the controller to the lens should be very flexible, so it doesn't influence the attitude of the rig or your operating, especially at longer focal lengths. Be sure to disconnect the cable to spin balance the rig. A reliable remote focus system and a good assistant quickly become necessary with longer lenses. Marks and good navigation skills become more and more important. The longer the lens, the harder it becomes for the assistant. Be sure to give your assistant both the time and the tools he may need to get everything in focus. Some operators have remote focus and zoom devices married to their gimbal handles so they can operate without an assistant. With practice, you can learn to operate fairly well as a one-man band, especially in the video world. Operating without a focus system and assistant is rare in the film (or HD) world, because focus is so much more critical.

How to practice Go back to the various line dances and zoom in until your errors start to show up dramatically on screen. Then practice at that focal length until the errors disappear. If you are going to work as a one-man band, turn off the autofocus (don't cheat!) and work to keep a subject in focus as you move around. Design exercises and shots that really test your ability to focus and zoom as you operate. Record your sessions and play them back on a big TV.

193

The Steadicam • Operator's Handbook

Pass-bys One of Steadicam's bread and butter shots is the pass-by. The camera is tracking in front of the actress. The actress approaches, and then passes by the camera. The camera pans 180° and continues to track with the actress, now from behind. Done with a Steadicam, the pass-by has a natural look on the screen. We can also change our movements to create different emotional responses to the event. It's easy for us to do, and nearly impossible to do on a dolly. When operating conventionally, the camera has to tilt up radically as the actress approaches, and then spin 180° and tilt back down. The extreme tilt angle of the actress is not a very useful shot and can be distracting to the audience. Let's consider this same shot with a Steadicam. As the actress gets closer, the camera booms up to maintain proper headroom. When the shot is a nice CU of the actress, the Steadicam travels in an arc, maintaining the distance from the actress. Once the actress has passed the camera, the Steadicam arcs back in toward the actress's back. Keeping the distance from the actress identical, the size of the actress in the frame does not change. Now the actress is walking away from the camera and the Steadicam can boom down to maintain headroom.

The idea is to minimize tilt while keeping the actress a specific size in the frame.

« t ^ - c ^

boom up, arc away from the actress (camera pans 90°)

boom down, arc toward the actress (camera pans additional 90/

PfamLng techniques

Alter the timing, change the effect Even if the actress's speed is constant, the actress's passing can be either extended or sped up by the action of the camera. In Fig. 1, the camera tracks with the actress, so the passing is less violent, the panning slower, and the whole thing takes more time.

By countering with the actress (Fig. 2), the action is accelerated as the camera pushes toward the subject, spins around, and watches her shrink into the distance.

195

T h e M k d m Opeiaioi's Hdiulbook

A classic pass-by

IUBH l

—ypi\H

Here's an example (of thousands we could have chosen) of a classic pass-by in the movie Nell. Frame one, looking straight down the hallway: The camera is fairly close to Jodi Foster and Liam Nee'son. Soon they will be walking right where I'm standing. Waiting, waiting. Frame two, using their move to start walking backward: No panning yet, but the camera is booming up to hold headroom. Frame three: they are just about as close as we want them and the camera tracks right as well as backward to get out of the way. The camera is also just beginning to pan left and is still booming up. Frame four, at 90° to the line of their walk: At this point, the camera is also tracking left with them to extend the moment of the pass-by, and we've reached the maximum lens height for the shot. Frame five, still tracking with them but also moving back into the hallway, letting them get away bit by bit: Tracking with them keeps them in profile longer, reduces the time we will be on their backs, and gets us closer to them at the end of the hall and the shot. Soon the camera starts to boom down. Frame six, instead of just Liam's back, we have two nice details to look at: Jodi's tense hand against the wall and the extras on the left side looking our way. The camera is still not fully behind them, but it has pretty much stopped panning, and it is still booming down. Frame seven, the camera is back in the middle of the hallway, slowing rapidly to a stop: The camera has stopped booming down. We haven't panned so far left that we are looking straight down the hall. This raked framing leads the three characters as they go around the comer.

We//1:29:29 96

What you can't get from the still frames is how quickly all this takes place, and how effortless it looks on screen. Watch the D V D ! !

Not enough room for a pass-by? Often you don't have a lot of room to back up and stay away from your subject. If you're squeezed into a corner, be sure the rig is in the corner, not you. Every precious inch you can use to gain distance from the subject will be appreciated by your A C and by the audience.

¿1 \

M

In the Nell shot we dialed down to minimum focus, and I backed myself against the wall behind the camera. Sometimes you can duck back farther into an open door (if it's at the right spot) to gain more distance. You also might try bringing the monitor and the battery in toward the cen¬ terpost to gain a little clearance — you lose some inertia in pan, but that is manageable, and get you the shot. Once in a while, you're forced into a situation where there just isn't any room to make the pass-by. In that case, take a tip from a master, Larry McConkey. In the middle of the amazing 5 minute opening shot for Bonfire of the Vanities, there's a pass-by as Bruce Willis exits the elevator. There was simply no way for the camera to stay focused on Bruce, so they had him turn his back to the camera at the critical moment, throwing the focus momentarily to the girl in the background. Larry tracks camera right as he pans back left to Bruce, creating more distance between camera and subject. As Bruce turns back toward the camera, he's in focus again. Problem solved.

Bonfire of the Vanities Opening Shot

The Sleddkdm ' Operator's Handbook

Telling the story Focusing attention A lock off says "look exactly at this." A moving shot that tracks exactly with a subject can do the same thing. Pinning the subject in one spot in the frame during a pan also focuses the audience's attention. These techniques almost have the same effect as coming to a stop on the subject, as the subject has ceased to move in the frame. As the Steadicam operator, you are able to offer thousands of options to the director and editor. You can provide deliberate cut points by stopping the camera's movement, pinning the subject, etc. On the other hand, you might choose not to modulate your movement or deliberately pin the subject, making it difficult for the editor to cut into the Steadicam shot. You must decide what would be best for the story, for your career. You have the power! Show the director and D P your ideas.

Spatial vs. angular movement When an actor moves, you have many ways to keep him in frame. You can angle the camera or move it in space or any combination of the two. What makes you choose one option over the other? What are the consequences?

Panning vs. tracking Our brains create a three-dimensional image of the nearby real world largely via the difference in perspective between the images from our two eyes. As we move through space, our brains also analyze the different perspectives we get over time. Many animals are without stereoscopic vision and yet have a good sense of three-dimensional space. Robins, for instance, cock their heads to get a different view of the tasty worm. In regular film or video work, we can use this knowledge of sequential perspective changes to make better moving shots. When panning a camera on a tripod, (and, more exactly, on the nodal point of the lens) we reveal new spaces, but from the same perspective. The background changes more than the foreground. If we pan with an actor, we emphasize the actor's movement through a space. If he changes his distance to the lens, his changing size also gives some clues about the space. But when we move the camera even slightly through space, the perspective changes, and the audience sequentially gets more clues about the nature of the space and the camera's relationship to it and everything in it.

Framing lechniques Watch a moving shot and then freeze the frame. Now that you aren't getting sequential changes to the image, how much less sense do you have about the space? Start and stop the shot several times.

The Apostle 0 : 3 1 : 4 8

When tracking along in lock step with an actor, the perspective on the actor does not change. If he is big in the frame, we focus our attention more on him (and perhaps what he is thinking or talking about) rather than on the space. But if he's small in the frame, the spatial clues are more important, and we tend to relate our visceral sense of space to the actor's situation. Either way, a purely lateral move is not natural, so the movement calls attention to itself. In the baseball game sequence in The Apostle, the camera shifts from a typical, omniscient Steadicam shot to a more reactionary or even documentary mode after the baseball bat fells Rodney. Both modes move through space to set up where the characters are in relation to one another. Finally, in the frames illustrated, the camera shifts to a detached, distant observer of Duvall's character. At this point the camera's lateral movement reduces our sense of spatial relationships and focuses the audience's attention toward the Apostle's reaction to what he has done.

Kl/

\

1

The appearing point

A

/

When the camera is moving, we have another opportunity for maximizing the audience's sense of space. If the place the camera is traveling toward (or away from) is in the frame, the audience gets additional visual clues about the space. The world seems to grow from this point (or recede into it). If the lens is angled slightly off this point (i.e., if the camera is not traveling directly toward or away from the direction we are looking), then the appearing point is not coincident with the vanishing point of the lens's perspective, and both the lens's perspective and the appearing point can contribute to our understanding of the space. The more different kinds of perspectives we have sequentially changing, the better our brains create a 3D picture of the world. As the camera continues lo pan off the direction of movement, eventually the appearing point will move off screen. The image will still seem to grow from the off screen point (one side only, however). As the appearing point gets farther and farther off screen, the visual changes are less and less apparent. When tracking purely sideways — with the lens 90" to the direction of movement — the background and the foreground move equally. At this point we completely lose the appearing and disappearing clues, but the moving camera creates new perspectives, giving the audience clues about the nature of the space. Rarely do human beings move exactly toward or away from the subject or at exactly 90° to it. Our eyes rarely pan exactly on the nodal point. As a consequence, moves that are in line with the lens (like a bullet's POV) or perpendicular to it (like tracking along faces against a wall) tend to be more formal and unnatural. Moves that change directions, or moves that are combined with pans, tend to be more natural.

(I 1

TlifSiiMilihim Option Handbook

Manipulating the moving composition Changing the center of rotation When we move and pan the camera at the same time, we can choose to pan the camera with the center of rotation on, ahead of, or behind the nodal point of the lens. If the center of rotation is ahead of the lens, it fixes a point in space for the audience. A classic use of this technique is in cornering. If the lens pivots on a point ahead of you as you turn the corner (usually a point in the direction you are turning), the world revolves on that spot and the space remains organized for the viewer. We typically shift the center of rotation as we change directions — two famous examples of this are Garrett's shots flying through the maze in The Shining and Larry*s Copa Cabana shot in Goodfellas. Moving the center of rotation across the frame — yet within the frame — keeps the space organized and reduces the angular changes. One cool variation on this technique: the center of rotation remains hidden for part of the shot. A typical example in suspenseful scenes: the camera approaches a doorway to a room, panning on a point in the room that is hidden by a wall. As the camera passes the door, the rotation point becomes visible. During the pan, the viewer's eye is searching for this hidden point, anticipating what the camera cannot see. What's around the corner?

V

v .

V

Practice one or more of the circling line dances. Place the target you are going around in radically different parts of the frame. Move the center of rotation to another place in the frame as you continue to move. Move closer to (and farther from) the center of rotation as you track around as well. A nice variation of a circling exercise is the figure eight line dance with two targets. As you move in afigureeight path around two light stands set about 12 to 15 feet apart, change the center of rotation from one light stand to the other. Make this shift at different places in thefigureeight pattern. Reverse directions; add switches and boxes. Again, be sure to move the center of rotation to different positions in your frame as well.

2(K>

You will need a lot of room around the light stands for these exercises, but the key is to becomeflexiblein your framing choices.

Framing lechniques

Exercise #11: Figure eight The object of this line dance is to: • Move on a complicated path and change panning speeds to keep a target in frame. • Change targets while on this path (on the command of others is more fun!). • Place a moving target in a particular spot in the frame. It's also useful to stop and start, make switches or not. add boxes, close your eyes briefly, zoom in, change directions, work in low and long modes, work goofy footed, etc. Get good at this!

We can also choose to place the center of rotation behind the lens. The farther behind the camera the center of rotation is, the more the background changes and the more the camera has to move. Basically, it's flying the camera with the back end aimed at a point. Moving the center of rotation behind the lens makes both the background and the foreground cross the frame faster. We have some interesting movement choices here as well. We can keep the camera on an arc whose center is also the center of rotation, and the result is a constant pan rate. If we move in a straight line or on an arc not centered on our center of rotation, then the speed of the pan will change as the subject moves along. We can use the increasing and decreasing panning speed to shift the audience's attention, emphasize the movement of the subject or the background, etc. The farther behind the lens the rotation point is, the more the shot looks like a 90° sideways tracking shot (i.e., you can't sense the angular change). With a Steadicam, we can easily move the lens in any combination of tracking and panning (and tilting and booming!), and we can easily change our spatial and angular movement as the shot requires. The key thing to remember is that our choice of movement can radically affect how the audience perceives the action. Our movement orients or disorients the audience's sense of the space, directs their attention to a particular part of the frame, or makes the subject or the background move faster or slower across the frame.

TlipSleadium Operator s Handbook

Circling shots When a director asks for a circling shot, my attention level skyrockets. Red flags start waving in my head, and I try to maintain a calm exterior. We've all seen so many bad circling shots, either done with a Steadicam or on tracks with a dolly. The background spins and we spend a lot of time looking at an actor's back. The poor D P has to contend with shadows, flares, and lighting problems, the ADs with clearing the whole world away — it can be a real nightmare. If there are multiple characters in a circling shot, the camera must time the crosses on one actor's back to catch the dialogue or a specific look. Often, a circling camera has both a physical and an emotional momentum that overwhelms the scene. It's worse if the reasons for doing the circling shot are vague or nonexistent, other than to be cool and cover a bunch of dialogue. We've done that, too. Yet there are some good circling shots out there. Garrett's circling shot of Warren Beatty and Halle Berry in Bulworth is one, and his shot of Tom Hanks dancing with the IV in Philadelphia is another. In both cases the camera is not mechanically fixated on the center of rotation, but rather Garrett moves the center of rotation across the frame, changes size, and changes the speed of rotation to shift our focus and keep our interest.

An \n excellent examp In Bulworth, Warren Beatty (Bulworth) dances with Halle Berry in a nightclub. Garrett Brown arcs around the dancing pair, but it's not just a mechanical circling shot. The focus is always on one character or the other, and the camera constantly shifts perspective, distance, and interest as the dance gets more and more intense. Here's one frame; go

202

Framing lechniques Reign Over Me 0 : 3 3 : 2 1 I did a circling shot for Reign Over Me, with Adam Sandler and Don Cheadle working their way down a dark street. I was dubious about doing the shot — all those alarms were going off in my head — yet I tried to have an open mind about it a l l . The two characters are physically and emotionally circling one another, so making the camera circle them wasn't a terrible idea per se. Mike Binder and Russ Alsobrook (the director and the DP) were also determined not to have me circle both characters mechanically, but to pick and choose when to go around, when to lose one, when to find another — again, to direct the audience's attention. Sometimes the speaking character needed to be on screen, sometimes the reaction of the other. It kind of flows — Don is walking down the street and Adam is circling him on a motorized scooter — but does it work? A few things that help: First, the editors added a cut, perhaps joining two takes, and saving a potentially boring, 180° arc from back to front. We also only circled them once counterclockwise and then tracked laterally with Don for awhile before circling clockwise for the end frames. We also felt free to pan right or left radically as we circled, as well as to change sizes, and let Adam drift in and out of frame and to create wiping foreground crosses. It's certainly not a typical circling shot, fixated on centering the subject at one size in the frame. Generally, it has a feeling of connection to the characters, of being in their emotional ebb and flow rather than mechanically hovering around them or being at a remove. The audience is in the middle, in the muddle of it all. It's interesting. Take a look.

it fk *

>' —f

-ft 203

The Sleddicam Operator s Handbook

Manipulating the appearing point We've already suggested that the center of rotation should not necessarily be in the center of the frame. We should also ask where should we place the appearing or disappearing point in the frame. Is there some "proper" compositional place on the screen for it, like the rule of thirds for placing a subject of interest on the horizon line? If the appearing point is coincident with the perspective of the lens (centered in the frame), then the camera is moving directly toward the subject, a very powerful and formal or unnatural move. But if we raise the appearing point above the center (but not to the side), the lens is angled down, and what we are going toward becomes less important than what we pass over on our trip. Placing the appearing point to one side — raking the camera to its movement —- is a more natural way to frame a subject, as is placing the appearing point higher or lower in the frame. Moving the appearing point around the frame (by panning and tilting as we move along, or by changing direction) entices our eyes to move around the frame. Conversely, a big spatial move with the appearing point fixed anywhere in the frame really focuses our attention. How can we use this knowledge to create better or more interesting shots? What is more pleasing or revealing visually? What tells the story better? Example: We track toward a cliff edge with a fixed tilt down. What grabs our attention? Where do we look in the frame?

In the second series of images, the camera ends on the same frame, but we move the appearing point vertically as we tilt the camera and look over the cliff edge.

The first move has a removed, formal quality to it, while the latter has a more immediate feel. We might use the tilt-free move at the end of a movie, when all the action is over, and our heroine is happily watching her birds. And conversely, we might use the tilting move to create a more immediate and involved feel. We might also use a longer (or wider) lens to change the character of the move. For instance, a telephoto version of the fixed tilt move has fewer spatial clues and a more abstract quality. The telephoto version of the move with a tilt still feels "natural," even though the appearing point moves off screen.

Fixed

A l l too often in Steadicam shots, the camera is aimed directly at the appearing point. In walk and talks, this usually means the appearing point is in the center of the frame, hidden behind the bodies of the actors, and not a source of interest in the frame. The framing is also arbitrarily centered (unlike Kubrick's deliberate centered frames), and the result is dull and unmoving (in so many respects!). In general, moving compositions that flow from one well-composed composition to another, with the appearing point not held coincident with the lens perspective, and with the shifts in composition related to changes in the story, tend to make a more interesting shot. We emphasize "tend to make a more interesting shot," as every shot gives us unique opportunities for framing. On set, an analysis of the appearing points and centers of rotation with the director of photography is probably not going to be of much use, but if you find yourself with a boring shot or one that doesn't feel right, try placing the appearing point elsewhere in the frame for awhile. Use the center of rotation of your pans to focus the audience's attention. Does it help?

TheSteadicdm Operator s Handbook

When the moving camera is still It's often said that where and how a moving camera begins and ends any move is crucial for good operating, as is where and how the compositions change during the shot. Also crucial are the moments of stillness, both of the camera and of the composition of a locked off frame. The default choice for camera movement is to start and stop in sync with the subject of interest and to use the subject's movement across the frame as a guide to the camera's movement. Within even this "rule" are a thousand ways to stop and start the camera and to shift the compositions as the camera starts and stops. The single worst thing to do is to not know what you want to do with your framing, so you make no real choices, and the audience is left to wander about, vaguely observing what is going on, and, at best, getting a visceral rush now and then from all the camera movement.

The transition In order to examine how we might intelligently transition from a locked to moving camera and back, it's useful to consider how different fixed frames and compositions are from moving ones. A series of frames that resemble a still life, with no apparent movement of the frame or subjects within the frame, are very special frames, and they work wonderfully well in contrast with more typical shots. Very still shots pull the viewer out of the normal cinematic march of time, inviting the viewer to reflect on some aspect of the world. Often we are asked to wonder about a character's dilemma — as when we cut to a close-up in a dramatic moment. Sometimes a still frame will ask us to contemplate a vast landscape, full of possibilities, but we are not guided by movement toward any particular element.

is 206

Still life paintings and photos are typically a slice of time, and many of them feel even more still because there is nothing in the frame to suggest the next instant would be very different. Compare this to the "stills" of a photographer like Henri Cartier-Bresson, whose compositions are often so fragile that the viewer senses that the next instant would be substantially different and dull. Cartier-Bresson talks about "the decisive moment" when the composition and the meaning of the still photograph come together.

Still life painters and photographers can urge a more leisurely contemplation of an image by a variety of techniques (lighting, perspective, subject, contrast, etc.). As cinematographers, we share many of the same techniques and can use them to guide and inform the viewer. Unlike viewing a still life painting or photograph, however, cinema audiences are urged to examine a still composition quickly, because we have no idea how long we will be allowed to examine the image. Music or other sound effects (especially in surround sound!) may soothe us into a more leisurely look, or force our eyes to dart around the frame. Often the time for contemplation is extremely short, a matter of a few 24ths of a second before the actor makes a clean entrance. One technique painters have that we don't is a multitude of perspectives and times in a single frame. This can be overt like a Picasso, or extremely subtie, where a slight shift of perspective in each part of the painting removes the single vanishing point, giving our eye no central place to rest, and inviting us to look around the otherwise realistic frame. As cinematographers, we can use the element of time to alter the still life. We can let something change our static frame to one full of time — for instance, in the middle of a vast empty landscape we begin to notice some dust and then thousands of buffalo coming over a hill — and we can move the camera or not as the new elements charge across the frame.

What does all this mean for operating? First, it suggests that we not only lock off our frames very well, but that we choose our framing and the elements in it to ease our audience into a contemplative mode or force them to look at a single point in the frame. What's the story? What are we trying to say? Starting a shot from a cut, we use the same techniques of framing and editing to guide the audience as one would cutting from a tripod shot. If we are completely still, then we can choose the instant and quality of movement to begin the camera's journey, and the audience will not miss the connections. On a simply technical level, if we have a bad lock off, then the audience will have a harder time contemplating the whole image — they will notice the changes — and they will have a much harder time noticing when the camera intentionally moved and why it did. A frame that is not held still also suggests that the camera is not objective and omniscient, but is more like a subjective POV. If the movement is unintentional, this confuses the audience.

Moving at a specific moment brings the viewer back into the rush of time, and clues them in to what is important. A gross example: You've got a locked off frame of an empty room. Ten people enter the room from a door on one side, but your camera moves with (and, if you like, toward) the sixth guy. The audience knows whom to watch. If the camera moves when all ten are firmly in frame or before any of them enter the room, it's a different movie, and the audience remains in a more contemplative mode. Continuing this generalized camera move toward one of the men shifts the viewer's attentions more gently from a contemplative mode than moving in sync with a particular person. Coming to a stop at the end of the move, your camera can easily choose to point the audience to look at one part of the composition. Move the camera directly toward or away from what you want them to look at. For instance, position an eyeball in one spot on the frame (and not necessarily the center!). Drive toward it as you go for the locked close-up, and the audience will look at the eyeball. In other terms, place the eyeball on the appearing point. However, if you slide to the same close-up with the appearing point off the face, you invite the audience to look around the whole frame. Timing your stop to one element also emphasizes that element, and again, to do so or not is your choice. If you like, you can also place the point of interest roughly using the rule of thirds and you will have a more classic composition. If we are skilled enough, we can also modulate a still frame — we can shift our position so slowly that it works like a still life with parallel perspectives. The subtle change of perspective can invite contemplation, asking the viewer to reconsider the frame as it drifts on the edges of perception.

Section Seven getting to work

209

TheSleadkam' Operalor's Hdiidbnok

Accessories stuff you need, stuff that's nice to have Throughout the book we have mentioned various widgets to help you expand the capabilities of your Steadicam. Some accessories are absolutely necessary, like a focus motor system or an F-bracket. Others, like a Rickshaw, superpost, or triax adapter, are more optional. What you have in your kit depends a lot on your wallet, on the type of work you do, and the need for backup gear.

Accessories almost everyone should have For practicing: A practice cage and M i n i D V or similar video camera.

ft™

For general operating: Several different length arm posts (if your arm will accommodate). Extra power and video cables. Have at least two of everything. Small spirit levels.

For low mode: F-bracket with an extra post for low high mode, spare dovetail camera mounting plates, handle brackets, and low mode brackets for any camera you typically use or own.

210

Celling lo woik For vehicle mounting: A Mitchell mount adaptor (aka Garfield mount), part of which can be used to mount on vertical speed rail via U-bolts and U-bolts. In Europe get an Elemack adaptor.

For remote viewing: A video transmitter, such as the Modulus 3000 or one of the new Wi-Fi video transmitters. Extra cables for your transmitter system. Lightweight and flexible video cables: 10 to 12 feet long and 3 feet long. Lots of video adaptors, barrels, and the like.

For remote focusing: A reliable wireless system with accurate, strong motors. You should also have lots of backup capability: extra mounting brackets, rods, cables, and adapter gears. The more you have the better.

As HD becomes more prevalent, the accessories you need, such as a hard disc recorder, will change.

Spares and organization: Tools for fixing things and for setting up. Screwdrivers (all flavors), several sets of Allen (hex) wrenches — both English and metric, regular and ball end types, wrenches, pliers. Spare hardened/black oxide machine screws, nuts, bolts, washers, lock washers , etc. in various sizes (1/4-20, 10-32,8-32,6-32,4-40). Spare camera mounting screws, both 3/8-16 and 1/4-20. Spare fuses. industrial 2" wide Velcro™ — both sticky back and sew on. Some 2" webbing for a safety harness. Carabiners, rope, magnifier, Mini Maglites®, brightly colored yarn.

Gators or plastic bags, plastic wrap, and duct tape to protect your gear from inclement weather and special effects. Some hard cases and colorful soft pouches to keep your accessories organized. Label everything!!

211

The Sieattkam Operator s Handbook

Stuff you should seriously consider having For powering the rig: Extra batteries and an extra fast charger or two. How much you need depends on what was originally supplied with your system. More is better!

For viewing the image: A spare L C D monitor and lots of cables. A diversity tuner if you own a Modulus or similar transmitter, with multiple antennae and lots of proper antenna cables. A portable L C D T V for the director.

I1 B

For your own video recording: Custom adaptor (and adaptor in use) to use the PC3 as a VCR on the sled. The PC3 was the first MiniDV camera to have analog video inputs and outputs, making it ideal as an on-board recorder and as a practice camera.

A small M i n i D V camera or deck (or equivalent quality drive, as technology marches onward) so you can review and check your work. Lesser quality decks are not worth it. You want to be able to freeze any frame and see what's there and what's not.

For inertial augmentation: Antlers'" or a similar system, spare weights you can attach to your sled, monitor, battery rods, etc.

If you work in video a lot: A zoom and focus control (like the venerable J-7) that attaches to your gimbal handle. A triax adapter system. A tally light system.

For scouting and designing shots: A small director's finder, smaller than the DP's.

More spares: More tools, including electrical testing and repairing tools, files, sandpaper and emery cloth, drill and bits, calipers, micrometer.

Spare hinge pins and trunions for the arm. Teflon oil,Teflon grease, ACF-50 spray lubricant. (Do not let WD-40 get anywhere near your gear, ever!) A label maker.

And because more stuff always gives you more options and reliability This list could be endless, so we are just putting forward what typical "well-equipped" operators might have. • Preston or similar wireless focus system with spares • Hard cases for all gear • Buddycam bars • Tilt plates (if you don't have an integral tilt head) • Superpost (if you don't have integral superpost) • Motorized stage (if it's an option with your rig) • A set of 3 Kenyon KS-4 gyros, power supply, cables, brackets • Video relay optics and small CCD camera (like Sony XC-77,-75, etc.) • Three (or more) long throat magazines for Arri 35-111, Arri IIC, Arri 435, etc. ' • Rickshaw (with dedicated socket block) • India mount • Wind deflectors with windows for the grips • All black "ninja" clothing — minimizes reflections! • ASteadicam Merlin™ and MiniDV camera (or better) for scouting and designing shots • Spare arm • Spare sled • Traditional vest if you have a back mounted vest — for tight spaces • Handsfree Transporter • Custom ATV or golf cart • Portable steps and ramps • Slavecam • Screening for working on sand • Pop-up, walk-in tent for harsh conditions • Some way of transporting all this stuff and keeping it organized on set Many accessories and widgets are available commercially, but you might enjoy going to your local machine shop and making some of these devices yourself. A small warning: The forces exerted on some of these parts can be really high. 2\3

The Siejdicam ' Operaloi's Handbook

Focus pulling and

the

Steadicam® assistant

All focus systems require a skilled focus puller, and as an operator. Treat your assistants well.

he or she is critical to your success

A good wireless focus system is a key component of great Steadicam operating, and it is generally owned, organized, and maintained by the Steadicam operator as part of the gear. There are many reliable and professional systems to choose from, and more are being introduced each year. Preston, Scorpio, Seitz, and Bartech systems are common. Panavision and Arriflex also make their own focus systems. What you need to own depends on the types of jobs you are doing and the thickness of your wallet.

We encourage you to search the websites of the manufacturers of the various focus motor and controller systems, as well as query operators on the online forums about the latest equipment. Some websites you should visit: Preston Cinema Systems: www.prestoncinema.com Bartech Engineering; www.bartechengineering.com Heden Engineering: www.heden-engineering.com Arriflex: www.arri.com Chrosziel: www.chrosziel.com

Preston motors and receiver on a Steadicam Bartech Focus I Device (BFD)

and M-1 Motor

Seitz transmitter

SLD

2I4

motor

^©fc

Preston motor and

transmitter

Gelling lo work

The focus puller Your assistant's job and reputation rests on your gear functioning well. The assistant also needs adequate time to understand what is going to happen, put marks where he can, deal with your camera, watch your batteries, change your mags and lenses, and figure out how to get in the proper position to judge focus and not be in the shot. Rushing, ignoring, or not supporting your assistant's efforts to help you get the shot will be counterproductive. While scouting and learning a shot, part of your brain should be noting how easy or difficult the shot will be for your assistant. Quite often, the first time you are told about a shot, the assistant is off doing something else. The sooner you get your assistant involved, the smoother things will be for you both. Shots generally fall into two categories: those that are hard for you and those that are hard for the focus puller. You know what is hard for you, but a simple short move for you on a long lens wide open can be hell for your assistants. So listen to their concerns and respect their needs. Why carry it twice because you rushed your assistant? On the other hand, everyone has his own concerns, and an assistant's desire to make it easy for him may run counter to the needs of the story, interesting framing, and good operating. For instance, on a long walk and talk with the lens wide open, the assistant may want you to keep a constant size so that focus won't change. That may work well for focus, but it also might make for a long boring shot. The key to success is to find a way to make it work for everyone, and make sure production knows that what appears to be a rather straightforward shot is going to take some time to get every aspect right.

The seven most common on-off plugs for film and video cameras: Left to right: 10 pin Lemo for Panavision Genesis 3 pin Fischer for Arri 435/535/235, Arricam, and various Moviecams 4 pin Lemo for RED 2 pin hermaphrodite Lemo for Aaton 2 pin Fischer is only for older Moviecams 10 pin hermaphrodite Lemo for Panavision 11 pin Fischer for older Arriflex

Of course you should have two of

Jg; S^tflftSd

of these cables (not shown) is specific for your brand of focus motor amplifier/receiver.

215

The Sledditam Operalor's Handbook

Marks We generally encourage the use of marks by the assistants, both for us and for the actors. Whatever makes our assistants happy and also helps to get the camera and the actors to the right spots is a good thing. We also generally defer to the assistant's judgment about focusing and marks. If he wants a mark, why would we argue? And if we feel we need a mark, we expect the assistants to make them for us. The more the merrier, as long as they don't get into the shot, or — this is the big caveat — if they actually slow up production. Quite often, production confuses the time and effort to get it right the first time with slowing things down. It's much better to not waste the time on a take you or your assistant is not prepared to do. It's important for the operator to say, "We (or I) need a few more moments," rather than "My assistant needs more time."

When marking the Steadicam, a small X directly under the post works well. Do not mark the operator's feet as he can stand in any number of positions and still hit the same mark with the rig.

We're also happy to carry ultrasonic or other focusing aids on the sled. Again, if those few, extra ounces for us make our assistants more confident and happier, we are all for it. In the long run, it will be less work for us. However, we do not like to carry laser pointers on the sled and will fight to keep them off. We're worried about two things — one, that the laser may inadvertently reflect off something and briefly illuminate the scene, and two, that during a discussion or resting or going back to number one, the Steadicam may be tilted so that the laser hits someone in the eyes. This safety concern should override all others. If the focus puller needs marks that can be seen in a later part of the shot, temporary marks can be made with bits of rope or cloth tape and removed as necessary. Tiny dots of tape that blend in with the surroundings can be used to reset the marks.

Always protect your assistant! We think it's important to protect and defend your assistant, both on and off the set. If he is doubtful about focus or some other aspect of the shot, his concerns should be your concerns. Working on a T V show is usually fast and furious, and often what is said on set (and noted in the logs, script notes, etc.) is forgotten by the time the editors have to work with the footage. Many times I've had to remind production that we did a shot with impossibly shallow depth of field knowing that some parts would be soft, and everyone on set signed off on this limitation. We "went for it," and it was not the assistant's fault or lack of skill that some of the footage was soft. This sort of reminder will generally not be well received by production and may get both you and your assistant fired, but I think it is the proper way to live.

216

Here's a behind-the-scenes example from page 192: On the set of In Dreams, my first assistant, Marc Hirshfeld, sensed what I was up to (again!) and he begged me not to

Celling lo work suggest that a shot should be a Steadicam shot. It was part of a dream sequence, where Annette Bening appears behind a shelf of empty cider bottles and slides into the arms of Robert Downey Jr. I wanted to use a long lens wide open at the absolute minimum focus, in a situation difficult to judge the subject to camera distance, and with a 75° arc and pan at the end of the shot. It was an extremely difficult shot for Marc, but lots of fun for me. Marc was saying "dolly" repeatedly to everyone, but a dolly shot just wouldn't have the quality of the move, or the arc at the end, that I thought the scene required. We agreed to go forward because I made it clear to production what the risks were, and we shot a couple of safer takes on a wider lens. Marc was sweating bullets even for those, and everyone understood that going after the 75 mm shot was iffy at best. We had marks all over the floor and — this is a real tribute to a great focus puller — every take was razor sharp. If the shot had been soft in dailies, it would have been my responsibility to remind everyone that we were just going for it, that getting it was iffy, that it is not the assistant's fault. Remember, I pushed for it, we all agreed, etc. I was glad it was sharp so we didn't have to go through that exercise.

The focus equipment One of the biggest things you can do to help your assistant is to have all your focus gear well organized and clearly labeled. I've never encountered an assistant who wanted my gear any less organized. The equipment must work really well. The motors must be fast and accurate. You must own backups of everything, especially cables. So many cables. And extra rods, adaptors, and brackets. It seems like you can never have enough of these things. The motors we use are small D C servomotors — a type of reversible motor that "knows" its position or speed. Attached to the motor is a gear that mates with the lens. The motor is held in place by various specialized brackets, which clamp to one of several sizes of rods. The rods are more or less rigidly attached to the camera body or dovetail plate. The more cameras and lenses one works with, the more gears, brackets, rods, and adaptors one tends to own. Each motor has a feedback sensor, either a potentiometer or a tachometer, or in some cases both. "Digital" motors use encoders to sense motor position and/or speed. A n electrical cable provides power to the motor and the feedback signal to a motor amplifier. The motor amplifier receives signals from a control device. There is usually (but not always) a radio transmitter/receiver link between the control device and the motor amplifier, because it's generally preferable for the Steadicam operator not to be physically connected by wires to the rest of the world.

217

The M i c a m ' Operator's Handbook 1

Each function (focus, iris, and zoom) needs its own motor, amplifier, and controller. In some systems, each motor has its own amplifier/receiver and its own controller/transmitter. In other systems, a single transmitter/receiver link may have three to five possible motor controllers and amplifiers built in. A switch for camera on-off is also part of a typical system. Focus and iris motors are position motors. The function of the motor is to turn to a specific spot as indicated by the controller. Generally these motors turn at the highest possible speed. If the assistant is turning the control knob slower than or equal to this high speed, the lens will follow the movement of the control knob without any apparent delay.

Assistants like strong, fast, and accurate focas motor systems, where the action of turning the control knob is as close as possible to turning the lens. Zoom motors are rate or tachometer motors. These motors incorporate a tachometer on their shafts, so that the amplifier can sense precisely how fast they are turning. The zoom amplifier controls the speed of the zoom, regardless of the changing loads the motor might encounter. Combination tachometer and position motors exist, so that one can smoothly zoom to a preselected mm setting on the lens. In the 35 mm film world, Steadicam operators often use short and light zoom lenses. It is quite common for a focus motor to be attached to the zoom ring on such a lens, so that the focal length can be tweaked during the shot. This not-so-smooth-as-silk zoom is often hidden in a pan or other move. Focus motor systems that are slow or inaccurate will make your life miserable. Many focus pullers refuse to work with certain (generally older) systems, because they do not want their work compromised. However, many older systems can be made to work extremely well. Getting the assistant to believe it is another matter. Older systems tended to use 1/2" diameter rods and very light brackets to hold the motor to the lens. In addition to turning the lens, the motor would distort the support system. Turning the motor in the opposite direction flexed the system the opposite way, causing the inaccuracies. Inaccuracy can also be caused by the mechanical backlash between the primary driving gear and the idler gear contacting the lens. Beefing up or changing the motor mounting system to eliminate mechanical flexing may make an older system work just fine. Sending the electronics back to the factory for servicing and upgrades may also improve an older system's response. This knowledge can make it less expensive to buy a focus system or to have a less expensive backup focus system that works.

218

Surprisingly, a lot of the inaccuracy in older focus systems is not an electronic problem, but a mechanical one. Setting up a focus motor Attach the bracket to the motor and try to find a good position for the motor to engage the lens. If there is going to be more than one motor, make sure all motors can reach their respective lens rings without interfering with one another. This is often a challenge. Also remember to position the motors so they leave sufficient clearance in low mode. The shape of the motor and the design of its brackets may make it easier or harder for the motor to engage the lens. Once the motor is roughly positioned, determine if it is possible to use some standard system for mounting the rods to the camera or dovetail plate. Often one motor is mounted from a rod below the lens, and the other is mounted on a rod to one side or above the lens (as part of the low mode bracketry). Sometimes the matte box rods make good supports for the focus motors, but often the rods can twist, as they were not designed to hold a focus motor. There are many specialized brackets available for specific cameras.

Electronic setup How you set up the range for the motor depends on the system you are using. Some systems have an automatic setup procedure: you engage the lens, hit a button, and voila, the lens rotates back and forth and the system discovers the end points. Other systems are manual, and you set the motor to the middle of its travel, and engage the gears in the middle of the travel of the lens ring. By rotating some pots on the amplifier and throwing a switch or two, the end points are set.

Stiff lenses

The Preston system (above) is widely used among Steadicam operators because of its accuracy and ease of use.

The assistant should pick lenses at the rental house that focus smoothly and easily. If over-tightened, certain clip-on matte boxes may distort the lens barrel, making it hard for any motor to turn the lens. In cold conditions, all lenses will be stiffen and sometimes the lens needs to be warmed under a hot light between takes so that it will turn. Be careful the light doesn't melt anything. If, despite your efforts, the lens remains difficult to turn, two focus motors can be doubled up, or "piggy-backed," to provide adequate power to turn almost any lens.

TiieSleadkaiii Operator's Handbook Once the motor range is set, turn the lens back and forth as fast as the motors can go. Does the lens turn? Do the gears stay meshed or jump teeth? If they jump, you've got to recalibrate the motor to the lens, and figure out some way to beef up the mounting system. Try to determine where the flexing comes from, as just tightening down a clamp may be useless. Don't be shy with tape, rubber bands, wires, wedges, etc. to keep the motor to the lens, but don't stress the lens mount with your efforts. Does the lens overshoot its end marks? Does it bump the end of the range? If it does, adjust the motor's range. With a manual system, we often set the end marks just short of infinity and the minimum focus. Most importantly, are the marks accurate coming from either direction of travel? If not, is there anything you can do to improve the situation? For specific shots, you may want to set the motor's range less than the full range of travel. This is very typical for T-stop changes, where setting the entire range of the control knob to the specific stops you want makes it easier and more accurate to make the pull.

Video lenses Video lenses pose some unique mechanical problems. Because the focus ring is generally very far from the camera body, the lens may not be held very rigidly to the camera body, and the body is often not so rigidly held to the dovetail plates. These are all opportunities for a lot of mechanical flex and focus inaccuracy. Some manufacturers (Heden, for one) made brackets for their motors that attached directly to the video lens, so the mechanical slop was eliminated and the system accuracy was very high.

A very simplified explanation of gears and gear pitch Gears come in a variety of types, diameters, widths, and pitches (aka diametrical pitch). Gear pitch refers to the tooth size (there are many other parameters that describe the tooth shape). In the English system, the size is expressed as a ratio: a 48 pitch gear has 48 teeth on a 1 inch "pitch diameter" circle, and a 32 pitch gear has 32 teeth. A larger or smaller diameter gear of the same pitch would have a different number of teeth. Any two gears with the same pitch (and type and tooth shape) will mate with each other. English size gear pitches we use for lens control are 32, 48, and 64. The type of gear we use is called a spur gear, which is the simplest and most common type of gear. The teeth in a spur gear are cut parallel to the axis of rotation. Metric gear pitches are, of course, based on metric measurements, and the main gears we use are .5, .6, and .8 or "Module"' .5, .6, and .8. Module .8 gears equal 31.750 pitch diameter, and they mesh fairly well with 32 pitch gears with the kinds of loads, speeds, and duty cycles we use to focus lenses. If you must know, metric gears are measured differently, with dimensions in millimeters describing the length of the pitch diameter per tooth, rather than as a ratio.

Getting to work Most modern film lenses use the 32 pitch or Module .8 size spur gears for focus, and many have adopted this standard for iris and zoom as well. Even some video lenses now use this standard. For iris control, Panavision standardized on 64 pitch, while some Zeiss lenses use 48 pitch. Video lens manufacturers typically use either .5 or .6 gears for all three functions. Often we just call these two gear pitches "Canon" and "Fuji."

Adaptor gears Most focus systems have some sort of adaptors to change the lens pitch from the standard 32 pitch to one of the other pitches, and the operator should have a full complement of adaptors in his kit. Adaptors with different face widths are good to have. A 1 inch wide face might be useful for a lens with a focus ring that moves along the axis of the lens as it turns. A narrow face on an adaptor might make it easier to fit the motor to the lens. Different diameters of adaptors can help with reaching into the lens body or with clearance issues between rings on a single lens. One example: the Panavision Primo series of lenses has the iris ring very close to the focus ring. The original 64 pitch adaptor gears we all owned were made for the older series of lenses, with the two rings farther apart. With the new lenses, the standard driving gear and the old iris gear interfered with the lens's focus ring, so we all went out and bought new, larger diameter adaptor gears.

Some motors (like the black Heden motor in the photo at left) use idler gears to reach the lens gear. The size of the idler gear does not change how fast the lens turns.

Different diameters of adaptor gears also make the lens ring turn at a different speed (with, of course, an inverse of the power and precision available). A big diameter 32 pitch gear could be used when a large snap focus is needed, if the motor is still powerful enough to turn the lens. A smaller diameter gear makes for a more powerful and precise system. There are plenty of very vocal advocates and critics of every focus system out there. When you are thinking of buying a system, listen carefully to what your friends and assistants say. Ask them why they like or dislike one brand. Their reasons may or may not be important to you or important enough to spend the money to invest in the most expensive systems. Regardless of the system you purchase, have backups, especially cables. You should have at least two cables per motor and two on-off cables per film camera you are likely to encounter. At $150 to $250 or more for some cables, it's a big investment.

e

3V

/

The SLD motor on the left has a custom-made large adaptor gear which drives the focus ring twice as fast for snap focus shots. The downside of the scheme is that the motor is half as accurate and has half the power of the motor on the right.

The Sleadicain*" Operator's Handbook

Preparing for a shoot you and your equipment Before you get there You need to arrive on the set as prepared as possible. If you have been hired for an entire show, you will probably be given prep days to organize and test your equipment and settle in on the camera truck. However, much Steadicam work is day playing, and you need to gather a lot of information quickly to prepare yourself for the job. If you forget some critical piece of equipment, there may not be time to find it, and they may be forced to find an alternative to the Steadicam shot. This is not okay! Take the time to find out details about the equipment, location, and script.

Technical stuff What type of camera will you be using? Will it be exclusively yours, or are you sharing the A-camera? Will the camera be prepped at a rental house? If so, take your rig and set it up with the camera. This can be really useful in terms of organizing the cables you need and making preliminary marks for balancing. Make sure you can get a picture on your monitor from the camera's video tap. Take the time to set up the rig in high and low mode. Does the rental house have a low mode bracket or do you need to supply one? Test your follow focus gears and position the motors to work for both high and low mode. Mark everything for ease of setup and speed when changing to low mode. W i l l you bring your own assistant or use one from the production? If it is someone you don't know, get a name and phone number. Be sure to speak to the assistant before you go to work. Find out his experience. Ask detailed questions about the camera, cables, working conditions, etc. Does he know how to use your follow focus?

A Heden motor on the Flyer. With the Flyer the mattebox rods are typically used to mount the motors. You may have to do something special to keep the rods from rotating. 222

If you won't have a chance to see the assistant before the day, make sure all your gear is clearly labeled and sensibly arranged in the cases. (This is a good idea anyway.) That way it will be simple for anyone to help you get set up and to find the stuff you need.

If you are bringing your own assistant, great! Make sure he is up to speed on all the information you have gathered. Practice with your assistant to be efficient in changing set-ups, etc. It helps if your assistant can put together your rig and do the initial balancing for you. If your shot is first up, the director or D P may call you off to talk about the shot before you get your rig built. If you are working with someone new, make sure you give yourself enough time to get set up before production may need you.

A question not asked: Mid 1990s: I'm hired for a job on the west coast. The camera is a Moviecam Compact, which was fairly new at the time. I'd used it many times on the east coast, and felt confident that all was okay. I did not have a proper conversation with the AC about the camera. On the east coast, the camera is rented with a low mode bracket. On the west coast, operators owned their own low mode brackets. I show up on set, the shot is low mode, and it's Saturday night. We scramble, eventually find an operator who will lend us his bracket, and we barely get the shot. Don't assume anything. Talk. A lot of up-to-the-minute technical information and concerns are discussed on the Steadicam Forum (www.steadicamforum.com). Read the posts and discover what other operators are interested in, what their problems and solutions are. Ask questions on the forum when you have enough lead time.

Physical conditions When day playing, you are usually called in for a specific reason. Sometimes it is a Steadicam shot that has already been conceived by the director. Other times you are the only solution to a logistical problem: "This rickety old bridge won't support the weight of the crane. Let's get a Steadicam for tomorrow." Gather as much information as you can so you can arrive prepared. Ask questions about the project, and specifically the piece you are shooting. Where does it take place? Is it a practical location or a sound stage? Are you on an aircraft carrier or shooting from one dinghy to another? Is it a day or night shoot? Will weather be a factor? Do you need special shoes? W i l l you be mounting to a vehicle? Will you need your safety harness? Are you going to be shooting around sand or water? Will there be any special fx or pyrotechnics? You want to protect yourself and your gear!

Take care of your feet Wear the right shoes, and change your socks and shoes at least once during the day. Really. You take off the vest as much as possible to give your torso and back muscles a break; at least give your feet a break at lunch as well. Many in the crew also will appreciate you changing your shirt midday. What shoes to wear? At a minimum, get two pairs of the best cross-trainers you can find. Damn the expense; your feet are carrying your career, and two pairs of shoes that you rotate will last more than twice as long as buying one pair, then another when the first wears out. Have yet another pair of shoes for getting to work, while you wait around, and for going home. Some operator's feet are naturally warmer than others or sweat more. Your choice of shoe depends on your feet and the environments you will be working in. I happen to like New Balance shoes because they fit my feet, but you need to find the best shoes for your feet. Generally you want black shoes, or dull colored ones that do not call attention to themselves. Many operators we know like the Merrill® brand — they make a variety of sporting shoes, from very light weight and airy cross-trainers to really warm and waterproof boots. Some operators also swear by various insoles, air pumps, and foot massage oils. You can never massage your feet enough! Some other not so wellknown brands to check out: Shoes for Crews®, Mephisto, and Salomon. Also check out shoes for different conditions, like golf shoes with hard, sharp spikes for ice and soccer shoes with big cleats for mud and wet grass.

Performance Get a copy of the script or have production email the scene you will be shooting or the sides for the day. Read them. Know the actors and who plays what part. Is it a comedy or a drama? A Steadicam operator should arrive on the set prepared to help tell the story, not just to look cool flying the camera around for the day.

If necessary, make repairs to your gear away from jhe set.

Getting to work

On the day When is the first Steadicam shot? If you are first up, then get cracking. No time to lose. Assemble the camera with follow focus and transmitter. Static and dynamic balance the sled. Organize your gear: tools, arm posts, low mode accessories and batteries should all be accessible. If you are not scheduled until later in the day, but you have your own camera, set everything up and test it right away. Don't make a spectacle of yourself. Quietly, efficiently set up your rig next to the camera truck, out of people's way. The A-camera may be needed right away, so other people will be working in the same space. Once you are good to go, you can relax, have breakfast, chat with the extras, etc. If you are sharing the A-camera, arrange with the first assistant to get you a few minutes with the camera either before call or at lunch if you aren't working until the afternoon. Set up your rig, balance with the camera, mark everything. This way, when it is your turn, you won't be starting from scratch. If you can only have the camera for a moment, mark the camera's e.g. This will aid you in placing the camera later. You can also make a plan regarding how you are going to attach focus motors, and have everything set out and ready. Make sure the camera assistants set up your battery chargers, and understand how to operate them. We've had the misfortune of finding batteries set to revitalize or discharge in the middle of a long day of work. Always immediately test your monitor, focus motors, and wireless transmitter/receiver. The sooner you know you have a problem, the sooner it can be solved.

What's the shot? If you don't already know from your exhaustive prep the day before, find out what shots you are going to be doing today. If the director or D P isn't available, the assistant director can be helpful with this kind of information. Will you need anything from other departments to get the shot done with proficiency and ease? Maybe you need something built by the grips. If there is to be a vehicle mount, get it started. Be specific when talking to the grips about how and where the Steadicam will be mounted. Make sure you have worked out the shot with the director or DP before you have the grips rig something. You won't want to ask them to do it over again. You will need a clear understanding of the shot, specifically lens height, to get the vehicle rigged properly.

Some operators get their gear all organized, built. and ready to go before call, j 225

The Sleddkdin • Operator's Hdndhook

Communication on the set There are all sorts of people and departments you need to interact with on the set. As soon as you can, introduce yourself to the entire camera crew: to the ADs; key grip, dolly grip, the rest of the grips; sound mixer and boom operator; script supervisor; camera car or vehicle driver; on set dressers and greens persons; gaffer and electricians; on set painter; and the driver of the camera truck. Wardrobe may lend you special clothing; make-up and hair may want you to pay particular attention to an actor's skin or hair. The special effects people should certainly be talked to if there are any stunts or explosions planned for the day. The list goes on and on and varies by production. Get the call sheet for the day, read the names of all those you'd like to talk to, and try to memorize as many names as you can. The key thing is to fit in so you can do your job efficiently, and treat everyone as you would like to be treated. If you need something from a department, such as flags from the grips or a headset from the sound department, ask for it early. Be patient. At the beginning of the day there are often a lot of organizational problems to be solved, and you may not get to talk to everyone exactly when you'd like to. Limit your demands for gear only to those items that impact your safety, such as proper ear and eye protection. Try to ask for even those things nicely. Always ask for help from the rest of the crew. Try to explain how you need a path cleared of debris or holes filled in to the greens man. Ask the on set dresser to watch the monitor to be sure that nothing out-of-period slips into the movie or to point out important props that should be in frame. Be sure to let other departments know of things that are going to impact them. If you will be using gyros or an MOS camera, tell the sound department ahead of time.

Talking to the actors Some actors might be interested in what you do and the contraption you carry. Be polite and enthusiastic, give a quick explanation, and certainly don't go on and on about your gear. Ask them a question — something about working on this project is usually a safe topic. 226

Talking to actors and actresses varies greatly set by set, actor by actor. My general rule is to be polite and to keep the conversations brief and related to the task at hand. I'm always really pleased to meet them, but they are busy folks with lots of pressure to perform. Big stars are constantly accosted by all sorts of fans, paparazzi, nutcases, agents, producers, directors, etc. Don't add yourself to the list. Some actors are more accessible than others; some have rules about not talking to them, ever. Always try to comply with their rules, unless the request is simple and you can't get to the person who is permitted to talk directly to the actor. Always be interested in what the actors are doing or saying. Watch how they move and talk. It will help you with your shots.

Talking to the director and DP The most important things to hear from the director and DP are clear descriptions of what is going to happen and how to shoot it. The more specific their direction, the more you can achieve what they want. As you go through rehearsals and takes, try to show them specific framing and timing, and you can then discuss whether or not your choices are useful. Knowing the script helps to keep your choices informed. One thing that often happens: the Steadicam operator talks a lot with the director. Although generally it's a good and necessary thing, it's also important to realize that the director of photography (your boss) is sometimes left out of the loop on critical issues. This also happens in regular operating — many DPs like to operate for exactly this reason — but it tends to be more pronounced with Steadicam operating. When the DP uses the Steadicam, he is giving up a large measure of control to the Steadicam operator. The path is not fixed like a dolly, and he can't look through the lens. The choices a Steadicam operator can make are huge, and many of them are bad from the DP's point of view. Keeping the DP out of the loop (even if innocently done in the heat of production) just adds to his loss of control. It only takes a little extra effort on your part to keep the DP involved in a timely way where he can enhance the shot, eliminate problems, or voice his objections before too many decisions have been made. Ironically, while the DP may feel he is losing control when the Steadicam is used, the director may feel just the opposite. He can talk to you like he talks to actors, and instantly he gets a change in the camera's performance. He probably wanted the Steadicam for some special movement, so he concentrates on getting the right move and feeling by talking directly to you and bypassing the DP. He may even be so involved in talking to you — as the new guy who knows nothing about the story or scene — that he takes less time with the actors and everyone else. You're thrilled by the attention and you need the information, of course, but don't let it go to your head. Many, many actors dread Steadicam shots because the Steadicam suddenly becomes the star, the focus of the director's attention. Their needs arc subordinate. Never forget you are behind the camera. The actor's performance shows up on the big screen with all the glory and all the warts; your slightly mis-framed or off-level-for-a-moment shot is of small consequence in the scheme of things. Your attitude can make life better or worse for the actors. It's your choice. We suggest you keep your circus act to a minimum and your conversations brief. Take a look around. Are the other members of the crew — especially your boss, the D P — being ignored? Is the actor standing there out of the loop?

The Steddicam' Operator's Handbook

Donnie Brasco, King's Court Sometimes words are not necessary between takes; everyone seems to be on the same page. Your words, in particular, may just slow down or interrupt the process, adding little to the final shot. On the movie Dannie Brasco, we used the Steadicam to shoot the entire King's Court scene. When we went through the basic rehearsal for the scene, very little was said to me. I listened intently to the director (Mike Newell) and actors (Johnny Depp and Al Pacino) when I could, and I altered my operating based on what I heard or felt. A good part of the second day was devoted to one shot, where Al Pacino's character (Lefty) bares his soul to Donnie Brasco. It's a short shot in the sequence, but it's one of the biggest moments in the film. Pacino and Newell wanted to do the shot many ways, altering the performance, so wc shot something like thirty-four takes. I believe that all but two takes were technically fine, but each take was different. If Pacino played the scene more angrily or aggressively, I tried to respond with the camera. I might get closer or move faster or hold the post harder, not allowing the rig to float as freely. As he happened to address most of his comments in my direction (looking off camera right), I would also try to hold my ground and stare back at him when I could. I should also add that I had been on the movie for many weeks by this time and 1 had the confidence of both the director and the actor — otherwise I would not have operated as 1 did or dared to look at him. If, however, he was playing it very close, as if releasing a secret, or reluctant to open himself up, 1 would be slightly farther away and let the camera float with a light touch. I would stare at my monitor and not make eye contact with Pacino, and I tried to relax my body posture to essentially disappear as much as possible. Between takes. I would listen — at a discreet distance — to the conversation between the actor and the director, if they talked at all. I also watched Pacino as he prepared for the scene and we rolled sound and camera. Based on the discussions and observations, I would change my operating. I might have whispered something to my assistant like, "I might get a bit closer this time," but not much else. One part of the shot I really like is the "release" of the frame as Lefty crosses and exits. The focus shifts perfectly back to Depp, and the camera is pulled to the right as if by eddies of Lefty's energy.

22X

Donnie Brasco 0 : 5 4 : 5 4

As a day player If you are a day player, your presence is going to change the normal flow of work on the set. In spite of everything positive you do, you may encounter difficulties with members of the crew. You may provide relief for the D P who's tired of fighting with the grips, or you may be an unwanted interruption in a well-oiled machine. Perhaps it is windy and you need two grips to hold flags for you, but maybe the D P is looking ahead and needs those grips to build a crane for the next setup. Communicate your needs early, and let the others solve the problems your needs create. Also as a day player, your enthusiasm to be working with a famous director or DP may run counter to the feelings of the crew who have been living with a difficult personality for 6 weeks. He may be glad to have a new friend, but you never know exactly what you are going to encounter. It is great to work with a crew that is having a good time and one that is committed to the project and the people in charge. If this is true, the Steadicam's presence is seen as a help to production, and unless you do something stupid, you will get the help you need to make everyone happy that they hired you. At a minimum, it's nice to come to a professional set where everyone knows the drill. They understand why a Steadicam operator is there, and they will help you as they would help anybody. It's just part of their job. The main reason to talk directly to the director and D P is to get the straight story about a shot and to pick up any nuances or specific requirements that you can. Some problems can be resolved very quickly (does this chair have to be here?), and you also get a feel for what is important. Knowing what the director and DP really want from a shot helps you to make more specific choices about timing and framing. Part of the Steadicam operator's job is to establish clear and proper lines of communication. A few times a DP or director has asked us to do something impossible or dangerous, and it was important for us to quickly change those plans. Such communication is more difficult if attempted through intermediaries, and may put a huge strain on the messenger. A l l difficult conversations should be done face to face, and quickly.

229

The end result of a difficult conversation should be finding a way to get what the director wants on screen. That way includes everyone's safety and accounts for the physical realities of Steadicam operating. Several times we have refused to do a shot because we thought it was unsafe, and no one could figure a way to make it safe. A few other times, the Steadicam was simply the wrong tool. It's a tricky call if it's the only shot you've been called in to do.

An extreme example I arrive on a set as a day player. The direc¬ tor/DP shows me the shot. The lens height is at my waist, and the camera precedes the actor running at high speed in a tunnel. Every now and then there are low doorways to pass through. I quickly determine that the grips (several of whom are also Steadicam operators) need to build a very tiny low doorway type dolly using skateboard wheels. We will hard mount the Steadicam as low as possible and I will somehow scrunch up the Steadicam and my body to fit through the low doorways. I relate the plan to the director, and he responds, "No. I hired you to wear that thing." And very quickly I said, "No. You hired me to get the shot. This is the way to do it." Now there are only two outcomes from this exchange, and both of them would have worked for me. I could have been instantly fired. I did not really want that to happen, but it would have been better than injury and failure. The other option was to do it my way and get his shot. The director's way would not have worked for either of us. I must have said it with a smile or some enthusiasm or something, because, fortunately, the director did not bite my head off. Instead, he realized his position was untenable, and we went on to get that shot and several other tricky and dangerous shots — all with a minimum of blood being spilled. On the other hand, if a director asks me to do something that I think is aesthetically wrong or even impossible, I'll give it my best shot. Often I discover that the director had a great idea. I think the key here is to listen well and try to figure out how to give them what they want.

Talking to the A-camera operator On my very first big movie, Where the Heart Is, I had a difficult time working with the A-camera operator, Ken Ferris. Most of the day was going to be devoted to my shot, and right away I sensed that Ken, who had no shots to do, was not pleased. It was not that tough a shot — a walk and talk on the Brooklyn Bridge — they just wanted it done in the late afternoon light, and we were going to wait for that light a long, long time. I did my best to get Ken involved. I asked him to be my eyes at the monitor at video village. I asked him to help me scout the set for bogies and flares. This worry about flares soon became insane as we were looking directly into the setting sun and four full reflections of the sun coming off of the towering Wall Street skyscrapers. I asked Ken about headroom, how the director and the DP liked to frame things. I asked him all

sorts of questions, and he helped me, but it was all very cold. Eventually we got the shot, moved on to other work (both conventional and Steadicam), and I left the set hoping that the next film would be more fun. A few months later I got a call to work on another film, and Ken was again the operator. I was concerned it was going to be another long, emotionally cold day. But he greeted me as a long lost friend, happy that I was there. I had treated him with respect and involved him in the process the first day, and he remembered that. Sixteen years (and several movies!) later, I asked my friend Ken about our first encounter. He remembered it well, but of course, differently. His take on the day: This movie was also a big deal for him. He, too, wanted to impress the director John Boorman, who had just finished the wonderful film, Hope and Glory. Ken did not know me, but felt that if I did a bad job, it would reflect on him as the A-camera operator and the whole New York crew. (This was one of the first of those movies mostly shot in Canada, with just a few days in the real city.) So he was wary of me and tried to help, which I

Every operator is different, but you can't go wrong asking for the operator's advice on headroom and framing for this particular DP. If he's receptive and not too busy, he may offer more advice, agree to help you through some aspect of the shot, etc. If not, fine, but at least you've shown him the respect he deserves as the A-camera operator, and he can't be grumpy about that.

Often the A-camera operator's first assistant is also your assistant, so be very careful not to take too much of his time. We strongly suggest you don't waltz in as God's gift to production; it's the surest way to annoy the whole crew and find yourself watching them do your shot on a dolly.

Working with your assistant Camera assistants come in more shapes, sizes, and temperaments than the equipment. How they fit with you and your gear is more flexible. You will find assistants eager to help you and happy you are there. They may be assigned only to you, or they may be the A-camera assistant with a whole department to run as well.

231

Some assistants hate working with a Steadicam, period, and there is nothing you can do about it. Others find it a fun challenge and others arc completely indifferent. A l l shapes, sizes, temperaments, just like Steadicam operators. One operator's prime assistant may be another's nightmare. When you encounter an assistant you like, start a scholarship for his kid's prep school fund. Regardless, it is your job to work with the assistant, especially if you are just a day player. It is also his job to work with you,

and usually it is not difficult to find a way of working everything out. But it is often confusing at first. So be flexible. Make your needs and concerns clear, and don't assume that certain jobs are theirs to do. Be organized and prepared for the equipment you will be using that day: have the right mechanical and electrical adaptors and cables to make everything work. Be nice.

A simple little shot Almost always, what appears at first to be a simple and straightforward Steadicam shot has some small complication. Day playing. Just a one day job. Surprise, it's a heavy camera, not the one promised, oh, it's the DP's personal camera, okay, I understand, no problem, we'll just make the rig a bit longer. Well, pretty long, but okay. Now what's this first shot? Isla Fisher (hello, nice to meet you) exits the jewelry store, followed by Ryan Reynolds (hello again) and they stop and talk for a few words. Fine. Short and easy. It can't be this easy, can it? She's not very tall. Let's walk through it. Great. We're going to do this by the numbers. He's kinda tall. Hmmmmm. Isla Fisher bursts out the jewelry store door, turns camera left and charges down the sidewalk. Ryan Reynolds chases after her. She stops on a dime, whirls around to face him and we end in an over.

A n over, low over her shoulder looking up. Low mode? Low high mode? It's at that awful height. Low high mode it is. But the sled is long with that heavy camera. The DP, Florian Balhaus, shows me the finder. Be at this height coming out the door. Lower as you go down the sidewalk. Keep Ryan over Isla's shoulder. Here's the height for the over. Not too much shoulder. Don't pan further right. This is your end frame. Okay, and I've got a tilt head to keep the post vertical. Just angle the head up. No problem, let's try it!

Definitely, Maybe 1 : 0 5 : 5 6 We lay down some big V ' s for me on the sidewalk, and marks for the actors — another big V for her. I hope I can look away enough to sense the V. Good gracious, holding her, panning, backing up, and seeing him out the door, got to banana way out for that moment, all at top speed, got to short her, don't want to overpan. Boom down farther. We're scraping the sidewalk with the bottom of the rig. Can't go low mode, can I? I ask, "Would you like to see the awning? Nice detail." Yes, be sure to include the awning, but not too much headroom. Oops. The A C , Heather Norton, has a really big problem. M y brand new focus motor is slipping. Impossible, but there it is. It takes a few moments while we switch out the whole system to the system she wanted to use in the first place. Production waits. I'm anxious on many levels; especially about annoying my assistant, but Heather's cool with it. What now? What's the shot again?? Focus! Frankly, I don't know enough about the movie. The sides don't reveal much about the characters or the situation. It's somewhere in the middle of the movie. What can I key in on other than Isla's energy? I've got to stick with her. No complaints from video village; I guess I'm doing the right thing. I hope I'm doing the right thing. So we rehearse a few more times, change batteries at the most inconvenient moment, time every shot to the traffic light — all the usual stuff, just a typical Steadicam day working at the extreme edge of possibility. Isla was consistent, so it got easier after a few takes. Another simple little shot. Moving on.

The Sleadkanr Operator's Handbook

Using grips wisely to guide, to build, to rig Traditionally, grips move the camera around, build platforms and rigs for the camera and the lights, and take on just about any other task required by the DP. They are extremely useful on set and extremely useful to Steadicam operators. Grips guide us, adapt vehicles for our use, keep us safe on cranes, push us around on dollies, hump the rig back to number one, build platforms, ramps, and stairs, hold flags for the wind, operate half the Buddycam, catch us when we trip, fend off unruly fans in concerts, and make themselves useful in thousands of ways. Without grips, our operating would be severely limited and a lot less safe. Grips are a hardy lot. They don't need a lot of attention — just your respect and clear communication of your needs and concerns. They generally don't need to be micro-managed; they know how to build things and have many tricks and methods for creating whatever you need. You can make a grip's life easier (and therefore, your life) by asking for flags, stairs, ramps, and the like as early as possible. Grips usually have a lot to do, and adding your needs into the mix is not often easy, even on big productions. Don't assume they are free to work for you. Production managers often ask the Steadicam operator to work with the existing camera assistants; rarely are extra grips hired because a Steadicam operator is coming to set. You should know how high and low you can get a lens relative to the socket block — in both high and low modes — so the grips can construct a vehicle mount correctly the first time around. If you've got the vehicle mount adaptor or other specialized equipment, get it to the grips early. Make yourself available to the grips as they build things for you; check it out and test it for safety and functionality as they proceed. For instance, if it's a specialized vehicle sit in it often as it is mount for an ATV, being built, checking for clearances and interference, sturdiness, etc.

Using grips as guides

234

A grip can help you get through a set and keep you out of harm's way. However, do not rely on grips to lead you through a set.

Gelling lo work You should know the path for the camera and find ways to make it happen without the grip. The grip is there to give you the confidence to move as you believe you must and to get you back on path if your methods fail. Grips should move you around by poking you in the ribs, suggesting that you take a different path. Pushing you may feel like a strange variant of gravity, which we are taught to resist. Verbal clues — "You're getting quite close to the cliff!" — are hard to process in the heat of production. You might wonder if those words are meant for you. A good poke in the ribs is unmistakable: it's for you and it tells you exactly how to respond. If you fall, it will be too late for the grip to reach out and grab you. When there's a danger of falling, such as on stairs, backing up over curbs, or near the old cliff, then the grip must be grabbing the vest at all times. The grip's hold should exert no pressure or influence on the vest. I like the feel of the grip's hand under the vest against my back: it gives me extra confidence to proceed at those dangerous moments. Stairs are tricky for spotting. Most of the time I do not use a grip on the stairs. If the grip is below me, there's a danger of flipping over him if I fall down the stairs. If he's above me, there's a danger of him falling on me. Either above or below me, he must stay out of the shot, have a hand on the vest, and stay close without getting in the way. If the stairs are visible and regular, with a constant pitch and tread, then I won't use a grip to spot me. If the stairs aren't regular or visible, or they are steep or the pace is outrageous, I might have a grip spot me. If I'm going up a lot of stairs, I might consider getting a grip to help carry me up the stairs with a lifting hand under the vest.

2:0

Grip lifts and pushes Sometimes the rig is heavy and the road is long and steep.

^^fl

Grips can be amazingly useful, pushing you up hills, or grabbing your vest as your legs turn to jelly. If they just take a few pounds off your load going uphill, operating a shot can be delightful instead of disastrous. Get the grip to push you low on your back, near your hips (so he doesn't push you over) or with a hand under the vest, lifting the vest as you amble along. Practice to find what works for you in the particular situation, and have some way of communicating that you need more or less help from the grip. Swatting at him is not recommended.

Building stairs and ramps A useful accessory for your kit is a set of wooden stairs that can be placed just where you need them to get that mini-crane move. It's nice to have two, four, and six step versions pre-built and ready to deploy at a moment's notice. You can make this yourself, or i f there's time on a big production, the grips can make it for you. The top step should be a platform at least 18 inches deep. Nicely sanded holes in the wood for the grips to grab will be greatly appreciated. If you want to get fancy, the set can be designed to nest so that the two step version becomes the first two steps of the four stepper, and the two and four steppers become the first four steps of the big one.

This is a steep ramp! The ideal is to build a manageable slope that you won't have to worry about while operating.

Consider adding these accessories for your humble stair set: • As the ground is rarely level where you place the box, four ladder-leveling feet can be quite handy. • Add some small wheels to the six-stepper so the grips can roll it from place to place. • Bolt your stairs to a big western dolly, add a handrail, and you have a very interesting low-tech contraption.

Gripology

Sudden Death 1 : 3 7 : 1 4

Grips are great for working through problems. On the movie Sudden Death, I was asked to rapidly travel up and down some very steep (about 45°) industrial stairs above a hockey rink. They wanted me to both precede and follow the action. The low and narrow ironwork around the stairs prevented me from carrying the rig, so I had to ride something, but what? The grips built an amazing little sled with skateboard wheels and hid the track — two long pipes — in the industrial structure of the stairwell. They also constructed an angled hard mount for the tiny sled — all and all, there was just barely enough clearance in all directions to make the trick work. To move the sled, they ran a rope from the sled up the stairs, through some pulleys out over the center of the hockey rink and down to another pulley in the seats. Eight hardy grips grabbed the free end of the rope and either hauled me up or let me fly down the stairs. These grips were completely out of sight, so they used walkie-talkies to communicate with the key grip next to me on the stairs. With lots of marks and a few prayers, we got the shots.

Buddycam When Garrett invented the JR in 1987, the idea of the Buddycam was also born. We traditionally use an arm and vest to lift the combined weight of the camera, sled, and monitor. But if we had a buddy to share the load, we could operate a heavy Steadicam just like we operate a JR, without an arm and a vest.

The Buddycam is a handlebar-like device that mates with the gimbal. The handles are designed so that a straight line between them passes through the post, slightly above the pan bearing. When you and your buddy lift the Buddycam, it feels like there is a piece of string stretched between the handles and the sled.

Remember, the gimbal still isolates the angle of lift from the sled, so the grip doesn't have to be in perfect sync with you as you move about the set. The boom range is from as low to as high as you and your partner can lift, and you can bend over while operating (ugh!), work in tight spaces, climb stairs, etc. In low mode, the lens can be anywhere from on the deck to over 6 feet in the air. Super low mode to high mode shots are a snap. Perfectly vertical moves can even be done in tight spaces like interior hallways, and they can easily be combined with pans — even with whip pans if the grip can duck out of the way!

Madness! 6ft boom range, 20mph!! Many ideas and gadgets get tested at workshops.

Running through tall grass is easy, as is climbing a steep hill. For really high hills, have two or three pairs of grips to do the grunt work. They pass the Buddycam off when they get tired (this is pretty easy). You stay between the grips, lift nothing, and operate. With a wider set of handles, some truly amazing shots flying over tables (or heads!) are possible. Here's an idea for making a shot with a large vertical component in a very tight space. Attach the ends of a Buddycam to a couple of ropes in some sort of rig, and you can have a flying, weightless camera. A l l you have to do is climb a ladder next to the Buddycam and you have an amazing crane shot. If the wires can be detached, the shot can even continue beyond the lift!

When words just won't do Sometimes words are completely useless. I was working on the Italian movie Occhio Pinocchio, part of which was shot in Texas. Everyone would talk in Italian (I understood basically none of it) and then want to roll the camera. Faccia presto, per favore. I'd say I had no clue what to do — their words had no meaning for me. Stia tranquillo! Motorie! So we'd shoot the rehearsal, and I'd quickly be framing an extra or a blank wall, and everybody would be yelling "Jerry, Jerry, Jerry!" which I understood. I'd smile, and they would patiently show me the action and the framing they wanted (using their hands, of course!) and I'd give them my first real version, which we could discuss (again, mostly with our hands), and move on to take due, tie, quattro, cinque. When working up a shot, try to connect with the character and the story. Listening, watching, and trying to connect emotionally are all extremely important for good operating. However, if in your enthusiasm, you tell others on set about some magical connection you are feeling with the character and how the shot reflects this great connection, you will probably meet with a lot of blank stares, even from your best friends.

Show the director and cinematographer a shot they can talk about.

Section Eight

extending the range of movement

239

Tln'Sii'ddiiiim Opeuloi sHandtwuk

Inventing the wheel We were watching one of the educational channels on TV the other day, and they were talking about the invention of the wheel and how truly amazing it was. Everyone knows the wheel is a great invention in itself, making it possible to move heavy loads over long distances. But the scientists also stressed how this invention radically transformed man's mind. The invention of the wheel clearly demonstrated to man that he was capable of changing the world to suit his needs.

Now anything was possible! The first guys using the wheel were really thrilled with the new toy and they played with it a lot, gave their girlfriends rides on it, and the like. But it took awhile for the bigger implications to sink in, that this was just the first great contraption of many more to come, and that human beings were about to be set free.

The same is true, we think, for Steadicam Garrett's invention is magical, cool, and very liberating. The original Steadicam operators, as modern homo sapiens used to inventions, instantly thought about the implications of their toy. More than one of them suggested it would change the way movies were made. Those early pioneers were right. But we are just now on the verge of really understanding how the tool can be used and how important it is to our sense of what we can make cameras do. Look at all the "cams" of the last three decades (an astonishing number of them made by Garrett Brown). There are so many designs, new styles of cranes, jibs, cameras on wires, underwater and helmet cams. Today's camera operators believe they can make a camera move anywhere by any means, and we think a lot of that confidence comes from the success of that rather simple, straightforward, and astonishing invention, the Steadicam.

But more important than all the cams and cranes is the change in the mindset of filmmakers at all levels. Everyone can now move the camera, easily and well.

We are free.

Exlendinq Ihe range of movemenl

241

The Steddicdm Operator's Handbook

Configuring the rig to get the lens where you need it What can you do if the range of lens heights in high or low mode just doesn't work? How can you get the lens higher or lower? Fortunately, there are many, many tricks and techniques available. The easiest and quickest methods are to change the arm post or to alter the height of the socket block.

Increasing the range of lens heights in high mode Simply use a longer arm post. Most arms have a tool free, quick-change system, so this is generally the fastest and easiest method. I keep a selection of arm posts (4,6,9, and 12 inches) in a bag on my docking stand.

Using a longer post to extend the upper range of low mode, also called high low mode.

You should not use (or need to use) an arm post longer than 12 inches. The twisting stresses on the arm increase with a longer arm post — it's a big lever — and you can damage the arm. The heavier the camera, the shorter the maximum length arm post you should use. There's also a limit to how high you can reach with your arms, and arm posts longer than about 12 inches are simply not necessary. As you boom higher and higher, your operating grip gets less and less useful, and the quality of your operating goes down. With normal length sleds, the battery may also start hitting your arms.

A tool-free mod for a IIIAarm.

242

Regular low mode

Extrndinq the range of movemenl

Increasing the range of lens heights in low mode In low mode, the operator often can't reach the gimbal at the bottom of the arm's normal boom range, so some of the range is wasted. You can use longer arm posts and/or you can raise the socket block on the vest to restore the boom range and increase the maximum lens height. If you are careful, raising the gimbal with these techniques can have no effect on how low you can go, but it gives you more boom height at the top. We call this arrangement high low mode, and it's great for flying over things! We prefer the combination of raising the socket block and using a slightly shorter arm post (rather than just a longer arm post).

Depending on your vest and the length of your torso, the socket block can move as much as 3 inches.

Lowering the range of lens heights, usually in high mode Use an upside down F-bracket (or an old J-bracket) in the arm to drop the range of lens heights 6 to 10 inches. Be sure to pin — in double shear — the F-bracket to the arm post!! With a long drop-down post, it sometimes gets a little tricky to properly grab the gimbal handle.

243

The Steddìcam Operator s HdncJhook

Long mode To get the lens right down on the deck or much higher in the air, we need to extend the sled vertically, either by telescoping the central post or by swapping it out for a longer one. Posts longer than 5 feet or so are called superposts. The first ones were made by screwing two standard IIIA posts together. Now many Steadicams have multi-section telescoping posts to stretch from regular to superpost length and everything in between.

Long mode operating concerns The real downside of long mode is that we can go through a lot of effort (and expense!) for a very small return in lens height. With a heavy camera, extending the post 36 inches — with all the problems it entails — might result in only 5 or 6 inches difference in lens height. One upside of this equation is that we can argue for lighter and lighter cameras, so that the 36 inch extension results in a 15 to 18 inch change in lens height — and we sweat less.

Tilt head Long mode operating — high or low — is a lot more useful when combined with an integral tilt head. When you tilt a long mode Steadicam, it sticks out a lot. It tends to hit things in tight quarters, is nearly impossible to pan well, and worse, you lose lens height! All that effort to get a few more inches of lens height, and you give them away when you tilt. With a tilt head, you can keep the post vertical in most situations and maintain that precious lens height. You can also pan as easily as in regular modes, not hit much with the battery, etc. The integral tilt plate keeps the camera e.g. close to its same position as you tilt, minimizing rebalancing and preserving dynamic balance.

If your rig doesn't have an integral tilt head, you can add a tilt plate like this one. :44

Extending ihe range of movemeiH

Balancing in long mode Balancing a long mode Steadicam requires a different drop time than normal. What you want is a rig you can tilt and control with the same touch you use on your normal length rig. A 4 second drop time on a long rig indicates a very bottom heavy rig. Stop counting and start feeling. Tilt the rig. Move it around. How does it behave? Ultimately, how the rig behaves is the real test for all rigs — not some arbitrary drop time. You will discover that you can't start or stop tilts easily in long mode, and if you go off level it's harder to get back to level. This is another way of saying the rig is more resistant to angular change in the tilt and roll axes. You'd better plan ahead for your tilting moves and carefully manage your horizon. A long rig also feels more natural if the monitor and battery are extended from the post. Making the rig long makes the rig more inert in the tilt and roll axis, but has no effect on the pan axis. If you don't extend the monitor, the rig may feel excessively light or whippy in the pan axis. Extending the monitor and battery increases the inertia in the pan axis to make the rig feel more normal — or at least more equally slow in all axes.

The joys of long mode operating Getting the lens radically high or low is lots of fun. So get really high or low with a light camera, use the long posts in the arm, and raise the socket block. Don't go half way. There are new perspectives out there to exploit, if you place the camera well. A high lens in the middle of a city street is much less dramatic than one next to the awnings along the sidewalk. Be sure to pass by or include objects that imparts to the audience a feeling of being really high or low.

Balancing and trimming a long mode Steadicam can be a real pain - it's often impossible for the operator to reach the balancing knobs on the stage. A motorized stage is more than convenient; it's crucial for precision long mode operating.

245

TheSteddicam Operator s Handbook Jericho 0 : 1 8 : 0 6 Booming down over the horses gives a great sense of scale. For the last frame, the camera rises again to ensure that the bad guy's faces are not blocked by our hero's shoulders.

Horses hate tracks and dollies. The long mode Steadicam is the perfect tool for working near them. Just introduce yourself and the gear to them gently, and they will not get spooked.

TheLostWorld 1 : 1 2 : 5 5 Here'sanotherwonderful super low mode shot by Chris Haarhoff. He emphasizes the low lens height by passing close to the characters and holding a radical tilt up through most of the shot.

Extending the range of movemenl

The stiffening system Any long post Steadicam sled, whether single or multi-section, suffers from increased flexing. The longer a post, the more it flexes — unfortunately by the cube law. Doubling the post length makes the rig eight times more flexible. Although a carbon fiber post is very stiff, it will need extra rigidity under certain situations. The heavier the camera or the more violent the moves, the more help is required. The stiffening system works like the spreaders and stays on a sailboat mast. A spreader attaches to the monitor arcs or brackets (without tools, of course), and there are attachment points on the battery mount, the bottom of the sled, and just underneath the tilt head. A length of lightweight Vectran'" (a polymer cable that is as strong as steel, onefifth the weight and much more flexible) is stretched between the points. If a stiffening system is not standard on your rig, it's fairly easy to go to your machinist and make the necessary parts. Vectran" line is easy to find, or you can use 180 pound test nylon fishing line. The system works better when the monitor is high. To use the system, move the monitor (or the battery) inboard an inch or so from its final position. Lace the Vectran" line from one side of the battery mount down around a pin at the base of the sled, up around the spreader on the monitor, further up to a hook just under the tilting head, down the other side via the spreader, around the pin at the bottom of the sled, and back up to the battery. Extend the monitor (or battery) out to its final position to tension the Vectran™. You also can tilt the sled horizontal with the monitor down and then retighten the line. When the sled is vertical, all is tight. The stiffening system is also very useful with normal length rigs whenever violent moves or stresses are anticipated, such as a vehicle shot on rough roads. It is also possible to attach the Vectran" line to some solid part of the camera to further stiffen the rig. Often the camera to Steadicam mounting isn't perfect, and the stage exhibits some flexing as well. Once you have balanced your rig and tensioned the Vectran*", be careful that the camera doesn't move very far on the stage. 1

The Steadicam' ' Operator's Handbook 1

Flying with a motorized stage General balancing without a motorized stage A Steadicam should be balanced and trimmed for the shot. If the process is cumbersome, the Steadicam's balance is not likely to be tweaked to perfection. Old Steadicam models like the IIIA or ProVid were particularly annoying to rebalance. They had a rack and pinion system for adjusting fore and aft balance and a separate screw-type locking mechanism. Operators had to reach up, loosen the dovetail lock, disturb the balance, rack the dovetail, test for balance, and, if it was good enough, tighten the dovetail lock and settle the sled to its new balance. Then maybe the DP wanted you to boom up a few inches, so your precious trim was no longer valid. With this setup, it should be no surprise that often operators would just cither muscle their way through the shot or tilt a battery or monitor to get better balance. Stages with micrometer screw drives (like the original Panaglide®) only require the operator to reach up and turn a knob. It's a much simpler and quicker process to get a nominal balance than a rack and pinion system. However, many shots have sections that would benefit from a different balance than the nominal, but manual re-trimming, like manually focusing the lens, will disturb the image. From the beginning, it was clear that a wireless focus system was crucial for Steadicam operating. It also should have been clear that a motorized stage would be a great help for Steadicam operators. As Garrett Brown says, "Not having a motorized stage is like flying an airplane and having to land to change the airplane's trim."

As the requirements of the shot change, the Steadicam should be rebalanced. Using the motorized stage is extremely simple. There are four buttons on the remote control. Pushing one causes the stage to move, changing the balance of the rig. Releasing the button, or reaching the end of the stage travel, causes the motor to stop. Motor speed is set via pots on the stage.

Remote control

Motor speed adjustments

Pre-shot balancing with a motorized stage Because the operator does not reach up and touch the stage, nor does he change his posture or the camera position, balancing with the motors is both quicker and more precise.

248

There are also few, if any, distractions to others on the set. Tweaking the balance can be done without any apparent movement of the operator (unless you are concentrating on

Extending the range of movement his thumb). This invisible tweaking is extremely important at the head of shots, where the overt fussing of the Steadicam operator can be as distracting to an actor as slamming the slate shut in front of his face. In low mode, manual tweaking often requires the operator to grossly reorient the sled just to reach the manual controls, guess at the new setting, then reframe, and evaluate what has happened. There's a lot of wasted time and effort — plus a lot of fuss and bother on the set. Motorized balancing eliminates all that. Long mode configurations are also difficult to balance manually, both on the stand and while wearing the rig. Sometimes in extreme low mode it's impossible for the operator to reach the stage, and the only way to manually adjust the stage is to dock the rig or have an assistant kneel down and tweak the balance. Neither is pretty or efficient.

_^gr

Jakob Bonfils' motorized mod for MiA stage. The motor drives the stage when the Arriflex BL IN camera runs, compensating for the side to side film travel in the magazines.

In-shot balancing Non-motorized stages can be balanced only one way — usually for the beginning or end of the shot, possibly for an important moment, or perhaps for some generally useful trim. But with a motorized stage, the operator can constantly adjust the trim for the best possible balance for every part of the shot. It does take a few more brain cells to keep things straight: navigate, frame, bubble, push the remote, frame, navigate. But if you can add the technique to your repertoire, it will make your operating more precise. If the requisite brain cells can't be summoned for the task, the remote transmitter can be handed off to an assistant who can make premeditated balance changes during the shot for you. Side to side balancing is also possible — making shooting Dutch angles easier and more precise, as Larry McConkcy did in Snake Eyes (see page 140).

The "smart" motorized stage One annoyance with the original motorized stage: during the shot, it was not easy to move the stage to a specific trim point and then return to the nominal trim. The operator typically counted the number of seconds a button was pushed, and counted some other number to get the stage back to a nominal trim. The final trimming was done by feel as the shot continued, which took time and effort. Although a motorized stage was a huge improvement over non-motorized stages, the lack of precision and repeatability was a limiting factor.

The Sleadkam ^ Operdlor's Handbook In the smart stage, a microprocessor keeps track of the stage position. In addition to the four "move" buttons on the remote, there are several new buttons that move the stage to precise, predetermined positions for specific sections of the shot. Normally, the various "way points" or trim positions are programmed during rehearsal. The operator gets the sled to the proper balance, and then pushes and holds one of the go to buttons for several seconds to set the trim position. One go to button is set for the nominal trim, so returning to the normal balance is easy and automatic. It also is possible to re-program any button on the fly, even in the middle of a shot — once again if the old brain can manage to keep track of things. These go to buttons also make it easy for an assistant to change the rig's balance for the operator during the shot. No longer does he have to be in a specific position to count the revolutions of the knobs on the stage — because he doesn't need to count. The smart stage also has a button on the nose box for "move stage to center." This button centers the stage in both axes, which is extremely useful for new setups.

Level Assist™ The other thing that becomes possible with a smart level and a smart motorized stage is what we call Level Assist™ . This is a system that takes the level information and gently moves the camera mounting stage side to side to help you keep the stage upright. The amount of help, if any, you get is entirely under your control, and the system can be turned on and off during a shot via the gimbal transmitter. Whenever you are level, the stage returns to the nominal side to side balance position.

N o t e ! If you have a motorized If this sounds like a training-wheels gimmick for the inexperienced operator (and it Stage, duplicate this experi- might work that way), lean only offer this bit of history: ment by handing off the remote to an assistant ^^ *993 or 1994 (at least a year before the advent of the Master Series" and ac

m

1

the first motorized stage), Garrett Brown chased the idea of a level assist system. In one early test he hooked up a Hcden focus motor to drive a Model IIIA stage side to side. Garrett invited me out to the farm and each of us tried operating a back and forth, side to side tracking shot, while the other operated a wireless remote (the venerable Seitz), and stood in a position to judge if the rig was level. If the Steadicam went off level, the "level assistant" would turn the remote to change the side to side balance, trying to right the sled. I was very dubious of the whole scheme. I suspected the action of the motors would be both annoying and distracting. The experiment proved a bit embarrassing. With a little help from Garrett, my shots were noticeably more level. Really embarrassing, actually. Okay. It was humiliating! It only took 15 years to replace "the gifted assistant in the right spot and paying attention" with the right microchips, sensors, and software to get a proper level assist system working.

250

Extending the range of movement

Inertial augmentation and balance An operator can arrange the major components of the Steadicam to change the sled's inertial character. Expanding the sled increases angular inertia, and compressing the sled reduces angular inertia. Moving the components around gives the rig a different feel — from slow and elegant to quick and light — similar to handheld shooting. The most useful technique to change the sled's angular inertia is to extend or compress the central post and/or to place the monitor and battery closer or farther from the central post. The other technique is to add mass to the sled. Heavy cameras and monitors make for slower and more stable rigs. A monitor that weighs 8 pounds has twice the inertia of a monitor that weighs 4 pounds in the same position. But adding weight is generally painful, and a lot of weight must change before there's a noticeable change in the rig's behavior.

Note: You should practice all the exercises with long rigs, short rigs, rigs with lots of pan inertia, and rigs with very little pan inertia.

The good news is that inertia increases with the square law, so a small extension of the rig adds a lot of inertia. For instance, extending the monitor from the central post is easy to do, adds no weight to the rig, and the effect is dramatic. When we extend the monitor, we also extend the battery to preserve both static and dynamic balance, and the extended battery also increases inertia. The downside to the "extend your components" technique is that the flexing of the rig increases by the cube law. A monitor twice as far from the post generates four times the inertia in pan, but it is also eight times more prone to vibration. Long rigs also tend to hit more things, including the operator. Switches are hard to make with the battery fully extended.

251

The Sleadiur Operator's Handbook

Weighing the advantages Each arrangement of parts is a compromise. We want a rig that is light enough to carry along, small enough to fit alongside us, yet also extended enough to reduce its angular response in the right axes and stiff enough not to vibrate. A tall order.

Achieving inertial balance Inertial balance is a term we use to describe the relative angular inertia in all three axes. Because of the design of the sled, the tilt axis is more inert than the roll axis. Generally, the least inert axis is pan. Sometimes the inertial differences between these three axes can make operating difficult. For instance, creating a very long rig by extending the central post (or using a superpost) creates a lot of additional inertia in tilt and roll, but it has no effect on the pan inertia. The relative difference between the axes has changed significantly, and the rig may feel very strange to operate — light and whippy in pan, but ponderous and slow in tilt and roll. This condition may or may not be good for the shot, and it's up to the operator to use inertial balance well.

Above: This rig is extremely hard to tilt while easy to pan. It is out of inertial balance. Below: Short post with monitor and battery all the way out is just the opposite.

Extending the monitor and battery will increase the angular inertia in the pan axis, so that it is more in line with that of the tilt and roll axes. The rig may feel more normal — slow and ponderous in all three axes.

Why bother with inertial balance? Many operators do not change die inertial balance of their sleds. Sometimes the sled's design does not provide enough extension to make a significant change in the sled's behavior. Even with rigs that do expand significantly, some operators are wedded to a particular "feel" and don't want to mess with what they are used to. Changing the monitor position also means that the operator must find dynamic balance all over again. The sled's design limitations are tough to change, but the operator's attitude should be a bit more malleable. You can take advantage of moving masses around to help you get the best balance for the shot (static, dynamic, and inertial) or you can work harder with less precision, but with a rig that you are used to. If you can take a little time off the set to play with the various configurations possible with your rig, you will become more comfortable with altering your normal configuration. Think of altering your rig's behavior as another line dance or another mode like low or long mode. A rig that feels different is just another tool in your repertoire that you can use if you want. You can make marks for various presets, so you can change the rig's inertia and get it into static and dynamic balance quickly.

252

Remember: Camera weight has no effect on the placement of the other components for dynamic balance, so the marks you create for the monitor and battery with your practice camera will work with any camera you fly.

Extending Ihe range of movemenl

Adding extra masses You can attach additional weights or gyros to increase inertia and resist rotation. A d ditional weights also add momentum to the Steadicam as it rotates, and a Steadicam with extra weights feels just like a really big Steadicam. Gyros create an artificial inertia and arc quite different (see page 256).

Antlers™ A commercial version of added weights is called Antlers™. They have a no-tools and quick release design that allows the operator to quickly alter the orientation, distance, and mass to suit different shot requirements. In essence, Antlers are just an extension of the basic Steadicam idea, to add masses to the camera at some distance to increase inertia. The Steadicam's design places masses only on one side of the camera (below in high mode, above in low mode). This design allows the camera operator to hold the Steadicam close while moving about. Antlers take advantage of another space that is often (but not always) available for adding masses: on top of the camera when in high mode. In low mode, the Antlers are typically added to the bottom of the sled. The key to using additional masses like the Antlers is to use as little additional weight as possible for the maximum possible inertial effect. Because inertia increases as a weight gets farther and farther from the pivot by the square law, it's best to find a place as far as practically possible from the gimbal to position your weights. In high mode, going up from the camera and then horizontally out (either side to side or fore and aft) is a good, efficient spot.

Make your own Simple and inexpensive Antler-like devices can be made with a 3/4" pipe about 36 inches long, a few clamps, a riser, and two dumbbell or diving weights. Attach the weights to the ends of the pipe. In high mode, use the riser and clamp the pipe about 4 to 12 inches above the camera. This position is generally out of the way of the operator, actors, and DP. Generally out of the way. Be cautious, it is easy to forget how wide your rig has become when the extra masses are mounted high, beyond your normal view. The denser the weight, the smaller it can be, and the less effect the wind will have on it. Small balls of depleted uranium work great, but bronze is a cheaper and safer alternative.

•

CIAO: Cheap inertial add-on

253

The Steddkdm' Operdlor's Hdndhook

Positioning the extra masses Note: Adding masses ciose to the gimbal adds very little inertia for the additional weight. Adding masses far from the gimbal adds lots of inertia relative to the weight, but all the issues of flexing and hitting things apply.

If the masses are added sideways (weights extended beyond the right and left of the camera), the inertia is increased more in the roll axis than in the tilt axis by a factor of two or more. A sideways orientation tends to even out the inertial inequality between tilt and roll inherent in the design of the Steadicam, making it easier to operate and to correct the effects of wind hitting the rig. A normal rig, having more inertia in tilt than in roll, tends to be "squirrelly" when the wind hits it. A rig with masses oriented sideways is a lot less squirrelly and tends to move laterally rather than angularly when the wind hits it. The disturbance to the shot is minimized, especially if there aren't any objects in the near foreground. Regardless of the orientation of the masses, the increase in pan inertia is the same. Some sample numbers: A normally configured Ultra sled (by itself) has about 420 lbs/in of pan inertia and a maximum of 1870 lbs/in with the monitor fully extended. 2

2

Using two 2 pound weights, you'll get another 1296 lbs/in of inertia in pan (4 lbs X 18 in x 18 in). Roll inertia — if the masses are oriented sideways — is increased by about 2900 lbs/in ! 4 lbs X [(18in x 18 in) + (20 in X 20 in)]. We love the square law! More or less weight can be used, with greater or lesser effect. 2

2

Sometimes it's better to orient the masses fore and aft, either to increase the tilt inertia or to avoid objects in the set. Many operators (like Amando Crespo, below) have added Antlers to the bottom of their rigs in high mode to add stiffness and to gain lens height.

254

Extending the range of movement

For fun, I made a set of "Super Antlers" that were 6 feet long. The inertial increase with two 2 pound weights is 5184 lbs/in in pan and 6784lbs/in in roll! It's very resistant to angular change but hard to get through a doorway! 2

2

Sometimes even the regular Antlers get in the way of actors, lights, doorways, etc., and they can't be used in their best position. Everything is a compromise.

Pay attention when you are resting or walking back to "one." It is easy to forget the Antlers are on your rig. 255

TTie Steddicdm' Operator's Handbook

Gyros

for specific situations The real question about gyros, like any piece of hardware, is when and how to use them. Understanding a bit about them may inform that choice. The gyros that we currently use are made by Ken Labs in Connecticut. They are called Kenyon stabilizers and they come in several sizes and have different weights of rotors, both of which determine the amount of inertia or stiffness they deliver. The KS-4 is the smallest size that we use and has a heavy, tungsten rotor. The KS-6 is larger, but uses a lighter rotor, and the KS-8 has the same physical size as the KS-6 but uses a heavier tungsten rotor. KS-10's and 12's are beyond our practical ability to carry. The gyro's "cans" are sealed and filled with helium, both to reduce corrosion and to transmit the internal heat from the rotating parts to the can. Inside the can, a pair of counter-rotating gyroscopes spin at about 20,000 rpm. They are powered by an inverter that takes the battery's 12 volt D C power and turns it into 120 volts AC at 400 Hz. It takes about 10 minutes for the gyros to fully come up to speed. Any attempt to rotate the can (or anything attached to it) is resisted by the gyros. The gyro effect is most pronounced when the can is not rotating, and is reduced as the rotational speed increases, up to a point where the internal gyros hit a bumpered stop and stop working altogether. An important consideration: the Kenyon stabilizers were designed to be used individually with binoculars. The arrangement of components, springs, etc. inside the can were designed with this task in mind. As this is not our task at all, we have to modify, multiply, and reorient the gyros to take maximum advantage of their stiffness and to avoid or minimize annoying side effects. We often use gyros in pairs, and a set of three works even better.

Orienting the gyros

25ft

The long axis of the can is the common axis of the two internal gyros when undisturbed. The greatest resistance to rotation is 90° to the long axis of the can. Rotating the can around the long axis (essentially the axis of a flywheel) has the least resistance but also

Exteridìrm the range oi movemenl induces very strange and strong motions. One of the two internal gyros is completely unaffected by this external rotation, and it offers no resistance whatsoever to the rotation, but the other gyro — the one spinning in the opposite direction to the external rotation — tries desperately to flip itself around in its mount 180° so it will be rotating in the same direction as the external rotation. The result? Lots of crazy bumps and wobbles are translated to the Steadicam. The intuitive way to orient two Kenyon units is with one axis vertical (resisting tilt and roll) and one at 90° horizontal (resisting roll and pan). This gives the most help with the roll axis (horizon), which needs it the most. But it also induces the most annoying effects to the rig when you pan or tilt, sending the rig in strange and unwanted directions. Because we pan and tilt quite often, this is probably the single worst arrangement for a pair of gyros.

" X " configuration forSteadicam The best and easiest to achieve arrangement of a pair of gyros we have found so far is to clock the whole arrangement 45° around the roll axis, so that an " X " pattern is seen from the front or rear. Arranged this way, no axis of either can is on an axis on which we tend to rotate. If we also rotate this X an additional 45° from vertical (around the tilt axis) as seen from the side, the negative effects are minimized further. By adding a third gyro at right angles to the first two, even smoother results are obtained. This places one can in each of the three axes and they tend to balance each other out. The effect of three KS-4's is about the same as two KS-6's and weighs about the same also. The KS-4's also seem to have a slightly smoother response overall as well. Normally two gyros would be mounted below the sled and one above the camera to keep the e.g. of the sled closer to normal. Splitting up the two X configured gyros in a two can setup leads to other undesirable consequences because they will not exactly balance out each other during any moves that affect them both. It is important that the angles that the cans are mounted in relationship to the camera are equal and opposite to each other or another kind of imbalance in their effect will result.

"V" formation with two cans Rick Raphael developed another configuration which he liked very much — he orients two cans in a V formation (looking down from above) with the two cans at about 71° from each other. He found this angle experimentally, and the result is exceptionally smooth response in the pan axis, and of course, most of the inertial help is in that axis as well, with smaller assistance going to the tilt and roll axes.

257

TheStfadkam' Operator's Handbook

Be flexible Think about what axes you want to help, and in what proportion. It might be best summed up as three varying philosophies, which you may want to embrace for different situations, and your mounting scheme may want to be flexible enough to adjust for each or at least two of them. With three stabilizers the inertial augmentation is equal in all three axes, and this results in a feel most like what you normally are used to, just stiffen With two stabilizers mounted in an X you get more augmentation in the roll axis than the other two, and since that is the weakest normally, you get a Steadicam that is more balanced than normal, but it does not feel like what you are used to. In addition, changing the angle of the X (being careful to keep each can the same angle relative to the camera) you can fine tune how much tilt versus pan stability you desire. When the X is made tall and narrow, tilt is enhanced at the expense of pan, and when the X is short and fat, pan is stiffer than tilt. If headroom is the hardest thing to control during a particular shot, you could go for a stiffer tilt axis. With two gyros mounted in the V configuration, pan is both the strongest axis, and it is noticeably smoother. Since most of our moves are primarily in the pan axis, this may be the most desirable way to mount two gyros, but if you are having trouble with roll or tilt, think about one of the other configurations. For most situations, Larry McConkey prefers three KS-4's and he removes his Steadicam battery and video recorder — mounting them in a separate backpack with the 120V converter connected by a 15 foot long umbilical cord. Normally an A C or grip will carry this pack, so the overall weight of the rig remains about the same. In tight spots, the backpack can be mounted on his vest — but this is a serious weight increase and not good for long takes. On a vehicle, of course, the backpack is tied down nearby.

Mounting the gyros Another factor to be considered is the rigidity of the mounting used and the construction of the sled. Many sleds have a lot of flex in the post itself and in all the wonderful adjustable x-y mounts for the camera platform and bottom sled. Any quick changes the operator makes tend to result in a kind of whiplash effect, with shuddering noticeable in the shot. In some cases the result can be worse than not using gyros. A subtle change in technique will help — no sudden changes in pan. tilt, or roll, i.e., gently starting and stopping all moves — but the real solution is a more solid construction overall. A l l adjustable parts should be carefully set up with the least possible slop.

258

Exiendinq the range of movement

Maintenance Another issue with the gyros is cost of rebuilds. After a few hundred hours of use, they tend to get a little noisier and "grinchy." Kenyon will overhaul in short order, but the cost is several hundred dollars — an ongoing expense of the system to consider. Current research into the inner workings of the gyros may produce a more user-friendly unit designed specifically for Steadicam use. Design options include the reorientation of individual gyros inside the can and employing a different number of gyros, differential rate springs, stops, etc. This single unit would provide the maximum gyro effect with the minimum of side effects. If one needs a larger gyro effect, multiple units could be bolted together.

So how and when should we use gyros? • For shots where we don't want the Steadicam to rotate very fast, such as extremely still frames, very long lens stuff, or title sequences. • For whip pans. Gyros hit their internal bumpers, "unlock" for the whip, and then lock back up when you stop. Be sure you have a stiff rig or carefully feather out the start and stop of each whip pan. • Windy conditions. • Vehicle shots.

When are gyros less useful? • When sound is important. Be very careful adding sound barneys over gyros. The can has to dissipate a lot of heat, and the barney keeps the sound and the heat in. • When quick, jerky moves are required — unless you are going for a "shuddering" effect. • When a fine subtle touch is desired such as responding to an actor's changing facial expressions instead of large body movements. • When time is an issue, or flexibility in the configuration of the Steadicam is important. • When lots of charged batteries are not available. • When you don't have lots of help first setting up and then "getting dressed" for each take.

259

The M u m Operdtor's Handbook

Vertical control and the arm type Operators control the action of the arm in three ways. We lift up or push down to raise or lower the sled, changing the lens height, and we move the arm horizontally to fine tune the sled's horizontal position. To keep the lens at a given height or along a given path in spite of the motions of our bodies, we also must dampen the reaction of the arm to vertical and horizontal motions. Exactly how the operator accomplishes these tasks depends on the particular type of arm he is using, but it is possible to become quite proficient with any well-made arm. Once again, we beat the old drum: it takes practice to control the arm well. Lots of practice.

Isoelasticity and different arms Isoelasticity is a term that is generally misunderstood. Really misunderstood.

Isoelasticity describes how consistently an arm lifts its load as it is boomed tip and down. Here's a surprise: The original Model I and II arms were very, very isoelastic. Garrett Brown and Arnold DiGiulio achieved this trick through the use of three segmented springs, and also by having springs carefully matched to the loads and geometry of the arm. With these arms, it required very little effort to lift them up to the top or push them down to the bottom of their ranges. They were isoelastic, but the word hadn't been invented yet. The downside of these arms was that an operator needed several arms, each with a different set of springs, to be able to work with both light and heavy cameras. Each arm cost about $ 10,000 in 1980 dollars. The difference between the maximum (design) load and the minimum load was only about 5 pounds. Eventually, a change was made to the arm so that an operator could relax one set of strong springs over a large range. Now he needed only one (IIIA type) arm to lift both light and heavy loads. The downside of this change was that the arms were only isoelastic at the maximum load. As the load was reduced, the arm became progressively less isoelastic, requiring more and more force to lift all the way up or to 260

Exlendinq the rdnqe of movement push all the way d o w n . In other words, the arm's performance varied a lot depending on the load it carried. Another consequence of this flexible design is that the arm had a more centered, harsher ride when carrying lighter loads. It required more work to dampen the action of the springs or to keep the lens at a given height.

Working with a non-isoelastic arm Stepping up on a curb requires the operator to dampen the increased pressure f r o m the arm a split second later. In the weird universe o f the arm, it senses that the weight has been boomed d o w n , and it wants to get it back to its float point. The less isoelastic the arm, the stronger it seeks the float point, and the more work the operator has to do to keep the camera at a consistent height. This reactivity o f the non-isoelastic arm to vertical changes can be very difficult to control when hard mounted to a vehicle on a bumpy road. W h i l e both isoelastic and non-isoelastic arms absorb the initial shock of a bump, the non-isoelastic arm w i l l , a split second later, strongly attempt to return to the float point. If the operator fails to stop this reaction, the arm w i l l lift the sled up past the float point, then pull the sled d o w n , then pull it up, etc., much like a car without shocks continues to bounce along after hitting a bump i n the road. Learning to control this bounce is an important skill for Steadicam operators. A n y o f the line dances with boxes w i l l teach this s k i l l . Learning how much force is required to dampen the action of the arm is a big part of learning to use these arms w e l l . Practice with both light and heavy loads. Learn to feel the differences. M a n y versions of this M o d e l III type of arm are currently manufactured. Some are very well made and some are cheap knock-offs with bad bearings, poorly specified springs, etc.

261

The Sleddium Operator's Handbook

A new generation of arms In the early 1990s, Garrett tried a couple of different tactics to improve the performance o f the arm. Both involved keeping the spring or springs at their proper load, and changing the lifting capacity by varying the angle o f lift across the parallelogram. (If you want a l l the technical details, try reading U . S . patents 4,208,028, 4,394,075, 5,360,196, and 5,435,515). The result was two very different isoelastic arms. The term isoelastic was coined for these arms. These two arms behaved as predicted in terms o f consistent lift, but came with some other odd consequences. The original versions o f these arms were quite frictional, and when combined with the isoelasticity, the arms tended to be nonreactive to slight changes. The friction did some o f the dampening work for the operator, and this was a fairly good thing, up to a point. O n the downside was the tendency o f the arm (especially the ProVid™ type arm) to lock up or go over centers when at the extremes o f the vertical range, especially i f the operator was out o f ideal f o r m . (In the P r o V i d type arm, the vertical range was severely restricted to avoid these extremes of travel; not a good thing.) Later versions of the M a s ter Series and the Ultra arms had improved bearings and other changes that radically improved the arm's performance.

Note:

How to detune the Master Series and Ultra arms is described on page 268.

There are several important and good consequences o f a good isoelastic arm. Primarily, it takes less effort to change lens heights and to dampen the action o f the springs as one goes over rough terrain. The result is less fatigue and more precise vertical tracking. The arm's performance also is consistent as one works with lighter or heavier cameras. Other improvements: The no-tools features make it easy to adjust for heavier and lighter loads, preset the arm for a generally higher or lower float point for specific shots, and to change arm post lengths.

Setting the float point We set the nominal floating point in an arm differently, depending on the arm type. W i t h M o d e l I, II, and III type arms, each arm section is typically set to float slightly below horizontal (about 5° down). W i t h Master Series, U l t r a , and G-series arms, the nominal float point is slightly above horizontal, again about 5°. Setting the float point far from normal i n a non-isoelastic arms results in a lot o f extra work at one end of the boom range, and it is easier to hit the opposite end stop. The M a s ter Series/Ultra arm is more forgiving as far as effort goes, but it is also more frictional, and setting the arm far from nominal may make it easier to lock at one end o f the boom range. The G-series arms are very forgiving and perform fairly consistently regardless of how you set the nominal float point.

Extending the range of movement

Master Series ™, Ultra™, and Flyer .TM

Setting the arm lifting power The vertical screw changes the lifting angle of the spring. R a i s i n g the termination point (tightening the screw) increases lift; lowering the termination point decreases lift. The arm must be at a slight up angle to be able to turn the screw. Y o u have to wear the rig to adjust the screw, and you may have to lift up or push down on the arm to hold it at the proper angle. B e sure to stand properly, as being out o f f o r m (leaning forward or backward) w i l l affect how the arm behaves. First, adjust the forearm section to carry the load. It should be easy to boom all the way up or down, and the forearm should settle more or less horizontally. Y o u may want it slightly higher or lower than horizontal, depending on the shot. Once the forearm is adjusted, adjust the upper arm to follow or track with the forearm. Some tweaking may be required as you adjust one link against the other.

The Flyer™ arm Before 2004, lightweight arms for small rigs performed very poorly — excessively frictional and not very isoelastic. M a n y had no thread adjustments for the operator, the weight carrying and boom ranges were l i m i t e d , and the arms twisted under l o a d . These arms may have been inexpensive, but they did not work properly. Operators carrying lightweight cameras simply had no professional Steadicam arm. Garrett believed our w o r l d needed a lightweight arm that worked as w e l l as the b i g arms. W h a t he came up w i t h is the Flyer™ arm. The F l y e r arm's new trick is the use of a single steel spring across the diagonal, w h i c h greatly reduces the complexity o f the arm. The spring is bigger than normal — it pulls about three times harder — but the angle o f its pull is reduced to 1/3 the height of the parallelogram. The net effect is similar to a three-section, weaker spring pulling at the f u l l height of the diagonal, but the arm is m u c h less frictional. Because the arm's m a x i m u m lifting power is 19 pounds (payload), it was also possible to make the "bones" f r o m thick sheet metal, w h i c h keeps the arm light and the cost d o w n . M o s t importantly this 8 pound, tool-free arm performs just like the big arms, so operators carrying lightweight cameras now have the same fluid results as operators carrying bigger rigs. In fact, the original F l y e r arms were so friction free that a little friction had to be introduced to the arm! W i t h the Flyer

ru

arm, the operator's threads and lift adjustments are made exactly the

same way as with the Master Series and U l t r a arms.

263

The Sleatlkdm Operator's Hdndhook

G-Series arms adjusting and tuning

- " T O N

In 2004, Garrett B r o w n set out to design a lightweight arm that was twist resistant and had a small profile. He wanted an arm with much smoother and consistent performance, a bigger boom range, a huge weight carrying range, and user adjustable isoelasticity. It also had to be an arm that was tool-free, had fewer parts, and used only one spring per section. Garrett also thought it w o u l d be nice if the arm didn't clunk as it reached either end o f its boom range. It was a tall order, but he succeeded in a l l aspects with the revolutionary G-Series arm.

The G-Series arms have a new feature called G e o which dynamically changes the spring tension and termination point as the arm booms up and d o w n . These changes make for a much smoother ride, and they also enable the arm to boom 32 inches, much higher and lower than all other arms. The G - 5 0 and G - 7 0 arms have an adjustable active link, which gives the operator greater control over the arm's performance or ride.

The basic adjustments: ride and lift Each arm segment has two adjusting knobs: the horizontal Ride knob alters isoelasticity from a hard ride to a super isoelastic ride, and the vertical L i f t knob dials lifting power continuously f r o m 12 to 50 pounds with the G - 5 0 arm and 12 to 70 pounds with the G-70 arm. Setting the arm is a three-part process, but it's w e l l worth the small extra effort!

Adjustment of ride Ride is a new feature and it takes a few minutes to understand h o w to make it work for y o u . In the field, it only takes a few seconds to get the exact performance you want. If you can, preset Ride close to the desired level o f isoelasticity in both arm sections before picking up the sled and adjusting L i f t .

264

Start by presetting the R i d e knob to the middle o f its travel (about 20 threads visible). Once you get the isoelastic feel you l i k e , make a note o f the threads and the camera weight for future reference. Ride can only be adjusted when the arm

Adjusting the ride: The arm must be angled up at the top of its range. Note: The ride knob is horizontal, the lift knob is vertical.

Exiendinq the f ttnqe of movement segment is raised to its highest, unloaded position, so it is easiest to adjust before you pick up the sled. It can also be adjusted when carrying the sled by booming up fully. W e ' v e found it's often easier to roll the knobs rather than the classic " p i n c h and twist" method shown i n the photos. A G - t y p e arm becomes progressively less isoclastic as the arm's lift is increased. Heavier loads w i l l require a counterclockwise adjustment o f the Ride knob to obtain — or maintain — the desired isoelasticity. Lighter loads w i l l require a clockwise adjustment o f the Ride knob to decrease isoelasticity. Just don't force the end stops.

Adjustment of lift A l l lift adjustments must be done while wearing the r i g , standing in Missionary, and with your normal threads. Adjust the forearm section first (the arm section closest to the gimbal). H o l d the arm segment slightly above level. Slightly raise or lower the arm segment to find the sweet spot where it's easy to turn the knob. Adjust the arm's lifting power so that the arm section seeks a position slightly above horizontal. W h e n the forearm section is set correctly, adjust the upper arm section to f o l l o w (track with) the upper arm section as you boom fully up and d o w n . Don't worry i f the arm tends to lock up or d o w n at this point. N o w , re-adjust the Ride knob for the desired isoelastic response.

Adjusting isoelastic response W i t h the arm set to carry the load, we micro-adjust Ride for any given load. In general, we prefer the most isoelastic possible ride. There's less effort to boom up or d o w n , and less reactivity as one walks, climbs a curb, goes over a bump, etc., i.e., less dampening work to perform as w e l l . To adjust the arm for maximum isoelasticity at any given lift, we turn the Ride knob counterclockwise until the arm section begins to " l o c k " up or down at the extremes o f travel, and then turn the ride knob clockwise a couple o f turns. This w i l l keep the arm f r o m locking up or d o w n . We test and micro-adjust the lift and ride knobs as necessary. Typically, the arm is very forgiving o f less than perfect adjustments o f lift and ride. To m i n i m i z e any lifting required with heavier cameras and/or high boom heights, we often set the arm sections at a higher nominal angle (+20° or more!). We find pushing down is easier than lifting fully with the extended boom range possible o f the G-type arms. The arm can also be adjusted to hang lower than normal for shots with low b o o m heights, with very little penalty in performance. M i n o r changes in sled weight ( ± several pounds) do not require adjustment o f the ride knob: it's not something you change during the average day. Some operators prefer a more centered ride (like a IIIA arm with a less than m a x i m u m load) or a more centered ride when hard mounted on rough terrain. O u r advice: experiment and use the arm the way it helps you get the shot.

Note: Practice the booming and box exercises with the Ride knob set to maximum and minimum, and also with the arm's lift adjusted higher or lower than normal.

Tlir M i l .nil Q[H iilHi\Haii[|ii[i[U i

l

Working with the G-70's "kick back" link We use the G-70's kick back link to get the arm farther out o f the way as the sled crosses the operator's body. It's great for working in tight spaces or working on the same side as the socket block — reducing the need to change f r o m normal to goofy foot operating. The link also keeps the arm from banging against the stop in the socket block when walking quickly or running. The k i c k back link needs to be set outward, which is one way for regular operating and the opposite way for goofy foot operating. Your normal threads are not affected. W h e n using a back mounted vest, we set the kickback link inward to reduce some o f the back mounted vest's effects on the arm. If you use a back mounted vest, we strongly suggest you use the front mount o f a dual mount, back mounted vest to take full advantage of the G-Series arms.

Goofy foot

Regular

G-70 arm attached to the "back mount" of the dual mount vest.

Working with a back mounted vest W i t h a back mounted vest, arms (except the G - 7 0 as shown above) are more extended from the load (the sled) to the attachment point (the socket block). Extending any arm makes it more likely to go over centers and lock up. Additionally, the end block nearest the body is pointing fore and aft — more at the sled. With a normal, front mounted vest, the arm extension is less and the end block is o r i ented sideways to the load. W h e n we lean back with a back mounted vest, the upper arm section's end block leans back in line with the upper arm section, putting the end block in a more isoelastic position, which makes the upper arm section more likely to go over centers and lock up. A l l arms behave this way, but the consequences become evident with an extended range ( ± 7 0 ° ) and very isoelastic arm like the G-70 or G - 5 0 . The vertical travel i n most arms is restricted to ± 5 0 ° , and this effect occurs above that angle. Because the shoulder joint is eliminated in the back mounted vest, the arm does not pivot toward the load, and i n normal operating modes, the arm is overextended. The arm does not move out o f the way properly as the operator draws the sled in front, toward the socket b l o c k , and the arm can't reach as far across the operator's body. The range o f positions is restricted, especially when booming up or d o w n .

266

Exlendinq Ihe range of movement

The back mount overextends the arm.

The front mount keeps the arm in the traditional arrangement.

W a l k i n g with a back mounted vest also activates the socket block more than with a front mounted vest; it rocks back and forth in line with the upper arm section, again with consequences for the arm's response. B y contrast, when using a front mounted vest, the end block rotates perpendicular to the upper arm section, and leaning back has little effect on the arm's performance. W e ' v e found that the solution when using the back mounted vest is to have about onehalf the iso help (1/2 the threads) i n the upper arm section than one might typically have. We fine tune the adjustment the same way as described above, increasing the isoelastic response until the arm starts to lock up, and then dialing it back in a few turns. Because the forearm's performance affects the upper arm's response, we reduce the forearm's iso help from normal as w e l l . E v e n with the iso dialed d o w n , the G-70's response i n the ± 5 0 ° range is more isoelastic than other arms.

Unscrewing the ride knob increases isoelasticity; screwing it in decreases isoelasticity. To set the Ride control for the maximum isoelasticity: • Set the arm to carry the sled's weight. • Be sure to stand in proper form. • Boom the arm section all the way up to adjust the ride control. • Unscrew the Ride control knob a few turns at a time and test by booming up and down. • At some point, the arm section will begin to lock up as you boom up. When it does, screw the Ride control knob back in a couple of turns. Repeat for the other arm section. • If you change the weight of the rig significantly, you should change the Ride control. A heavier rig needs more dynamic help for a given level of isoelasticity than a lighter weight rig. 267

The Sleadkam Operaloi s Hcindhook

How to detune Master Series" and Ultra" arms Detuning the arm is nothing more than relaxing the springs out of the "ideal" design, exactly what was done with the IIIAarm to reduce the weight carrying capacity. When the springs are relaxed, the arm section seeks the center more strongly. It has less tendency to lock up. even if the operator is out of form or the two arm sections are not fully adjusted to each other. You detune the arm by turning the long screw in the picture counter-clockwise with a ball-end hex wrench. You must be absolutely sure that the spring does not rotate. You may have to remove the covers and hold the fitting on the end of the spring as you turn the screw. Relax the springs about 1/2 inch as a start, and test the arm. Be sure to adjust the two sections to work together and to stand in good form. The more you relax the screws, the more centered the arm section will become, the less likely it will be to lock up, and, of course, the less weight the arm section will carry. Once the arm is "properly" detuned for you, it's really nice to install a Delrin or nylon spacer around the screw and then tighten the spring against the spacer so the spring can't twist. This requires a custom made spacer, but they are a snap for a machinist to make.

Note: The Tiffen Company strongly recommends that you do not detune the arm yourself. You can damage the arm if the cables between the springs get twisted, and it costs a lot for the repairs. Owner beware!

268

Exlendino the ranqe of movement

Arm posts In some arms, the arm post is fixed and can't rotate at a l l ; in other arms, the post is completely free to rotate on low-friction bearings. M a n y arms incorporate an adjustable brake system so that the operator can choose the rotation freedom he likes and alter it for any specific shot.

How free should arm posts be to rotate? A completely fixed arm post is okay if the gimbal handle is somewhat (or completely) free to rotate on the post. In the old days of the M o d e l I, II, and III arms, the posts were always fixed, and many operators added many different slippery (nylon or Delrin) washers inside the gimbal handle to make it easier to shift the gimbal handle around. A n arm post that is completely free to rotate makes it really easy to get the arm out of the way when going through tight spaces, and it does a marginally better job of absorbing lateral movements of the operator. However, a freely rotating arm post requires some special operating techniques. Because the spring in the socket block joint pulls the g i m bal handle in line with the arm (rather than leave it at the ideal forty-five degree angle), the operator has to constantly force the gimbal handle into the ideal position for viewing and to align the gimbal handle ergo no mic ally. Stopping and starting the rig in motion also requires a special technique. S i m p l y pushing the arm hand forward w i l l first rotate the gimbal handle and push the end of the arm forward, rather than m o v i n g the rig. A slight bit of torque from the arm hand as you push forward is all that is required to make the sled move. We find all the extra efforts required of a completely free arm post annoying, but other operators like a freely rotating arm post. A somewhat frietional arm post is a good compromise for most operating (individual preferences

^LW

aside). The gimbal handle '"behaves" by slicking where you place it. It's typically oriented at about a 4 5 ' angle to the forearm, where it's easy lo see the monitor and where there are no stresses on your wrist. Y o u can, with just a tad more effort than a completely free arm post, shift the gimbal handle position as needed, and then leave it there without additional effort. Starting and stopping the cam¬ era is accomplished without adding that touch of torque from the arm hand.

^ ^ ^ ^ ^ ^ k .

-jJh^mm

m^mwmW

fe^^. 3

£ ^Qfl

79m

Clearly the best choice is the most complicated (and expensive) one: starting with an arm post that is completely free to rotate and adding an adjustable brake. The operator can then choose what degree of friction he typically likes and then alter it for each shot.

Back mounted vests W i t h a back mounted vest, the reversed nature of the socket block defeats the spring in the "shoulder" joint. In normal operating positions, there's no pull on the arm l i n k s , so it's less annoying to have a more freely rotating arm post, but one still has to give that little torquing movement with the arm hand to push the sled along.

269

The Sleadkdm' Operator's Handbook

Putting it all together The devil is in the details, ami there certainly area lot of details in Steadicam operating. It's easy to get distracted by all the things that need to he attended to and hard to avoid becoming paranoid about all the things that can (and do) go wrong. I have often thought that there are few occupations that require so much to be working right to be able to work at all. It requires physical strength and conditioning (legs and backtnuscles, aerobic capacity), coordination and balance, good peripheral vision and situational awareness, aloiig with political agility, Sensitivity to the needs of the script and the actors and it definitely helps to display grace under pressure. A definite facility with the various electronic systems is needed, and a clear understanding of the physics of the device must be maintained every moment or disastrous control problems overwhelm you. Psychology is important too. While operating, I often get the feeling that I am close to disaster, and sure enough, whenever J get a little over-confident or cocky, that's when disaster does strike. Being close to the edge is part of what makes the job tln illifig and keeps my attention at a very high level. I also have to have confidence in my ability to make the shot and not be concerned about the possibility of failure. The magic comes from being able to transcend all of these concerns and to make them all subordinate and work in service to the feeling and flow of the shot. — Larry McConkey

270

Section Nine

extending the range of options

271

The Steddicam" Operator's Handbook

Steadicam® and vehicles

faster, farther, higher, lower The very first Steadicam shot in a movie was a crane step-off i n Bound for Glory. Garrett B r o w n was the operator, 30 feet in the air on a Titan crane. The crane was lowered to the ground and Garrett stepped off to f o l l o w D a v i d Carradine across a field crowded with 900 extras. U t i l i z i n g a vehicle with a Steadicam adds a new dimension to your storytelling opportunities. The operator's reach is extended, his stamina increased, concentration honed. The camera can literally fly through the air, speed down the road, hover next to a cyclist, or track with a cat stalking its prey. A l l sorts of vehicles (dolly, crane, truck) can help you get these shots, but beware! Don't lose sight of the story. D o n ' t move the camera for the sake of m o v i n g the camera, because it feels exciting to be strapped onto a vehicle, rig in your grasp, maneuvering around corners at a good c l i p .

Aesthetics of movement Before Steadicam, the only viable option was to mount the camera directly to a vehicle or to shoot handheld. The camera was subject to all sorts of forces — centrifugal forces going around corners, hard accelerations and braking, bouncing over rough surfaces, etc. Often, i f the road wasn't level, then the camera wasn't either. The Steadicam changed all that. When shooting on a bus, train, boat, or other vehicle that is part of the story, the operator has some choice about whether to lock the Steadicam to the horizon, to the motions of the vehicle, or to some indeterminate world between the two. In typical shots, the most realistic viewpoint is to lock the Steadicam to the horizon, as this matches our human viewpoint. However, this w o r l d view doesn't necessarily cut w e l l with other, conventional shots in a vehicle sequence. Conventional operators use hostess trays, hood mounts, and many other rigs that are essentially locked to the vehicle's motions. Audiences ( D P s , operators, and directors, too!) have come to accept this non-realistic view as normal. Operators are often told to shake the camera during this sort of conventional shot to add realism!

272

Exlendinq the range of options

Shooting from a camera car L o c k i n g the Steadicam to the horizon tends to work best when the vehicle you are riding in is not part of the story, but merely the camera support vehicle. Then our shots cut well with shots f r o m grounded cameras — on a tripod, dolly, or crane — and even shots from helicopters and planes (properly stabilized, of course!). Shooting vehicle to vehicle, you want to really watch your horizons and avoid bumps. Protect your sled from the wind as much as possible and add the heaviest Antlers that you can carry, or gyros. Let the arm absorb the bumps. N e w Steadicam operators often try to keep the sled in the same vertical spot relative to the vehicle, but you must let the arm float, up to a point. Some operators like to harden the ride of the arm for this type of vehicle shot. A less isoelastic, more centerriding arm seeks the center float point more strongly and keeps the arm from rising or falling too far. H o w e v e r , a more center-riding arm needs more shock absorbing attention f r o m the operator. I find a strongly center-riding arm annoying; I like an arm that is as isoelastic as possible, so that it is less reactionary going over bumps, and 1 do less shock absorbing work. W i t h an isoelastic arm, I only need to be conscious of the biggest bumps. W i t h a G-type arm, you can instantly dial i n any amount of isoelasticity or centering you like. A n y arm of any design, however, can be made more center-riding (or less isoelastic), and you can make any arm resist going to the extremes of travel. If you want a more centered ride, simply wrap the arm in a bungee cord for more lift, and dial down the lift f r o m your arm's springs. The bungee's lift is going to be more centered (less isoelastic), so the whole arm w i l l be more centered. Y o u can also arrange a couple of bungees to be loose i n the center of the arm's travel, and only start to pull on the arm when it gets closer to the end of travel, so you have a " n o r m a l " ride i n the arm, but you protect the arm f r o m going too far up or d o w n .

Shooting inside a vehicle W h e n shooting inside a m o v i n g bus, train, or boat, etc., one tends to operate as i f one was on terra firma, watching out, of course, for the odd lurch and the long and strong accelerations and decelerations. We tend to balance the sled normally (if anything with a slower drop time). It's easy to add motion to these shots, or, if you like, give the shots some extra tension by grabbing the post harder. If we are i n a larger vehicle where we can use the Steadicam, then it pays to use the Steadicam for the entire sequence, even for any static shots. Get a dolly or a tripod and hard mount to that for the static shots, and let the Steadicam lock to the horizon i n all the shots.

The Sleariitam Operdloj s Handbook A long time ago, Cinema Products made a special vehicle kit that rearranged the Model Ill's parts into a Steadicam that fit into a car.

Using a Steadicam to imply movement in the scene: The Steadicam can be used to add movement to a scene where little or none exists. In The Bounty, Toby Phillips rolled the camera to increase the violence of the storm sequence. Being out of sync slightly with the action increases the effect, but watch out for roosters giving it all away.

We were going to revolutionize the way audiences experienced shots in cars! It didn't happen... (see page 294 for a picture of the Model II compact vehicle kit.)

The Bounty 0:26:26

Take a look at the entire airplane sequence for The Twilight Zone (movie) — Garrett Brown yanked the camera ail over to create turbulence, and he had the actors rise and fall with the camera as he lunged about the cabin.

Point of view shots Character P O V s from vehicles should generally be smooth and locked to the horizon (except for the most violent o f vehicle motions), much like i n a vehicle to vehicle shot. In cars, many o f these P O V shots are done handheld or o f f a bazooka in the back seat because there is no room for any other camera. Audiences, directors, and D P s arc accustomed to the o l d shake and bounce, and y o u ' v e got to work harder to sell them the idea that it w i l l look and feel better i f shot with a Steadicam. We need to change the common language o f the cinema here!

Different types of vehicle shots: * Looking at another vehicle without revealing or calling attention to the vehicle the camera is riding * Including the camera support vehicle, such as people talking inside a car * Action inside a vehicle like a subway or a bus where the outside horizon is not ever revealed * To get the camera moving up high or fast * To get a good angle of a crowd or a landscape

274

Extending Ihe range of options

Aerial vehicle: The Mighty Quinn In 1989, Jimmy M u r o w o w e d the w o r l d with an amazing tracking shot i n The Mighty Quinn. A s Denzel Washington jumps out o f his jeep and runs down a hill past a burning house, the camera magically flies after h i m l i k e a l o w helicopter, and then lands next to a c r o w d and follows Denzel running into the jungle behind the house. J i m m y — operating two-handed for control over the image — stepped off a three-tier high scaffolding onto a modified contraption used by the grips to haul equipment and props for the movie up and down the h i l l . The platform was suspended from a heavy-duty cable, and pulled up the hill (or braked on the downward run) by a secondary line. Once aboard, Jimmy shifted to operating onehanded — his arm hand now gripping the platf o r m for dear life — and this was the signal to let h i m fly after Denzel as he ran d o w n the h i l l . The secondary line controlled the descent and brought J i m m y to a semi-controlled stop, where he got o f f and continued the shot o n foot around the back of the house. Because the speed o f the move and the dismount were too fast, no safety rope or bandolier was slipped on and off.

P i *

'^S

A trusted assistant cued J i m m y to step off at the bottom o f the r u n ; things were happening so fast he could not even glance away f r o m the monitor. Take one was the safety, and then, as J i m m y wrote f o r the December 1988 Steadicam Letter, " O n c e the security o f a good take was i n the can, we c o u l d l i v e a little bit on the edge. Increase the speed. M o r e flames. T h e third and final take was by far the most compelling and dramatic. A n early step-off (near disaster) allowed another split second for M r . Washington to run toward the camera, passing i n a closer shot. T h e spontaneity o f this type o f moment can't be set up intentionally, but it's what one remembers best about the whole shoot."

The Mighty Quinn 1:20:07

This amazing shot inspired Garrett Brown to invent the Skyman" a fancier and more versatile platform suspended from a cable — but one that does not allow the operator to get on and off during the shot.

275

The Slfadkanr Operator's Hanill

t

Stepping off a crane: Road to Perdition Personally, I absolutely love the spirit-like POV in the beginning of the shot, as Hanks's character is about to commit his last murder and finish this war. We are watching from above now, the pieces have fallen into their places, it is out of our hands now. Although the camera eventually gets lower, we never clearly see his face, simply because there is no emotion to see there. He is a killing machine, efficient and cold, and the camera move accentuates that with its precision. Scott Sakamoto was the Steadicam operator riding the crane, and you can see how tight his headroom is on Tom Hanks, as the ceiling pieces are rushed into position when the crane comes lower and lower. A pan is always the best moment to hide the step off from a crane, and Scott's step off is simply perfect. A brilliant shot, in one of the best photographed films of all times. — M i c h a e l Tsimperopoulos, o n the Steadicam f o r u m

276

Road to Perdition 1:42:18

Exlenriing the range ofoplions

On and off a golf cart: Bonfire of the Vanities

\\ X

amazing i n many ways, but here we want to point out how cleverly B r i a n D e P a l m a and Larry M c C o n k e y worked with a golf cart. The scene begins with Larry on foot, and looks like a typical walk and talk shot. Then the actors, the director, the Steadicam operator, and his assistant all c l i m b on a golf cart, travel for hundreds of yards down a tunnel, get off the cart and continue the scene — and it's all done without calling attention to itself. L o o k at the action (or the " m i s d i r e c t i o n " to use a magician's term) as Larry and the crew get on the cart, as the cart starts and stops, and as L a r r y and the crew get o f f and continue the shot on foot. There are crosses, exaggerated business by the actors, tons o f stuff to distract the audience as the tricky maneuvers take place. A more mundane and typical method of shooting this part of the scene would have been to use two golf carts and shoot from one to the other — so much duller and a lot less f u n .

Bonfire of the Vanities Opening sequence

211

The Sleadicam" Operator's Handbook

To ride or not to ride?

Steadicam versatility

T h e Steadicam can ride an array o f devices wheeled and otherwise, not s i m p l y the typical camera car or crane. U s e your imagination — sled, tram, sailboat, hot air b a l l o o n . A l s o , because the connect point o f the arm to the operator's vest is a socket b l o c k , a socket block can be mounted on a vehicle to facilitate a camera position or speed that cannot be achieved w h i l e the operator is wearing the r i g . The Steadicam floats on the arm, the vehicle carries the weight, and the operator is free to concentrate o n f r a m i n g . Vehicles can be used to increase the camera's speed or to transport the camera to an otherwise unreachable position.

Deciding to use a vehicle A vehicle shot should enhance the action. T e l l the story better. Increase the adrenaline in the audience. B u t speed is not the only reason to get on a vehicle with the Steadicam. Pushing the camera toward something that is m o v i n g toward it speeds up the m o v e ment, as does p u l l i n g away as the subject recedes into the distance. S i m p l y tracking alongside something m o v i n g , without letting the space between you "breathe," can be visually d u l l . Placing the Steadicam on a vehicle allows you to enter new spaces, change the view of the audience, create tension and suspense by revealing the world from different perspectives. Consider this shot: F r o m a standstill a 6 foot tall teenager takes off full speed down the road. There you are, markedly older than sixteen, wearing nearly 80 pounds of equipment, and you are supposed to keep up with h i m ? N o wait, the director wants you to lead h i m d o w n the road. W h e n y o u are physically straining just to keep up the pace or stay upright, your ability to frame the shot disintegrates rapidly. It may be better if you get on a western dolly and have four grips do the running.

The decision to ride can be complicated.

278

Extending Ihe range of options

Some factors to consider: Will riding improve the shot? This question must be answered i n both an aesthetic sense as well as a practical one. Perhaps riding is the only way to get the lens where it needs to go. W h a t if the director wants the shot to start high in the air and then float d o w n to track w i t h a dog at its eye level? The shot could involve running an entire city block. Y o u should be able to do this and get a good shot, but w i l l you be able to repeat it take after take? Is this a three or four take m o v i e , or is it typical to do a shot fifteen or twenty times? What if you scout the path o f the shot and discover the sidewalk pavement is riddled with uneven cracks? Part of your concentration would be diverted as y o u try to avoid tripping and falling. Often, riding w i l l give you more control and result i n a better shot.

Is it going to be safe? Is the right vehicle available? D o you need a car, an A T V , or simply a western dolly? C a n the vehicle be safely rigged? Some vehicles are ready-made for Steadicam; others need some effort from you and the grips to make it work. Is there someone available with enough experience to safely operate the vehicle as y o u ride it?

Is there enough time to rig and rehearse? You don't want to bog down the production unless using the vehicle is the only way or w i l l make the shot markedly better. Consider here again whether the production likes a few takes or dozens. If you know you are going to spend half a day getting a shot, and a vehicle w i l l aid y o u , then by all means do all you need to get the best shot. It is a good idea to find out ahead of time what the shots may involve for the day, as you can start the process of rigging a vehicle hours before it is needed. This gives you time to double check safety issues.

Are you willing to give up some control? R i d i n g on a vehicle, you no longer are the sole pilot, flying the camera. T i m i n g is critical. H i d i n g the transition on or off a vehicle or simply the start or finish of the move is now more complicated. This adds time to getting the shot. M o r e rehearsal is required. Y o u must establish good communication with the vehicle operator, and make sure everyone understands the cues involved.

In short bursts, or when there is no other way to get the shot, running with a Steadicam is a viable option.

279

The SleadUdin' Opeidloi "s Htimlhook

Hard mount or soft mount two basic ways to ride Hard mount calls for the Steadicam socket block to be hard mounted (fixed in some way) to the vehicle, and the Steadicam operator does not carry the weight. Soft mount is when the operator, while standing or sitting on a vehicle, wears the vest and carries the Steadicam.

The mechanics of soft mount The Steadicam makes all sorts of vehicles useful. The arm dampens the vibrations other camera mounts cannot. A l s o , if balanced and operated properly, the Steadicam hangs level, despite the attitude of the camera platform. One b i g advantage of soft mounting is the ability to step on and off the vehicle during the shot like Garrett did in Bound for Glory. Y o u might start on a crane, step off, walk into a building, step onto a western dolly, and speed across the factory floor.

Standing soft mount A n y sturdy platform with wheels, and even lift (forklift, front loader, hydraulic lift, etc.) can be fashioned into a vehicle for Steadicam. M a k e sure you have something to hold onto with your boom hand, while you operate one-handed with your operating hand. There should be a railing about waist high that y o u can lean against. Y o u might even consider a grip riding along with y o u . Y o u should have a safety line that can be hooked to the vehicle and unhooked as you need to step off. Soft mount can actually absorb bigger bounces than hard mount because in addition to the range of the arm, the operator can absorb some bounce by bending his knees. Standing soft mount is a great choice for shots on a boat. This is obvious i n the ocean where waves are expected and you can use your knees to absorb some of the movement. But even on a c a l m lake there are (unexpected) wakes f r o m boats that are larger than the arm can absorb, and a hard mount on a boat could prove disastrous.

Exlendinqllie range of oplioiis

Sitting soft mount If you are going to sit down w h i l e wearing the r i g , y o u must shorten the length o f your vest. Without shortening, the bott o m o f the vest w i l l dig into the top o f your legs, disabling the femoral nerve. T h i s results i n numbing your thighs and can be permanent. Therefore, wear your vest a few inches higher on your hips than normal. Y o u can also add foam padding between the tops of your legs and the vest in order to spread out the pressure.

Remember: Always shorten the vest and add padding for a sitting soft mount.

Stay aware and monitor the feeling in your legs. This is especially critical when soft mounted for an extended period of time. It may seem easier to remain seated on the vehicle between shots, but this can damage your nerves. Try to get off and hang up the rig as time permits, just like when you hang up the rig between regular shots. Soft mount can be more dangerous than hard mount, simply because you are attached to the rig w h i c h makes it difficult to just step off, or be pulled to safety when things go wrong. O n the other hand, i f y o u are s i t t i n g , your center o f gravity is lower and the vehicle is less l i k e l y to tip over. E v e r y choice has consequences f o r the shot and y o u r safety.

Definitely not recommended: balancing precariously on any vehicle.

The mechanics of hard mount A spare socket block must be attached securely to a vehicle. There are adapters available that j o i n the socket block to a high hat or the top o f a Mitchell tripod. Y o u can also use U-bolts to secure the socket block to a vertical speed rail configuration. Camera cars and other camera vehicles are generally ready to accept one o f these two alternatives.

The Steddkam Opefdlor s Handbook This European hard mount adaptor is easily adjustable. There's even a seat attached. It works by removing the screws on the front and sliding the whole bridge plate and socket block from the vest on to the dovetail front. The screws go through the bridgeplate to secure it to the adapter.

Make sure the physical connection (socket block to vehicle) can not only bear the weight o f the r i g , but also resist the torque that w i l l be applied when the vehicle is accelerating or turning. I always use the crazy monkey technique on any vehicle hard mount system, whether home built or professionally made. It's my life hanging out there. If anyone objects, I just smile like a monkey and shake it harder. You will need some webbing to restrain your own movements. You should have adjustable straps that keep you from moving sideways as well as backward, and you should incorporate a quick release mechanism into the scheme. A n y webbing that goes around you should go over one shoulder and under your other arm like a bandolier. Don't forget the in and out and side to side adjustments for the arm lift angle. They are just as important on vehicle shots as they are in regular operating. However, while you will remain upright over rough terrain, the socket block on a hard mounted vehicle will change its relationship to vertical. Be sure to adjust the arm for the shot, not just where the camera car happens to be parked when you are prepping the rig. For example, if the road has an uphill grade, you might balance the rig to float while going up the h i l l . Then you don't have to pull the Stcadicam toward you throughout the entire shot.

Extending the range of options

Determining where to mount the rig It's good to know exactly how high and l o w you can normally get the lens, relative to the socket block height o n your body. Take measurements o f the lens height range of your typical high and low mode setups. O f course, you can alter the lens range with longer posts, high low mode, F-brackets, superposts, lighter cameras, etc. To help with hard mounting, measure the height o f the socket block on your body. The typical low mode range is compressed at the bottom end because the operating hand can't reach that far down to the rig's e.g. A low lens height of 10 inches is possible i f one operates far above the e.g., which may be the only way to get some shots. A r m e d with the chart you create (using your sled, camera, arm, and vest), you can intelligently determine i f you can get high or l o w enough (and i n what mode) for the shot the director wants, and you can confidently tell the grips at what height to set the hard mount socket block.

A simple high and low mode chart for a basic Steadicam with a G - 5 0 arm: Typical high mode lens height range:

43 to 79 inches

Typical low mode lens height range:

25 to 45 inches (range compressed)

Socket block height of sample operator: 44 inches Typical lens height relative to socket block height - high mode:

-1 to +35 inches

- low mode:

-31 to +1 inches (range uncompressed)

Where does the operator go? Carefully choose your position on the vehicle. Factor i n your safety as w e l l as where the lens needs to go. Some vehicles have numerous attachment points f o r hard m o u n t i n g ; others have only one. If y o u have an o p t i o n , determine the best place f o r the r i g to hang. A s k the director and D P what w i l l be the relationship o f the camera car to the subject, w h i c h directions they want y o u to point the camera, and what is the ideal lens height. G e t a clear description o f the shot before y o u have the grips b u i l d a n y t h i n g . C h e c k that y o u have adequate clearance — in a l l directions — f o r the a r m and the sled, and be sure there's a g o o d place for y o u and y o u r legs and feet.

Always wear a helmet when hard mounted to a motorcycle or an ATV or when riding on the exterior of a vehicle going more than a few miles an hour.

283

The Sleddkdm' Operalor's Handbook Try to carve out a comfortable seating arrangement for yourself. The last thing you want is to feel precarious w h i l e operating the Steadicam. Double check all safety systems. Inspect all the knots, c l i p s , straps, and tie-down points. You should o w n a safety bandolier, A t a m i n i m u m , you should have a single loop of 2 inch webbing that runs over one shoulder and under the opposite arm. Use a carabiner to clip into a system of straps. Better yet is a double crossing pair of bandoliers, and even better is a version with a dependable quick release. The restraining straps should be adjustable, so you can comfortably lean against them during the shot. It's best to use two straps that keep you f r o m moving too far to the side. Get as wide a purchase as possible with these straps. Create an exit strategy if things go wrong. F i n d a way to get the rig and your legs up and out of the way of a collision. Practice the maneuver a few times. If you have a quick release on your harness, practice releasing it, too.

Safety, speed, communication the dangers of riding Vehicle shots place the camera and operator in dangerous positions. For example, you w i l l often find that you are sitting at bumper level between two vehicles. If something were to go w r o n g , you are the point of initial impact. Set up a system by which you remain safe and alive. If the vehicle is big enough, have one person, usually a grip, ride with y o u . H i s sole responsibility is to watch for impending danger and do what it takes to stop the shot, the vehicles, and save y o u . This isn't something your assistant can do; he or she is busy pulling focus. The assistant director ( A D ) has too m u c h on his m i n d to do this w e l l . Get someone who can totally focus on y o u . Y o u must also make sure that you have a direct communication link to the driver of your vehicle. In this way, you can stop the shot i f things start to get ugly.

Scout, scout, scout The terrain over w h i c h the vehicle w i l l travel must be carefully scouted. Ride the path o f the shot without the Steadicam at a slow pace. A pothole or bump of a foot w i l l exceed the range of your Steadicam arm and may result i n the pins of the arm shearing off. R i d e the path of the shot again — this time at speed. Feel the forces on your body as you turn or accelerate. Configure and balance the rig to best survive the ride. B e sure everyone, and especially the driver, understands that this is the m a x i m u m speed for the shot.

284

Exlendinq the range of opiions

Communication Y o u and the driver must be able to communicate directly, and he must listen to you first and foremost. M a k e sure he understands what you are doing, the limitations o f the r i g (i.e., the b o o m o f the arm), and agrees that nothing changes i n the shot — especially speed — without your consent and a rehearsal. We can't emphasize this enough: the driver must listen to y o u , not the director shouting "Faster, faster. Closer, closer." Y o u need a rehearsal for every change in the shot. M a k e sure the assistant director understands this. W h e n shooting vehicle to vehicle, things get even more complicated in terms o f communication. M a k e sure you firmly set up the order o f operations. Stay safe.

As a last resort, when the driver goes faster and the other vehicle gets closer than planned, we recommend pointing the camera at the sky and refusing to shoot anything else until the whole crew gets their act together safely and responsibly. Just say no.

0.25- thick

3.00* wide

2-75V ^ .25" Holes: 12X0.19

.20" .95'

T i p ! If you don't have a spare, your vest's bridge plate on your vest can be drilled to accept two U-bolts, or you can make up a metal plate (3" tall, 7" wide. .25" thick) to which you can screw your vest's socket block. Drill holes in the plate to accommodate the U-bolts.

TheSteadiidm' Operalor's Handbook

General techniques Balance the rig — Less bottom heavy w i l l reduce pendular action on fast starts and stops, turns, long and strong

accelerations/decelerations. Configure the rig — Inertial considerations like spreading the masses (monitor, battery, camera) can help keep the rig more stable. Hard mount — The socket block can be secured at different orientations i n order to place the arm for the optimal range for the shot. It doesn't have to be exactly like it is attached to your vest.

Test the range of movement — M o v e the rig into the positions necessary for the shot. M a k e sure you can physically reach the rig without compromising your o w n balance and safety.

Bungee the arm

— Consider tying off

your arm with bungee cords in order to dampen the rough ride and keep the arm from bottoming out. Antlers or gyros — Suppose you are shooting off a motorcycle mount with the rig close to the vehicle. The shot involves panning from forward to behind the vehicle. In this case, it w o u l d be impossible to create angular inertia by spreading out the monitor and battery. In this situation, Antlers mounted atop the camera could provide additional stabilization. Gyros would also help without making the rig any wider.

Training for vehicle shots Practice shooting from a vehicle so that you are comfortable with every aspect, long before you show up on set. W h i l e it's fun to shoot your friends running or b i c y c l i n g next to your vehicle, you won't learn very much very fast. The hardest thing to shoot is the landscape — horizons are unforgiving and fixed objects require precise panning and tilting. Before you practice with the r i g , test your hard mount or soft mount scheme. Scout the route. Get communications straight with your driver. G o slowly and work up to speed.

286

Extending the range ol oplions To practice keeping everything level, shoot to the side as the vehicle speeds up and d o w n , starts and stops. H o l d the camera at a single attitude relative to the vehicle and then relative to the earth. To practice panning and tilting the c a m era, hold a tree, tree branches, a house, or a mailbox in one spot in the frame. Choose some objects that are far away and close to the camera. W o r k i n both telephoto and wide-angle, high mode and l o w mode, and record and play back your efforts. Choose different parts o f the frame to hold the subject, and also carefully move the object across the frame as you travel along. Shoot with and without Antlers (and/or gyros, i f y o u have them!). Work on faster starts and stops, but be sure to increase the speeds you try slowly. Change the route; try tighter corners, very slow and somewhat faster speeds (be caref u l ! ! ) . G o over small bumps. Have an earth-mounted camera shoot you as you go over bumps, around corners, etc. Watch and learn what happens with the arm. Remember how it feels. If your arm is a G-type, go over the same route with the arm's ride adjusted as isoelastic as possible and as centered as possible. What works best for you?

I Just because you are operating from a vehicle, you are not excused from good operating techniques. Always start the camera moving first, before the vehicle starts its move. Kiss off the move at the end. Just like in the line dance. In order to start a fast move, configure the Steadicam in space so that you can initiate the move with the rig. Pulling the Steadicam in the proper direction as your vehicle gets up to speed will seamlessly transition into going along at a good pace after a quick start.

2X7

The Sleadkam"' Operator's Handbook

Useful knots for rigging and safety: There are thousands of useful knots; knot tying is an old and noble craft. For your own safety and sanity, learn a few basic ones. Go to a hardware or marine store and buy one of those little cards with a red and a white string and follow the instructions. The basic rope knots you should know are the bowline, the clove hitch, and the taut-line hitch. The bowline is the "rabbit comes out of the hole" knot of your childhood. It forms a fixed (non-tightening) loop at the end of the line, and it is a very useful knot to safety yourself to some fixed post or beam. The knot is also great because it will not come undone under load, but it always opens easily when not loaded. A lot of grips and sailors can tie this knot one-handed, and in a heartbeat. The clove hitch is a knot used to tie a line tightly around a post. It s good for hitching up your horse, too. Clove hitches are sometimes "backed up" by additional hitches.

Clove hitch tied on a pipe or post. It can also be slipped onto a post and tightened (right). The taut-line hitch is a knot used to adjust the length of a loop. Under load, it locks, but if the load is removed, it's easy to adjust. It is useful in setting the length of a safety or support line when you are hard mounted to a vehicle.

There is a special knot used to tie two ends of webbing material together. It's basically an overhand knot on one end doubled up by lacing a second overhand knot in reverse with the other end of the webbing. This is a great knot for making fixed loops of webbing. It's as strong as the webbing itself and it won't come apart under load. The only downside of the knot is that it is often very hard to get it apart at the end of the day.

Extending itie range of options

Types of vehicles

and techniques for riding

Camera cars and trailers Camera cars arc a good way to get vehicle shots while traveling down a paved road. They are generally big and stable, and they have the means to easily mount a Steadicam just about anywhere. They also have spots for the director and other members of the crew to hang out, watch the image, etc. I ' m not all that much of a fan of the standard mounting arrangements, however. Although strong, they tend to keep the sled too close to the vehicle, restricting the movement a Steadicam can make. If you are going to use a camera car, be sure you find the best placement for your hard mount. Consider using a strong U b a n g i to extend the hard mount another foot from the vehicle, and test everything as much as possible as it is being built.

A camera car towing a standard l o w riding car trailer is generally not a good place for a Steadicam. There's not much space for y o u i f hard mounted, and y o u certainly don't want to walk around on a m o v i n g trailer. A l a s , the look of Steadicam shots on these vehicles, with the camera tracking the horizon instead being locked to the car or trailer, is much more realistic and pleasing.

Motorcycles B i g motorcycles are great for hard mounting. Small motorcycles should be avoided — as you and the Steadicam are generally too big and your e.g. is too high to be safe. A l though we have this famous photo of Garrett w o r k i n g out a soft mount on a B M W (page 290), soft mounting is generally avoided: you don't want to be sitting for any length of time, and you don't want the G-forces pulling you off the bike as you go around corners, accelerate strongly, etc.

289

TheSteddicam Operator's Handbook 1

The safest tiling to do is to hire professionals who make a l i v i n g with a motorcycle specially modified for Steadicam. T h e y ' v e worked out the mechanics, they know how to drive with the added load of operator and Steadicam, their rigs have monitors so they can see what you are shooting, etc. They are prepared for y o u . Typically, a hard mounting post is welded to the big bike's frame, and often the operator rides backward to shoot the faces of bicyclists, marathoncrs, other drivers, etc. The forces generated by a fast accelerating and cornering bike are huge: at the end of a long race, your " b o o m i n g " arm can easily get cramped. A l w a y s scout the course. Motorcycles are adept at going over bumps that far exceed the range of the arm. In a live bicycle race I once d i d (10 laps, 156 miles, all riding backward) there was one d o w n h i l l bump we hit each lap at about 70 miles an hour, and each time I just grabbed the sled and held it to m y chest. Talk with the driver about how you should lean or not lean to help with steering. I think a lot depends on the bike, but most times I've been told not to lean. M o v i n g the Steadicam around is enough o f a weight shift for the driver to deal with. A l w a y s make sure y o u r d r i v e r k n o w s y o u w i l l be h o l d i n g the Steadicam a l l the t i m e , and a l l rules must be f o l l o w e d whenever y o u are on the b i k e , not just w h e n you are s h o o t i n g . Motorcycles with side platforms and a third wheel are especially good for getting the camera l o w , and they are less likely to tip over, especially at slow speeds. Steering, however, is compromised, so be doubly sure to scout any course before you hard mount the Steadicam to the side platform. W i t h or without the side platform, check your clearances! N o t all mounting schemes w i l l be good for your shots, and be sure it's impossible for you to contact the muffler. If you are using a side platform mount and they want you to be able to shoot both forward and backward, be sure the pivot point for the hard mount is at the common e.g. of you and the r i g . If you have the pivot under the seat, the common e.g. w i l l be out in front of y o u , and you w i l l turn violently as you go around corners, accelerate, and decelerate. Y o u won't discover this unsettling fact until you hitch up the Steadic a m ; a Steadicam-frce scout w i l l not illuminate this design defect. We have students ride Skyman™ at the S O A workshops to teach them about pivoting around the c o m m o n center of gravity. E v e n though Skyman goes in a straight line down the wire, i f the student moves the Steadicam so that the c o m m o n e.g. is not close to the Skyman's central post, the student can't orient himself and/or w i l l rotate.

Extending the range of oplions

Camera dolly Traditional camera dollies make great vehicles for Stcadicam operating. W e can take advantage o f all types: low-tech doorway dollies, the biggest Chapman-Leonard or Fisher dollies, and small special purpose dollies. Each dolly has its place. A l l dollies relieve you from w a l k i n g and carrying the rig, allowing you to concentrate o n the framing. Very slow tracking shots won't have that little bump from your walk or the intense sweat dripping off your face. The b i g dollies offer us stability, a b o o m to greatly extend our lens heights, and precise steering, including the ability to go on rails. Y o u can even add a small platform to the column and stand on it like a mini-crane, but be sure to counterbalance the load with sandbags on the other end. Smaller dollies, like the Pee Wee, offer much the same control as the bigger dollies, but lack the b o o m range and weight lifting capacity. They are also slightly more subject to turning over. Their big advantage is they can fit where bigger dollies can't go, and they take less effort to push around.

Caution: Any

time you are around hydraulics, you run the danger of being pinched or hit by a powerful force. You've got to keep your feet and fingers out of harm's way.

Remember that standing on any dolly raises the e.g. and makes it easier to flip over.

The Steddkdin Operator s Handbook

Western dolly If you want to go faster, but don't need the precision of movement or the hydraulic b o o m , the western dolly is just the ticket. It rolls easily because of its large tires. There arc many ways to rig a western dolly for Steadicam. The simplest method is to take a small box or chair and strap it d o w n . The operator sits on the chair i n a seated soft mount (again, we stress a shortened vest!) and the e.g. is relatively l o w . A s long as the speed of the move isn't too great, especially when cornering, it's a safe and easy way to go. A standing soft mount rig should have a railing about waist high and another railing to grab with the operator's arm hand. The operator can easily step on and off with this setup — perhaps the best reason to use it. W h i l e on the dolly, he leans against the railing. One warning: the e.g. of this setup is h i g h , and there's a greater danger of tipping over i n hard turns. Hard mounts can easily be added to a western dolly. Typically, one uses a high hat and some apple boxes all screwed together and backed up with ratchet straps, topped by the M i t c h e l l mount adaptor. A bazooka can also be used, and it takes up less space. W e ' v e also used heavy duty tripods, screwing the legs d o w n with chain (a grip thing). Tripod legs take up a lot of r o o m , however, restricting the Steadicam's movement, but they are nice to lean against and stabilize your feet.

Golf carts and quads A lot o f people have tried golf carts as a Steadicam vehicle. Unless they are m o d i fied, they are not very good for Steadicam use, but a modified electric one can be very useful. Advantages: the electric versions are relatively quiet, available, and cheap, Disadvantages: things in the way, difficult to hard mount, acceleration rough, top speed slow compared to four-wheelers and other electric vehicles. Larry M c C o n k e y has a highly modified and useful golf cart for his Steadicam work.

2 )2 l

Extending the range of oplions

Quads have most of the advantages o f a motorcycle (quick and light) plus they are designed to carry heavier loads, so you can often have your assistant ride with y o u . Quads come in all sizes, and you want one with a beefed up suspension and, of course, modified for Steadicam use. Get someone who knows how to tune the suspension — and understands the loads you are going to put on it — to modify the quad. A g a i n , there are quads out there already modified for Steadicam use and drivers well versed i n the art of tooling us around. The biggest difficulty with quads is that the Steadicam mounting system and added passengers raises the e.g. substantially, and with it, the tendency to tip over. A l s o , with the Steadicam and operator hanging off the back, the front needs to be heavily weighted or the unit won't steer, especially w h i l e accelerating. A s with all vehicles, there's always a question of whether or not to be strapped i n . We suggest you are strapped i n (it's generally safer and less fatiguing) but have straps w i t h quick releases, so you can get off q u i c k l y when you need to. Check out the buckles used by Scuba divers for their B C ' s and weight belts.

293

The Steadicdm Operalof's Handbook

Cars, vans, and pickups We often use vans and pickup trucks as camera cars because they are readily available — most o f us o w n one just to hump the gear to the location.

If your van or pickup truck has a 2 inch hitch, you can add an India vehicle mount and you are pretty much good to go. If you don't have a hitch, it's fairly easy to take t w o sheets o f 3/4 inch p l y w o o d , bolt them together, and create a small platform that sticks out from the back of the vehicle. B o l t , sandbag, and tie the p l y w o o d to the truck b e d . W i t h some speed r a i l , iron pipe, or a high hat, create a hard mount for the Steadicam. A l s o be sure to make something for your feet to push against and to protect your legs from hitting the ground. If you are going to shoot out the side door of a van, we strongly suggest that nothing projects out from the normal edge o f the vehicle. It's very dangerous. If you must shoot to the side and clear the van, at least do it from the rear corner, with only the sled and arm sticking out in harm's way.

Watch a l l the projections from the vehicle and mounting system. What can the Steadicam hit? B e sure all open doors are secured in the open position; again imagine the worst bumps, turns, and stops. When you think y o u ' v e made everything secure, grab onto the hard mount like a monkey and try to shake it apart. Really. The G-forces y o u may encounter going down the road can be very large and you

294

need to be sure the hard mount w i l l hold.

Compact vehicle kit (above) along with the indispensable "Panarock" on top of the camera.

Extending Ihe range oi options

India vehicle mount C h r i s Purser invented the India mount as a way to have a quick and safe method o f shooting from the back o f trucks and vans. The India mount utilizes the 2 inch square hitch found on the back o f many trucks, and it sticks out clear o f the truck. It's overbuilt and designed for rough Steadicam use. Being clear o f the truck is good for shooting and clearances, but there is one d o w n side. It makes you slightly more vulnerable when you are preceding another vehicle. A small limitation o f the mount is that you are typically centered at the back o f the vehicle and can't shoot ahead. A truck can easily be modified, however, to have hitch mounts installed on the rear corners, or on the front, which makes the India mount much more useful.

Beware o f vehicles that can't take the added weight cantilevered out to the rear. It's very easy (and dangerous) to bottom out, especially as the front o f the truck goes up hill or over a steep bump. Scout, scout, scout before you agree to go!

David Allen Grove of Los Angeles has a heavy duty Rickshaw that comes apart and attaches to the 2 inch hitch like the India mount. We've also seen some poorly designed copies of the India mount which fail to consider the huge forces that can be put on the structure.

The Sleddicdm Operdtoi's Handbook

Endurance A Test of Mind

and Body

by Brant Fagan Once in country, our mission seemed simple enough. Film the fastest man alive running in his hometown in the Abyssinian Highlands. On the first day, our first task was to make a vehicle mount from some 2 inch thick eucalyptus planks (all that was available) and secure it to the bed of the "camera car." The bed was lashed to the rusted truck's frame with some thin poly rope, so we had tofindanother vehicle. Eventually we were able to borrow Haile Gebre Selassie's cousin's truck for the shoot. The DP, Ivan Strasburg, BSC, drove the small, fourcylinder vehicle ami watched a monitor placed up front while the director, Leslie Woodhead, OBE, rode along and gave directions via radio to all W/'tf-iSH&^l

aboard. Also riding in the bed was the boom op and thefirstAC. I
K

^^^^^3

$

m

f * ff cc

0

tnc

hdlgate.

We wotdd cruise about looking for locations that would suit the storyline. Once spotted, we would chat about how best to cover the action from the camera truck. Usually we would start Haile running along the road and then chase him. Haile would take off at a brisk trot and we would try to catch him ami then roll on the fly, but with eight people and gear aboard, we had pretty much mated out our engine power. We shot mostly during the gorgeous morning and afternoon magic hour light. We would adjust our speed and camera angle based on the light, the land, and Haile's pace and path. As we traveled along the road, the director would ask us to change our speed and relative position to Haile to create changes in perspective to show interesting background elements as well as capture Haile in various sizes.

2%

—

Extending the range of options

We filmed a major shot for the opening titles using a truck shot that evolved like a jazz music jam. We wanted to see Haile running with a background of farms, mountains, and smoking chimneys. The director asked us for a wide panorama that gradually grezv into a waist-up profile during the course of over 2 minutes. At the time, we had no idea that this might be used for the opening of tin-film. There were no rehearsals, only reloads. All takes were recorded on an on-board 8 mm recorder (this was in 1996! No MiuiDV!). Each evening, we played back the grainy black and white video as our dailies, but everything still looked great! Thankfully, much of the first week was sph'nt hard mounted to the camera truck, so I was given a chance to acclimate to the elevation and enjoy

the view!

The wind in Ethiopia shows up at 3 pm every day and howls along at 20 to 30 miles an hour until sunset. Gyros 'were out of the question — both for sound recording and they would have frightened animals and human residents alike. Since much of thefilmzoas a non-fiction re-creation, we needed to move quickly and stay as transparent as possible. Antlers would have been great, but they weren't invented yet, so we used a huge beach umbrella as a windbreak.

297

TheSleddiuni Operator's Handbook

After 9 straight shooting days, we missed a flight out of Addis Ababa to Nairobi for our well-earned, 3 day "weekend" at the game parks. We consoled ourselves that morning at the poolside bar of the Hilton Hotel in Addis Ababa. On the TV we watched a developing news story: our flight had been hijacked and then it crashed off the Comoros Islands in the Indian Ocean. Not everyone survived. It was a devastating moment for the people of Ethiopia, and it grew into a form of internal inspiration for the crew. Our efforts seemed to have more purpose and were carried on with greater strength and resolve. A really emotional scene, the re-creation of the funeral for Hade's mother, -was filmed entirely With the Steadicam. We had a cast of hundreds who met us at the mountaintop Coptic Church. Since the logistics were rather daunting, ive decided to shoot in sequence and stop the proceedings only for reloads. We started at the base of a steep hill, at about 10,000 feet above sea level, and climbed among the mourners and followed the casket up to the church. Coptic Christians leave their shoes outside the church out of respect for the holy ground within, so I wasti't going in with the Steadicam on or my shoes. The church is almost round, more of an octagon -with a sort of porch surrounding it. We decided to shoot tracking shots from the porch, peeking in through the open doors and windows to catch glimpses of the mourners, family, and casket. After the completion of the funeral ceremony, the casket was brought outside and over to the gravesite. I preceded the casket with the church uphill and behind the procession for this part of the scene. At the grazvsite, we tracked around the grave, capturing faces and feelings rather than the casket descending on ropes. The key here was to find young Hade in and among the numerous faces of wailing and mourning relatives. Dozens of family and friends clustered around the gravesite, and most mourners

—

298

Exlendinq the range of options

Had some sort of cloth wrapped about their heads during the ceremony — which made identification impossible until they were in frame or beyond. As it happened, I managed to slide the frame across the descending casket, reveal the Gebre Selassie family and land on a distraught young Haile. It was one of my favorite moments of the entire shoot. Months later, at the preview screening for the press and crew in New York, we learned that the entire sequence was omitted from the film.

Brant Fagan

299

The Steadkam' Operalor's Handbook

Camera cranes The safety issues come first. Then we w i l l discuss artful things. Camera cranes are similar to our childhood see-saws. The camera and cameramen are on one end of the structure. Their mass is finely counter-balanced by weights at the other end. A grip applies a bit of extra force to raise or lower one end of the crane. Remember what happened when your friend jumped off the see-saw? If one of the weights leaves the structure, the other end comes crashing down in a hurry. In conventional shooting, the operator and assistants are strapped into their seats, and additional weights are added to the bucket until everything is in balance. W h e n the operator wants to get off, the crane arm is lowered to the ground, grips add their weight and sandbags to the end of the crane, the operator removes his seat belt, and he walks off the crane. A l l this happens when he is not shooting, and nothing is rushed. Steadicam operators ride cranes mostly to extend a shot beyond the crane's movement, and consequently, the act of getting on and off the crane happens during the shot, with all the pressures o f keeping the shot m o v i n g . The operator's and Steadicam's e.g. are also higher than with conventional operating (standing versus seated), the e.g. can shift quickly as the operator steps on and around the platform and moves the camera, and the operator is less securely strapped into the crane structure. A l l o f these factors make shooting from cranes potentially dangerous. Clear procedures for stepping on and off the crane are a must. M o s t of the time, the grips and everyone else are aware of the right way to do things, but you may encounter slightly different methods. B e sure you are all on the same page, and that the

300

Extending the range of oplions

guy i n charge (usually the key grip) has it a l l together. Agree on the " a l l safe to g o " signal, and devote a large part of your brain to not stepping off the crane until it is safe. Let's be clear. If you step off the crane before the other grips j u m p o n , your end o f the crane w i l l rocket upward, probably taking a significant chunk of you with it. The bucket w i l l descend violently, most likely hitting a grip or two before smashing into the base, flipping over, and hitting some more folks. It's all very, very ugly and very easily avoided. The proper crane can make crane shots safer. S m a l l cranes have small footprints, especially when on tracks. E v e n if it's "rated" for a cameraman and assistant, it's designed for a lower, non-shifting center of gravity at the camera end. R a i s i n g and shifting the e.g. is very dangerous. D o not do it. Ever. If production has ordered the wrong crane — either out of ignorance or due to budget limitations — it's your job to inform them that it is the wrong crane. This part is easy, as the discussion can happen ahead of time. W h e n you hear the words " a really c o o l crane shot," y o u immediately find out what sort o f crane they are ordering. If it's the wrong one (such as the dreaded Tulip crane), it must be changed. If they say they don't have the budget for anything else, it's part of some deal they made with the rental company, or any other excuse, then simply inform them they made a bad deal and y o u w i l l not ride that crane, and they are endangering the life of anyone else they convince to ride that crane.

301

The Steadicam^Operdtor s Hdndhook

The safe way to step on and off a crane Prepare the crane platform so you can easily w a l k on or off, especially if you w i l l be walking backward. Consider adding a ramp that can be positioned by the grips. The crane platform should have some sort of central c o l u m n (risers work w e l l here) that you can both lean against and over w h i c h you can slip your bandolier. The bandolier can be a loop of 2 inch wide webbing, and it always goes over one shoulder and under the other. A s you get on the crane and back into the central c o l u m n , the bandolier is slipped over the column by the grip riding with y o u .

central c o l u m n , and you getting a clear signal to get off. Without the signal, y o u must not walk o f f the crane. I like the grip to poke me i n the ribs or my neck as the safe to go signal rather than (or i n addition to) a verbal cue. It's unmistakable. The weigh-in happens first without the Steadicam. Y o u and the grip get weighed i n , take a gentle ride at half speed or so, and practice the move, including getting on and off, the looping of the bandolier, etc. Y o u then repeat the process to bring it up to speed. If you are satisfied it is safe, you repeat the whole process with the Steadicam. I find that w o r k i n g on a crane is most dangerous during the first rehearsals, when everything about the shot isn't fully defined. Decisions are being made, changes. A s an operator, I want to communicate with the D P or director or an extra, and I usually just walk around and have these discussions. The key grip is also giving instructions to the crew (often about the next shot) and is not fully watching y o u . You may not be strapped i n . Y o u forget that you are on a crane; you start to step off. Pray you don't.

302

Extending Ihe range of options

The artful part First, i f we are confident w c are safe, we can frame w e l l . Stepping on a crane is generally safer than getting off, but you can't hesitate and break up the flow o f the shot. It takes time to reach the central c o l u m n , get your bandolier i n place, and the extra grips o f f before the crane can move. If you can, get o n the crane with your camera boomed l o w , and begin the booming up move with the Steadicam until the crane move takes over. W h e n stepping off a crane, try to have the camera boomed high as the crane descends. The crane should hit the ground solidly and not be " k i s s e d off." T h e hard landing clearly indicates that you have landed, and the arm w i l l easily absorb the shock and continue the d o w n w a r d b o o m . K e e p b o o m i n g d o w n as the grips pile o n , the bandolier is r e m o v e d , and the safe to go poke i n the ribs is delivered. K e e p the shot f l o w i n g . ( Y o u should also use this " h a r d " landing technique with G e n i e l i f t s , fork l i f t s , and other hydraulic lifts.) O n really b i g cranes like the Titan, operators have often added larger platforms so the transitions can be more gradual, and they sometimes have the crane i n motion before the bandolier is attached. If the crane moves laterally as w e l l as vertically, be sure the Steadic a m can start or continue both the vertical and the lateral components o f the m o v e . Try to arrange it so that some action is grabbing the audience's attention as you step on and off the crane. A g a i n , all the reasons for good framing, stopping and starting, m o v i n g in sync with the action, etc. apply to a crane shot.

When working with cranes: • Be safe. • Examine the crane. Check the footprint, track, pinch points, brake, safeties, etc. • Establish 100% clear communication with the key grip. • Know the shot before you get on the crane. • Test everything first without wearing the Steadicam. • Test everything with the Steadicam. Go slow to start. • Never get off a crane without the "clear to go" signal. • Now work on the artful parts.

303

The Sleddicam Operator's Handhook

A sample crane shot H e r e ' s an a m u s i n g crane shot f r o m the m o v i e , Before and After. T h e y wanted the camera to stay l e v e l w i t h the action as the f o u r characters descend some stairs and stop f o r a c o n v e r s a t i o n . T h e y also wanted to c o n t i n u e the shot d o w n the stairs and into the l i v i n g r o o m . Production decided to make it a Steadicam crane shot. T h e first frame shows the space — not much r o o m to put in the crane, and the banister on the upper balcony w o u l d have to be removed so I could step on to the crane i n its up position. Frame one o f the shot shows the group coming d o w n the upstairs hallway. I ' m backing up, watching for the landing, trying not to pan the camera. In frame t w o , I have to pan with the lawyer, Wendell B y e (John Heard), and the sheriff, Fran C o n k l i n (Daniel V o n Bargen), and I ' m getting very close to the step onto the crane. John Heard w i l l soon descend out o f frame, so we shift the framing to focus o n D a n i e l , and stretch it to include L i a m Neeson and M e r y l Streep as soon as possible. Frame three: I step on to the crane. The crane is up, so there are no grips to j u m p off. There are also no guide rails to hold on to, as I have to shoot i n all directions, and there's no r o o m for a grip to ride with me. T h i s made me very careful and made M e r y l sick watching m e , which might have added some tension to the scene. I ' m b o o m i n g d o w n as they descend the stairs to the l a n d i n g , and I ' m extending the Steadicam toward them with m y arms (prepping for the next move), a l l the while trying to keep it flowing so I can look away f r o m the monitor to find the crane. Frame four: I start the Steadicam m o v i n g back, and then the crane drops quickly and backs up 10 feet to place me at the bottom before they get there.

304

The stairway from the first floor.

Before and After 0:24:52

Extending Ihe range of options Frame five: It's about here that I have to duck m y head to avoid part of the set (behind camera) or I won't remain on the crane. I ' m booming up as the crane drops. It's a headroom nightmare i f M e r y l gets too far in front of L i a m . I remember asking the director, Barbet Schroeder, i f they could do anything to slow down their progress d o w n the stairs. Frame six is the hard crane landing, and I have to get' off backward after the grips pile o n . The key grip, Tommy Prate, is great with the whole setup and keeps me very safe. He's totally in control here, and his professionalism gives me the confidence to do the shot. M e r y l ' s chin drops briefly out o f frame, ( L i a m is just too tall) but we don't want to frame L i a m out, as the moment is about both of them. B a c k i n g up keeps the m o ment short. I ' m trying to pan right and hold the framing i n frame seven to show the bottom of the stairs and help orient the audience to the space, as w e l l as back up a little. T h i s look w i l l cost me in the next moment, because I have to pan left fast to get the couple back on the right side o f the frame (frame eight). M e r y l helps with the look off camera. B y frame nine we are i n the middle of a classic pass-by, booming up and dropping back. In frame ten I ' m l o c k i n g o f f as the actors stop, but I have a w e i r d choice as far as l e v e l goes. Because the camera is l o o k i n g at the w a l l o b l i q u e l y , verticals on the left side d o n ' t match the verticals on the right side. Because of the more graphic nature o f the verticals o n the left, we chose to make them v e r t i c a l , and let the rest o f the architectural elements f a l l where they might.

M)5

The Sledditdm ' Operator's Handbook

Rickshaw W e ' v e already mentioned the Rickshaw as a way to get though narrow spaces (page 167). It is an ideal Steadicam vehicle. Here are some more details and suggestions about its construction and use.

Caution: The

Rickshaw in its narrowest configuration can easily tip over when cornering. Very easily. It would be good if the wheels can be set wider for "normal" work and pulled in tight only when needed.

306

Extending the range of oplions

Some useful accessories for the Rickshaw: • An inclinometer, to help the grip keep the socket block at a constant angle. • A runner on the bottom of the footrest, to keep the Rickshaw from bottoming out. • A following castor wheel (like that on the tail of an airplane; see above photos) to keep the Rickshaw upright between shots, restrict its tilt, etc. • A hitch to adapt the Rickshaw chair to a vehicle. • A hitch to adapt the Rickshaw to a bicycle or four-wheeler (hmm). • A spring suspension (for you, not the camera). • A nice coolie hat for the grip (be careful what sets this hat appears on).

Wheelchairs Early i n the history o f Steadicam operati n g , wheelchairs were often used as vehicles because a highly modified one was used with great success o n The Shining. Unfortunately the " h i g h l y m o d i f i e d " part got lost i n the translation. A regular wheelchair is not a good vehicle choice. Advantages: B i g wheels, availability, not very w i d e . Disadvantages: H i g h e.g., poor mounting points, things get i n the way, a w k w a r d . But i n a p i n c h , like a lot o f things, they can be used.

307

Till'SltMllil 1.111 Opt'i.iiiirsH.iiHllHiiik

Industrial lifts, forklifts, dozers The Steadicam can transform a lot o f odd vehicles into camera cranes and platforms. This ability is especially useful o n industrial shoots with small budgets. A l t h o u g h sound may be a problem, these machines can provide amazing camera moves and positions that are otherwise unavailable, adding a lot o f production value to the scene.

Some key things to consider: Can the machine handle the weight? If it can, does the platform or bucket allow you to use the Steadicam safely and get the shot? A small lift bucket, like one on a telephone repair truck, makes operating nearly impossible. Safety is also marginal. A l m o s t a l l shots done on these sorts o f vehicles are soft mounts. The whole idea is to quickly utilize a resource, and it is generally quicker to r i g a non-traditional vehicle for soft mounting than for hard mounting. If y o u are soft m o u n t i n g , does the platform have a secure handle and something to lean against? O n the other hand, i f you had something like a large forklift, it might be easier and quicker to wheel a small dolly onto the platform and use a standard hard mounting adaptor. T h i n k i n terms o f combinations o f traditional and non-traditional tools. Does the platform stay level during a vertical move? A n y bucket system that has to be manually leveled as it goes up and d o w n w i l l make a vertical move difficult and dangerous. A platform that pitches off level during a shot is not an option and is very, very dangerous. Beware o f m o v i n g parts on forklifts — they are designed for pallets o f goods, not for objects w i t h extensions like arms and fingers. It's a lot safer i f you can fix a special p a l let to the forks that you can hang on to, and one that has a sheet o f p l y w o o d to prevent you f r o m engaging the lift mechanism. B e aware o f similar hazards and pinch points on any vehicle, including traditional dollies and cranes. Have a definite plan for the shot and good, clear communication. The vehicle driver is not likely to be a movie trained person and aware o f your needs and the safety issues involved. B e sure the driver knows what the plan i s , and be sure he w i l l not deviate from the plan because the director says faster, faster, closer, closer, etc. A s these m a chines are also loud, be sure that you have clear communications and an exit plan i f things go wrong. Rehearse the move without the Steadicam first. If all goes w e l l , proceed cautiously wearing the rig. Some condors and genie lifts can get really high, or swing you out over the water or chasms. B e sure you are comfortable. E v e n i f it is safe, i f you feel uncomfortable, you can't concentrate on getting the shot. Rarely do these non-traditional vehicles have the smooth starts and stops o f a conventional camera crane or dolly, so use the Steadicam arm to start and stop any move. Have the operator hit the ground a little hard, and use the crane step on and off techniques to make the moves work.

308

Extending the range ol options

Skyman Skyman was invented by Garrett B r o w n in 1990, at a time when his earlier invention, S k y c a m , was out o f commission. The idea to hang a camera and cameraman on a wire was not new — there are shots o f madmen doing it from the earliest days o f the cinema — but J i m m y M u r o ' s famous shot in The Mighty Quinn showed Garrett how valuable a Steadicam and operator on a wire could be. Today, with so many remote cameras — i n c l u d i n g Garrett's revived and m u c h improved S k y c a m , and his F l y c a m and Superflycam — the value o f the S k y m a n system is quite reduced, but it still has some unique advantages for production. The best things about Skyman: Once the wire is rigged, you have all the advantages of the Steadicam system and the operator's control for smooth shots, panning, tilting, booming, absorbing vibrations, etc., as w e l l as giving the images a hard or soft feel. The operator on the wire can control his speed (depending on the rigging scheme, to a greater or lesser extent), anticipate subjects corning into frame, see bogies o r potential problems, and more easily understand the changes necessary to make a shot w o r k .

Above: a very early version. Very uncomfortable. Simply nuts! Below: the latest version.

The rigging can also be easily adapted to specific situations. The Skyman can move by gravity, or by a tag line controlled b y electric motors, trucks, or race cars. It can also be rigged to go perfectly vertical or i n any vertical and horizontal combination. A s seen from above, Skyman's general flight path is straight, modulated b y the horizontal range o f the arm (about 5 feet wide). The smoothness and directness of this travel can be very powerful. Seen from the side, the Skyman drops and rises as it goes along the slack wire. The vertical travel typically follows an ellipse, a gentle drop whose radius gets larger and larger (flatter and flatter) and then rises up gently. It's a very satisfying, dreamlike flight, and the result is not emotionally c o l d like a bullet's P O V or a camera on rails. One truly great thing about S k y m a n is its immunity to accelerations and decelerations. The Steadicam sled does not lag behind or pull away from the operator no matter how hard the stops or starts are. A n d Skyman also teaches us where to -put

309

The Steddicam' Operator's Handbook a pivot point for all other vehicles — at the c o m m o n e.g. of the operator and the r i g , not under the operator's seat. The worst things about the Skyman: A man is o n the wire. Y o u almost always need heavier rigging. There's more risk, both to the operator and what's beneath h i m . Some operators need to be fed once in a w h i l e , a few don't like heights or get hot or c o l d , and sometimes an operator complains about flying over noxious fumes or raucous crowds at concerts. Remote cameras have no fear and can be replaced.

Flyman F l y m a n was invented to enable a Steadicam operator to do anything a stuntman could do by wire. B e very careful what you wish for! We also wanted to be able to continue a shot beyond the wired portions o f the shot — to walk around, get clipped i n , hoisted up and over the building, set d o w n , u n d i p p e d , etc. A n d we wanted to be able to combine the tracking motion o f Skyman with vertical m o tions. We once jumped over a piano i n the middle of a forest to simulate the P O V of a deer! L i k e S k y m a n , F l y m a n both benefits and suffers from having a man on the wire, but the ability to get on and off the wire is something no other system can do. R i g g i n g for both these systems is crucial for safety, and a discussion o f what should be done is way beyond the scope of this book.

It is me hanging from the crane there, you gave me the idea and it was great fun... The Theater building has a roof that is able to slide away, like a sun roof in a car, so I started on the floor and was hoisted 35 meters up in the sky to the final wide shot. —Jakob Bonfils 310

Extending the range of options

Snowmobiles B i g snowmobiles, with a couple of necessary modifications, make a great vehicle for shooting in snow. The modifications are a hard mount and an outrigger or t w o . U n m o d i f i e d , they should not be used. Y o u and the r i g raise the e.g. and they can tip over easily, especially when turning. B e extremely cautious using a snowmobile i n unknown terrain. W h e n using any vehicle, it's best to stick with a k n o w n path, previously scouted and tested. Try to keep all the virgin snow for the subject, not for the operator. Advantages: Goes where nothing else does. Can be safe if modified. Disadvantages: L o u d . A really good outrigger scheme requires some thought — it involves springs and shocks — but it w i l l make the snowmobile wide and safe.

The pics with the Steadicam on the sled (I), are from a film about reindeer, shot in the north eastern part of Finland, some 300 km from Murmansk. I did something like 125 km on the sled during 3 days, and we only tipped over once in the soft snow, parallel to the hard track. It was sort of the deer's POV. —Jakob Bonfils

Ice sled W o r k i n g on the ice is tough for Steadicam operators. Running is possible, if one has shoes with spikes on the heels as w e l l as the toes (like javelin shoes), or have shoes with adhesive-backed rough sandpaper attached to the soles. W e like riding hard mounted on a small sled. W e can move a lot faster and not get tired. (The subjects on ice also tend to move very fast.) The device is a small 3 foot diameter platform with a riser for hard mounting and a nailed down apple box to sit on. Three or four hockey ice skates (just the metal part) are bolted to the bottom of the platform, and a T-bar handle is attached to the rear for the skating grip. It's extremely secure. If y o u intend to stand on such a device, the skates should be set wider, to about 5 feet i n diameter.

311

The Sleadkam • Operator's Handbook

Quick release

"What remained non-existent in 1976 was a way to get out of the Steadicam quickly if one fell into the ocean while wearing it. On a Michael London directed TV movie called The Loneliest R u n ner, as I ran after the actors across the deck of a fishing boat heaving in 12 foot swells, this missing "something'''progressively scared the crap out of me with each small misstep — I could picture the unexpected lurch, the stumble over the low railing, the sinking, sinking, down through the green water. (The humorous Darwin Awards hadn't yet been thought of, but I -would have been the prototypical candidate for "Inventing and Wearing a non-removable Korean-War-era 18,000 volt TV set, etc., etc.)" — Garrett Brown Fairly quickly after this incident, the basic scheme for a Velcro'"-based quick release system was designed and implemented. The terrified operator or an alert grip yanks on a handle attached to some webbing that peels the back two pieces of Velcro holding the vest together. The vest, arm, and sled slip off, and the operator runs or swims free, escaping bodily harm. That's the idea, anyway, In practice, the release system must be set up and tested before the emergency happens. The Velcro needs to be pulled apart and freshly stuck back together. The length of the webbing must be adjusted to the minimum, and the lumbar pad must be

312

oriented as shown in the photos. The "snaps" should be unsnapped, and the cross back straps undone. Test the system by having an assistant pull on the vest to simulate the pull of the arm and sled, then yank the release handle. If you are working near water, you should have flotation on underneath your vest. Preferably it is the kind of flotation that will keep your head above water, such as what waterskiers wear. There are also several Coast Guard approved automatic inflatable life jackets. A water soluble material dissolves, releases a spring-trigger mechanism which punctures a CO2 cylinder. The vest inflates in about ten seconds. You'd have to be very sure the vest blows off and separates you from the rig. If you are going to be tied to a boat, be sure that the short rope goes to the release handle so the Steadicam is blown off you first and you are free to swim clear of the debris. If you like, attach lines to the rest of the gear so you can show the corroded, useless mess to production's insurance agent the next day.

The lumbar pad must be oriented Seriously, anytime you are working in a dangerous environment or near so the quick release webbing pulls stunt cars and the like, test your quick release system and inform your from the bottom. crew of what to do if things don't go as planned, With stunts, they never go as planned, and, of course, the really cool shots are the ones that come within an inch of killing you. If you do not feel reasonably safe, refuse to do the shot. Walk away. You do not need to explain yourself. No one will walk out of the theater because a shot is not in the movie.

313

The Sleddicain Operator s Handbook

Slavecam For thousands o f years, exalted (or deceased) beings have been carried in grand style f r o m place to place by other humans. W h i l e other transportation means have largely superseded the human, such devices still have their place, even on f i l m sets. Because the Steadicam sled is unaffected by the angle or the bouncing o f whatever lifts it, a somewhat wobbly platform lifted by six to eight grips can be a wonderful Steadicam vehicle. It can easily travel over uneven terrain, and it can be "benchpressed" to quickly raise the lens height to 12 or so feet i n the air. The trick is to first convince the grips to lift y o u , and then you must have a wide, strong structure so you can't tip over. A 3 foot square platform is all you need to stand o n , w i t h a riser to lean against and a handgrip to grab.

I At the St. Peter's workshop in 1988, Garrett tested the slavecam idea first without a camera. He decided this first go was too small to stand on with a rig, so he rigged up a version with a chair, and the operators merrily flew up and down the streets in grand styie. 314

Extending the range of options The grips need some stout poles to grab, extending out another 2.5 feet or so i n each direction f r o m the platform. Use a l u m i n u m speed rail or strong steel tubing. L u m b e r with knots is not advised. Put some feet on the bottom of the platform so the poles are raised a few inches f r o m the ground. The sound guys may not like the noise of so many feet, nor the laughter, but there are a lot o f unique shots one can do with this device. A t the 1988 Master's workshop i n R o c k port, M a i n e , where Slavecam was introduced to the w o r l d , we rigged up a b i g version and attached a 12 step ladder to it. Operating one-handed, we were able to go f r o m operating a normal shot stepping on the platform and c l i m b i n g the ladder as the grips (other, w i l l i n g Steadic a m operators) lifted and ran w i t h the contraption. T h e lens was 20 plus feet i n the air, traveling over rough terrain at high speed. T r u l y amazing.

Boats and sailboats Boats of all kinds work great w i t h the Steadicam. Basically, the Steadicam can l o c k to the horizon, eliminating a boat's rolling motion, or lock to the boat's r o l l , or to any degree of r o l l i n between. It can also absorb the vibration and short bounces of a speedboat or Z o d i a c . O n small boats, there's a danger of sharp bumps f r o m waves or wakes exceeding the range o f the a r m , so it's best to wear the r i g (soft mount) and bend your knees to help absorb the shocks. S m a l l boats and rafts also rock more as the occupants move around, so be sure everyone moves s l o w l y and stays low. O n small boats, take a ride and scout the shot without the Steadicam. Note i f there are any other nearby boats that might make the odd wake, and talk to the driver about what to do i f you encounter a b i g wake. M a k e sure he understands your needs to be safe the whole time you are in the boat, and what accelerations and decelerations you can survive. Bigger boats are generally stabler, but one often uses them on bigger ponds (like the open ocean) and their big pitching motions can throw y o u and the rig around.

315

TlieSleddkdm'Operator's Handbook A l l boats present some hazard of going overboard, so make sure you w i l l float i f you're i n the water. Sailboats are some of the least Steadicamfriendly watercraft. There is so little room to move around, the boat tips on every tack and rolls and pitches with the waves. There are a lot of ropes to catch your feet, a good breeze for the boat makes it hard to operate, and then there's that big boom swinging over your head, into your head. B i g catamarans and trimarans are stabler and have more room to move around, but nothing's entirely predictable on a sailboat. F o r a great Steadicam and sailboat m o v i e , rent Dead Calm (Steadicam, underwater and aerial work by Ian Jones; starring N i c o l e K i d m a n and Sam N e i l l , 1989).

Many operators build their own custom mounts: The contraption (left) is a built for Steadicam platform mounted to the roof of an old 4 Wbtns boat. It's been our video boat for years. The roof has a structure with two half circles padded on each side. The top of the rig comes to my belt line, more or less. Each side has a hard mount on it. The arm attaches to the mount, as do I via a mountain climbing harness. -Will Eichler

Above: Australian Dale Henderson's very highly modified and waterproof rig for shooting in the surf.

316

Extending the range of options

Vehicles to avoid

Do not operate off of small camera cranes A v o i d the T u l i p crane in particular. If it's on rails, forget it. It w i l l tip over. A l l small cranes have a narrow base, and standing up on the platform raises the e.g. of the whole crane. A higher than designed for e.g. and a small wheelbase is too tempting for the gods of physics. A little wiggle by y o u or a grip pushing the base far from the o l d e.g. w i l l cause the crane to come d o w n . I learned this lesson the very hard way. In spite o f listening to — and repeating — many stories of near disasters, I once got on a T u l i p crane. I was told a different crane was going to show up on set, but there it was, and nothing else was available. I was going to be sitting and not standing. Garrett B r o w n was there, and we discussed the situation. I was going to go in a straight line, without fast accelerations. There were no curves in the track or swings of the crane arm while shooting, so what c o u l d go wrong? D i d I mention we were on the edge o f an O l y m p i c size p o o l , and the plan was to swing out over the lanes i n l o w mode to get amazing i n your face shots of the world's fastest butterfly swimmer? I had just weighed i n . A few extra sandbags kept me down on an apple box while we waited for the heats to begin. I was sitting there doing nothing when I felt this little shudder i n the crane, and the next thing I k n o w , I ' m rolling over on my side, the camera is smashed, and my leg is pinned under the crane. L u c k i l y the crane fell away f r o m the pool and the central column hit a tire on a b i g western dolly that just happened to be parked there, softening the fall c o n siderably and saving my leg f r o m being crushed. F a l l i n g the other way w o u l d have been a more exciting story, told by someone else. I think this is what happened. I was on the ground, which fixed my end o f the crane arm i n one spot. Someone just barely bumped the c o l u m n , or leaned on i t , and the base moved on the rails, but I didn't move. Suddenly, therefore, the o l d e.g. (of me and the counterweights) was no longer over the base, so the T u l i p crane opened up and we tipped over. So do not get on a Tulip or any other small camera crane with a Steadicam. I really like the big Chapman Titan II, SuperNova, and A p o l l o type cranes {www.chapman-leonard. com), and there are other makes of big cranes that are safe to ride as well. Chapman also has smaller and equally safe cranes. E v e n devices made for f i l m m a k i n g , like big cranes or camera cars, can be unsafe in the wrong hands. So think ahead and get control o f the situation.

317

The Sleadkanr Operator's Handbook

Things that involve falling down A v o i d skateboards, roller skates, ice skates, skis, and the like. If folks normally fall over using the equipment, you w i l l as w e l l , no matter how good you are, and i n spite o f the fact that it has been done before by other famous operators.

We need traction that is not provided b y these devices. A lot of these types o f locomotion require a change i n posture to stop. We a l l k n o w what happens i f you break your posture with a Steadicam — y o u lose the shot. There are other, safer ways to get the shot. Y o u do not want to fall with a Steadicam. It hurts — whether you land on it o r it lands on y o u .

This is a good way to work on the ice: special crampons buckled to your shoes.

Things that easily capsize A v o i d small boats, rafts, canoes, kayaks, and the like. A small weight shift lands everyone i n the deep, i c y , salty, polluted, and/or shark and piranha infested water. N e v e r f u n . E v e n big boats tip over.

Extending the range of options

Do not use a Steadicam in a helicopter. There are so many better and safer tools out there for shooting f r o m helicopters, f r o m Tyler mounts to Westcams. Use a tool designed to work in that environment. Has it been done before? O f course it has. Is it a good idea? N o , it is incredibly dangerous. Y o u are forewarned: it is a very stupid idea to use a Steadicam i n a helicopter. It's true that, the Steadicam can absorb the vibrations of the helicopter, but beyond that, the Steadicam does not perform w e l l . E v e n in a large helicopter, you are severely limited i n terms of the direction you can look. N o r does the Steadicam fit w e l l i n the cramped quarters of most helicopters. The w i n d makes shooting out the door impractical. Soft mounting is not an option, and hard mounting is much more difficult than on other vehicles. Y o u r mount should be F A A certified, and there's a good reason for it. A helicopter can pull a lot of G forces, and it can bank at any angle (it needs to do so for some flying). Both make it very hard just to hold on to the Steadicam and keep it f r o m exiting the craft, let alone making good shots. Directors always say, "Faster, faster, lower, lower." M a n y , many cameramen have lost their lives i n helicopter crashes. To date, no Steadicam operators have died in helicopter crashes. W e hope it w i l l remain that way, and you can help by not operating in one.

N o matter how good the pilot or the craft, using a Steadicam i n a helicopter w i l l make shooting both less effective and more dangerous than it needs to be. Use something else. Stay out of helicopters and stay alive.

319

The Steadkam' Operator's Hdndbook

This is just a little part of the Turkish helicopter story The pictures with the helicopter come from a feature film for kids made hi Turkey during 1984, called H o d j a from Pjort. The man in the seat is the DP, Peter Klitgaard, and the guy in shorts is the grip, Soreu Danielsen, and I took the pictures, because I was doing the stills on that movie. A local smith made the helicopter rig, because the helicopter rig xoe brought -with us was made for a tiny little helicopter. Unfortunately, that Iwlicopter crashed 1 week after we arrived, flying into some electrical wires, getting the pilot killed. Therefore this Huey -was rented — actually it -was borrowed by some general who then rented it to the production for a large amount of money, giving no receipt because he stuck the money in his oxen pocket. At that time, Turkey was governed under military justice, so it was easy for a general to do all tliis. During the 3 months of shooting, we had a person, armed with an automatic gun, close to us everyday. At first it was scary but it proved very practical later — they could see what we were doing everywhere, and they looked after us in their oum way. just after the first take off, with the Steadkam mounted, Peter thought, in a fraction of a second, that he fell off the chopper. He held the Steadkam in the old fashioned way with both hands on the T-handle and something in the arm fell off or broke. I think that it was one of the bolts missing its nut. They landed and repaired the arm and took off again. There were problems with the -wind and language. The pilots could only speak and understand Turkish. Landing again. We got a new person onboard who could translate the wishes from the DP to the pilots and back.

320

Extending the range of oplions

Taking off again, filming so and so, suddenly Peter could feel the speed increase dramatically, and he tried to ask what was going on. Then he could hear the translator vomit in the talk back system, because the chopper made some nasty turns which Peter only saw part of because they had so much speed that he couldn't close his eyes, trying to fence off the -wind, holding the Steadicam at the same time. All this because they were running out of fuel!! Later they had to reshoot part of the material because it was unusable. It was partly exposed by radioactivity from the military base, where the chopper was located.

—Jakob Bonfik

Note the Model II single-hinged arm, and the monitor pivoted off-axis — a typical technique of that time. It's generally not recommended, as it makes it harder to keep level. This Model II was configured with the "Compact Vehicle Kit." The normal posts and the gimbal were replaced by much shorter posts, and the gimbal by a much less precise ball and socket that was engineered to be as close to the camera as possible. You sometimes operated holding onto two T-handles that stuck out to the side. The video tap is a tube camera (Philips LDH-26) on a special eyepiece adaptor, which tucked the video camera between the body of the Am IIC and the longthroat mags. It's one of the reasons the throat is so long on those original film mags. Compact vehicle kit

321

The Sleadkam Operator s Handbook

Interesting vehicles we like The Handsfree Transporter™ When the Segway® was invented, every Steadicam operator I knew wanted to get on one. But it was clear that the steering controls and the central column would have to be modified, and no one picked up the challenge. It took U l i k Kahlert, a performance artist i n France, and a G e r m a n engineer, Reinhard Ansorge, to create a useful, Segway-based device for the Steadicam. U l i k envisioned dancers i n long costumes floating around a stage effortlessly and magically, waving their arms, carrying torches, and playing musical instruments and the like (he's a visionary!), so they invented the Handsfree Transporter, and then figured out that Steadicam operators might find it amusing. They were right. It's great fun and a great vehicle for Steadicam use. It takes a few days to get proficient enough to use the Handsfree on set. It can be used on any relatively smooth surface at high speeds and on inclines and rougher roads at slower speeds. I would use it j o y fully where I've previously used western dollies and golf carts. One great thing about the Handsfree, as opposed to westerns and golf carts, is that the operator is once again able to speed up, slow d o w n , or change direction at w i l l , without communication to a grip or driver. A l s o , the acceleration curves can be quite strong, and you can go about as fast as a person can run and go for miles and miles without breaking a sweat. Y o u also fit into more spaces than a traditional dolly, and there's no rigging or running for the grips. Really slow moves are a treat. There's no w a l k i n g , the speed is consistent, and almost all your concentration can be on framing. We originally thought that getting on and off the Handsfree during a shot might be difficult. A f t e r a l l , getting on the Handsfree the first time without a Steadicam was shaky and nerve w r a c k i n g , sort of like the first time y o u picked up a Steadicam. Stepping off the Handsfree is not m u c h more difficult than stepping off a curb (just b o o m up as you make the step), and it's easy to do while m o v i n g forward or backward. A grip grabs the Handsfree when you step off. Stepping on requires slightly more s k i l l , as you need to step on without engaging the steering pedal. Before you step o n , the grip positions and aims the Handsfree i n the

Exlendinq Ihe range of oplions direction you wish to go, and you just continue the camera flowing o n its intended path as y o u step on with one foot and, after a second or so, slowly move your feet forward to engage the steering pedals. Another great thing about the Handsfree is that it is naturally acceleration c o m pensated for stops and starts. W i t h most vehicles for Steadicam use, the Steadicam lags behind on starts and wants to keep going on stops," but with the Handsfree, the natural leaning you use to start and stop the vehicle also helps to start and stop the Steadicam. Y o u also initiate a move by m o v i n g the Steadicam, just as y o u normally w o u l d while operating. O d d l y , perhaps, y o u can't just ride the thing a l l day. Because y o u don't move your feet much (except to steer), your legs aren't pumping blood around. If you o p erate for too l o n g , your legs begin to feel like w o o d , and stepping off the Handsfree becomes a real challenge. We are doubly concerned about riding the Handsfree w i t h a back mounted vest for long periods o f time. This type o f vest has a very tight waistband and also tends to restrict blood flow from the legs back to the heart, i n creasing the chances o f cramping. W i t h an accessory, the Handsfree can be used hard mounted. This is really useful for live T V programs and concerts, as you can exercise your legs (one at a time!) and still keep shooting, and you don't restrict the blood flow to your legs. It also makes shooting i n long l o w mode much easier, as the camera needs to hang outside and slightly forward o f the wheels — much harder to do while soft mounted.

Wouldn't it be fun to show up for a Genesis or BLIV job and fire up the jet engine to reduce the load on the legs!!

Skatedolly™ One dolly we like is the Skatedolly, w h i c h is very light and small. It fits through really small openings like a R i c k s h a w , and can easily go i n any direction. Steering is less precise than a regular dolly, but a second grip can grab the column and really help with the steering. It can be used hard mounted as shown (right) or soft mounted, both standing or sitting on a higher box. Standing raises the e.g. a lot, so use extra sandbags and go slow around corners!

323

TheSleadkanr Operator's Handbook The Skatedolly can also be used i n a unique configuration: hard mount with the operator walking next to the rig (left). Because this dolly has a small footprint, you can walk close to the c o l u m n . Y o u operate one-handed, and use your " a r m hand" to guide the column. Y o u and the grip move the dolly, and you get to micro-manage the sled's position. Operating becomes something between normal operating (you do everything) and traditional work with a dolly. Y o u must do a little bit of the navigating, but you don't have to carry the sled. Your ability to move the dolly c o l u m n gives you back a lot of the navigating control lost when riding a traditional dolly. You can initiate the movement, fine tune the stop, or move the column out of the way. Perhaps i f you're really good you c o u l d even hop on and off the dolly during the shot! One caution: you've got to work to keep the sled close to the c o l u m n ; otherwise you run the risk of the sled turning the dolly over.

324

Section Ten

the business side of Steadicam

325

The Sleddicdm Operator s Handbook

Buying a Steadicam® W e ' v e seen students arrive at a workshop with a full k i t of new gear and all the accessories, expecting that operating a Steadicam w i l l magically change their entire lives. Sadly, it rarely works that way. In the worst cases, the student discovers he has no talent for the job and lives in an area that doesn't have enough production to support his habit. A few years later, the gear is sold at a huge loss, but the student's disappointment is a lot deeper and more painful than that. O n the other hand, almost every freelance Steadicam operator eventually buys a Steadic a m . Y o u need to practice and it's just too annoying to borrow someone else's gear that isn't tricked out just the way you want or available when y o u need it most.

Choices B u y i n g a Steadicam is a b i g decision, whether you're spending $1,000 or $100,000. B u y wisely, and get the best Steadicam and all the accessories y o u need at a price you can afford. Fortunately, you have a lot of choices now. There are great, fully featured Steadicam systems available at every price. A t the very least, do not buy cheap knock¬ offs o f the b i g rigs that don't work w e l l — buy good used gear.

Make a plan L o n g before you talk to any salesman, start putting your needs down on paper. What equipment and accessories do you absolutely need? What w o u l d you like to have? H o w much weight w i l l you be carrying? D o you really need the biggest rig, or is it even right for the w o r k you w i l l do? A r e you working i n f i l m or video or both? What kind of wireless focus system do y o u need? V i d e o assist and transmission? Hard mounting? Cables? Cases? Cameras? A r e you any good at operating a Steadicam? H o w hard can you work to get better? W i l l you? Where do y o u want to be i n a year? In 5 years? What equipment do you need right now? What can you buy later? D o some research. W h a t gear is on the market n o w ? Is the operator selling his old gear reliable? Talk to other operators. It's a small community. A t a m i n i m u m , ask for advice from the instructors i n your workshop. M a k e a new list based on your research.

A realistic business plan Take a hard look at your career, your prospects for earning money, and your market. H o w much money can you afford to spend, even i f y o u do not earn anything with the equipment for awhile? H o w much cash can y o u afford to borrow and from whom? What's your plan to pay it back? Set aside enough money for equipment insurance to replace the gear i n the event o f any catastrophe. H o w are you going to market yourself? Put aside some money for advertising. What does it cost to advertise i n the local f i l m and video production guides? A g a i n , do your homework. H a v e a complete business plan, but be sure the plan includes your dreams to become a great Steadicam operator. If you're not dreaming to be great, this is not the career for y o u . G i v e this book to a friend.

The business side of Steddicam

An idea that worked for one operator O n e o f the best plans we know o f for buying a Steadicam came f r o m an operator i n Canada. A t the time (ca. 1985) a fully featured Steadicam and accessories cost $60,000. John went to his bank and asked to borrow $60,000 for a Steadicam. O f course the bank .refused, but they d i d agree to give John $20,000 if he could raise $40,000 i n a couple of days. John was a successful camera operator and w e l l l i k e d i n his community. H e worked on commercials and videos, and wanted to get into film work more. So John went to his family and borrowed $20,000. T h e n he went to four of his best clients with an offer: If they w o u l d front h i m $5,000, he could afford to buy a fully equipped Steadicam and John w o u l d give them 10 days of work whenever they wanted it (about 50% off the going rate at the time). A l l four clients were happy to help, and John went back to the bank, got the $20,000 from them, and bought the top o f the line Steadicam system.

Different rigs for different needs: Depending on the kind of work you do and the market you are in, you may not need the top of the line Steadicam with all the bells and whistles. Research what is available and choose what best fills your needs.

The beauty of this plan is that John also had 40 days of work c o m i n g . Pretty soon those production companies had jobs for which they had no budget, but they wanted to i m press their clients, so they used their pre-paid, discount Steadicam days. In a couple of months, the 40 days of work were done, so John offered them all the same deal again. A n d he d i d it a third time within the year, retiring his entire debt and getting over 120 days of experience. John's plan quickly established h i m as the best and most experienced Steadicam operator i n his market, and he went on to have a l o n g , profitable, and distinguished Steadicam career. Eventually he became a T V director, and he rented his r i g to his o w n productions for several years before selling the gear to his assistant-turned-operator for about half of what he paid for it.

Buying used gear L o o k again at the real risks and the costs. If you buy good used gear, the value of the equipment is not going to diminish m u c h , and y o u always can sell the gear i f things don't work out. B u y i n g brand new gear is like buying a new car — once it leaves the showroom its value drops. But unlike a car, this equipment can earn you money, and it holds its value very w e l l over many, many years.

The better and more complete your plan, the more likely you will spend your money wisely and have a successful career. 327

The Steddkdm Operator's Handbook ;

Negotiating your deal conversations M o s t producers and unit production managers ( U P M s ) are straightforward and honest in their dealings with y o u . O f course, it's in their interest to get the best financial deal for the production, but they are also interested i n making everything go smoothly. A n y confusion about equipment or scheduling that causes a delay on set is very, very expensive. Try not to think of the conversation as adversarial. Producers are not experts i n everything related to Steadicam operating. It's your job to get the complete and full information to do your job. The producer may not be able to answer your questions (they are usually very busy and pressed for time), but he should direct you to someone who can help you prepare for the job and avoid problems. Sometimes i n the heat and confusion of the first telephone c a l l , some details of the conversation may get confused. It's important to get back to the producer, saying you want to be sure you are clear about some point. Usually a phone conversation is enough to seal the deal, but we always keep a copy of our notes around, in case there's a question later.

Deal memos Some operators we k n o w always have a complete, signed deal memo i n hand before they leave the house. The best thing about a deal memo is the lack of confusion. The downside o f demanding a deal memo is not focusing on the movie, and seeming to be most interested i n your finances and suspecting that production is going to do something unethical. For big f i l m s , established commercial houses, etc., it's a waste of their time to mess with you financially. A s a day player, the deal memo you sign on set (along with all the other forms), is perfectly adequate. For very small movies, start-up companies, and companies you don't know, get a deal memo. E x p l a i n that you want everything to be clear so there are no misunderstandings later, that it's no b i g deal, but like the insurance certificate, you just need it i n hand before you start w o r k i n g . It's just a good business practice that protects you and the production company. If you suspect y o u really, really need a deal memo just to get paid, you should decline the j o b , or, make it part o f the deal memo that you are paid in cash up front, and refuse to work until the cash is in hand. A s you wait for the producer (who, naturally, forgot to get the cash) to go to the A T M , ask yourself i f y o u really want to work like this. A n d a deal memo is not going to help you with these people. Producers and U P M s come i n all stripes, and their w o r k i n g conditions, other deals that they have made, etc., may also affect their conversations with y o u . Try to be as straightforward as you can about your rates and needs. A l w a y s give them your full day rate as a starting point, even for long-term jobs.

328

D o not ever be the first one to say anything after you state your rate. A s the producer swallows hard, you wait. D o not offer to end the silence. Wait. Producers are busy and can't wait around. T h e y ' v e got other deals to make. Y o u have only one. Let them suggest an alternative first.

The business side oí Sleadltam If the producer pleads financial hardship, there was no budget for Steadicam, etc., then repeat your full day rate and ask them what they budgeted for Steadicam. N e v e r give them a number other than your full day rate. If they come back to you with a number you can live w i t h , fine. If it's not, do not suggest a number. Say, " W o w , that's way lower than m y day rate. C a n you do better than that?" If they can't do any better, you can either accept or decline the job. If y o u are not going to do the j o b , suggest another operator or two that the producer can call. The producer might remember how helpful you were, as might the operator you helped get the job. What goes around, comes around, sometimes. Once a deal is done, it's done. A s long as they pay you what they've agreed to pay y o u , you must work as hard as you can for the production and stay focused on the artistic stuff. N o moaning on set about the craft service, the bird-brained actor, etc., unless good food and a smart actor were part of your deal. This is your chance to make great shots! B e positive! A few producers are less than honest, and they w i l l play endless games with everyone to keep every last cent i n their pockets. Some day you w i l l meet a producer w h o sees the "save a n i c k e l " part of their job as paramount. I knew a producer once who had to get his pound of flesh, who enjoyed beating everyone down from his rate. So I always inflated my rate 2 5 % , fought l i k e h e l l , and finally "gave i n " for m y normal day rate. Everyone was happy.

Making a deal is a skill perfected over time. Day playing O n a single day shoot, almost never discount your services for big films or commerc i a l s . Sometimes y o u might give a break to smaller productions, especially i f the job sounds interesting. However, never, ever, give a break to the production manager who wants a severe discount because he promises more work on upcoming projects. Instead, try asking the production manager for your f u l l rate for the first 3 days and offer to give h i m the fourth day free (the same discount i n the long r u n , and you might end up with 4 days w o r k ) . O d d l y , we've never had a production manager agree to that scenario. M a y b e that future work wasn't so certain. O n student films, always ask for some money and an insurance certificate. This ensures that they w i l l treat you with respect and use you wisely.

329

TheSleadiidm Operalor's Handbook

Longer gigs On jobs lasting more than a few days, the k i n d o f deal y o u make with production w i l l affect the nature of your conversations and your attitude on set. If you have a deal that gives you a rental and an hourly bump on any day the Steadicam is used, then the decision to use Steadicam has implications for both production and for your bank account that are outside of its real usefulness to production. The director or D P may feel constrained by the budget limitation and pass on using the Steadicam. Y o u r recommendations that a shot be a Steadicam shot are also suspect, and it w i l l doubly anger you i f you feel a shot done on a dolly — or worse, handheld — would have been better as a Steadicam shot. A t best, thinking about money on set is a distraction. We prefer a deal that is revenue neutral, where you are guaranteed a healthy amount each week (a m i n i m u m number of " S t e a d i c a m days") i n exchange for unlimited Steadicam use without any further expenditure by production. T h i s sort o f deal can w o r k both to your economic benefit and detriment, but it always makes the days on set more straightforward and keeps your focus on the m o v i e . It also gives the director and D P the most freedom to use you or not as they see fit. It irks some production managers to give Steadicam operators a healthy guarantee. If you have the rental and a bump deal, and when the director demands a shot be done on Steadicam at the end of a 15 hour sixth day, you w i l l enthusiastically oblige the director and earn a small fortune. It's positively amazing how fast the Steadicam can emerge f r o m the camera truck and be ready to shoot! It's not surprising that, given these circumstances, the production manager w i l l seek you out at breakfast the f o l l o w i n g M o n d a y morning and suggest you agree to a flat rate, healthy guarantee deal like the one you first suggested to them. It is a good idea to accept the deal because money should not be an issue on the set. It is rare to find yourself renegotiating a flat deal. O n all but the lowest budget commercials, one usually gets the full day rate and rental for the gear, regardless o f the length of the shoot. However, every operator's needs and market are different, so try to find out — way ahead of time — what is the norm where you live. We suggest everyone does not radically undercut the going rates, agree to half days, etc. Yet as a beginner, one can't charge the same as established operators with the most expensive gear. M a k e friends with other operators i n your area. If you don't undercut them, they may send you work they are too booked to d o .

The business side of Sleddicdm

1

Advertising

promoting yourself and your gear W h o knows that you exist, have Steadicam equipment, and can use it wisely? W h o w o u l d you l i k e to tell that you exist? H o w m u c h time, effort, and cash do you want to spend getting yourself known? What jobs w o u l d you feel comfortable operating? The answers to these questions can guide your promotional efforts. A suggestion for new operators: somewhere between dreaming of working o n b i g features and endlessly perfecting your line dance skills are actions you can take to advance your career. We're not big fans of traditional advertising i n local trade publications as your primary form o f selfpromotion. Those ads are a good reminder to producers that you exist, but you first need to make personal contact with the people w h o hire y o u . W h e n you are starting out, you need experience. G o to f i l m schools. D o n ' t just put your name up o n a bulletin board — find out who is teaching the production classes and i n troduce yourself. Offer to demonstrate the Steadicam with their cameras. Get to k n o w the students, offer to help them with their ideas. If there aren't any production classes, offer to demonstrate the Steadicam's capabilities through f i l m clips. Use stories y o u ' v e learned from workshops. Someone i n the class may k n o w someone who knows someone you want to meet. G e t yourself out there. M e e t people. Y o u are not a fancy graphic o n a sheet o f paper. G o to local I T V A (International Television Association) or other production group meetings. Offer to demonstrate the Steadicam. If they accept, have a specific plan that emphasizes what you can do with the equipment. S h o w them a demo reel. Possible topics: using Steadicam in documentaries and industrials. Steadicam myths busted — it's good for your back and other wonders. Perhaps get together with a good A C and give flipping-to-low-mode-and-back and focusing-witha class f o r new assistants. Have really-long-lenses contests at the end o f the class. M i x up your presentation i n front o f a group. D e m o the gear, and show stills o f you w o r k i n g , fun set-ups, and videos that demonstrate what you and your gear can do. F o r instance, after you demo going into super long mode, show a clip with a great use o f super long mode, and then move on to another live demonstration. M a k e a spec commercial with up and coming directors and D P s . Seek them out at meetings and get involved i n their ideas and dreams. Introduce yourself to the local rental house managers and tech staff. Offer to demo your Steadicam with their cameras at an open house. Offer to work for them as part o f a package.

331

The Sleddicdfîi Operator s Handbook

Demo reels Eventually people w i l l want to see examples of what you have done. Think about what someone watching the reel wants to see and what they don't want to see. B e ruthless with your evaluation of your shots. What's powerful and engaging? What's just going on and on, keeping us from the next cool section? If you're trying to impress someone at an ad agency, they won't care for a shot of y o u chasing your dog — unless, of course, the commercial they want to shoot is of someone's P O V chasing a d o g , w h i c h is then the only thing they w i l l respond to. M a y b e y o u ' l l get lucky.

SIEAKAM 1 Anca O M M C torausr 10 STUKSHUH

1 PuctDO IUNIMIHJ) M i a a m wm BUT T\a SUM™I AOOTULKTu ANT FO*M (»

F I X «Vian Bt Bum w vn* it

You want to let people know y o u can work under the pressure of real productions. O n l y show stuff that looks good and has high production value. (This is a lot easier now than it was a few years ago — thanks to H D ! ) So what i f your reel is short? Y o u are new at this. N e w but very, very good, so all o f it has to look good. Cut around the bogeys and bad acting.

• MM

M O O T E DranU U H W I T .

Fiwn CjMTjnaçah io MUHT Video*. Fcumuto induitrjb, Stertom à The Tool ta Ga the Prodxùon M f * i n £ On AnyBMdg«.

C 8 J W B PflPffiT>STUKAM JSGiuvesfcï • NoRniuaPTE)s,\MQID60 <413)56**632

Do not make a D P watch your 5 minute uncut tour de force unless it's much better than the opening shot of Bonfire of the Vanities and it has higher star power than Bruce W i l l i s . Seriously. D o n ' t bore your audience. But i f y o u ' v e worked with Bruce and somehow got the footage, even i f it's a 5 or Coll jar the best rates hi Nm England! 10 second c l i p that isn't even that interesting as a Steadicam shot, U S E I T ! If you don't want to work on music videos, don't put a c l i p from a music video on your reel. Put stuff on your reel that represents what you want to do. W h e n you're new at Steadicam operating, you may not have much choice about the jobs you get, but as you go along, weed out those clips for work y o u ' d rather not do again.

Getting video for your demo reel Try to make a deal up front to get the raw footage or a high quality copy o f the finished product. Try. Offer to cut your rental rate i f they w i l l give you the footage. If they agree, get this i n writing! T h e n bug the production company until y o u get the footage. U n t i l the commercial or video is completed, the production company may not be able to release the footage to y o u , so be somewhat patient. G o o d luck trying to get any footage out of a feature production. Y o u almost always have to wait for the D V D to come out and then have some method o f defeating the copy protection so you can show your work.

332

The business side of Stedditam

Promoting yourself via your gear In general, don't promote yourself on the basis o f your equipment. M o s t producers won't care i f you have a Preston or a Seitz system or a Clipper o r an Ultra E l i t e . Assistants w h o do care about your gear w i l l ask you about it, so why waste valuable ad space — and a producer's time — advertising your standard gear? H o w e v e r , i f you've got gear with unique capabilities, let people know about it. W h e n you go to the I T V A meeting with your Ultra, show them super high and l o w modes and how fast you can get there. If y o u ' v e got a special vehicle or mounting system, show it, or at least pictures o f the contraption and a video o f the results.

What are you promoting? What exactly do you want people to know about you? Ted Churchill was the first Steadicam operator who really understood the value of promotion. H e had the brilliance to create the whole idea that being a Steadicam operator was a career i n itself. It was a tall order, but Ted took it all on (and many technical and artistic challenges as well) with amazing energy and diligence. H i s audacious advertisements on the back cover of American Cinematographer were legendary and extremely effective. M a n y o f these ads showed T e d happily, j o y f u l l y working with the most advanced Steadicam and the finest camera gear o n the planet. B u t we think the best ad was an extremely simple one. It showed his old vest, beaten and scratched, gaffer taped, and torn. Underneath the photo was one word: Experience. So what was Ted selling? Experience. If y o u hired Ted, h e ' d get the job done. H e assured you o f that. What else w o u l d you get? A really smart guy who could cut through the clutter and noise and give you something new and totally on point. Y o u ' d get a guy w h o didn't care about protecting his gear from bumps and scrapes, a guy w h o w o u l d do anything to get your shot. A guy who works hard, is proud to work hard, and who loves to work hard. It w o u l d be fun and memorable to work with a Ted. It was an amazing ad. A s you start to design your a d , look at other operators' ads i n the NYPG, LA 411, or other production guides. W h i c h operators w o u l d you consider hiring on the basis o f their ads? W h y ? What turned you o f f or left you blank about the other operators' ads? M a k e a list. What do you want to sell? Keep the list short. H o w can you make yourself stand out? H o w much w i l l that cost you? Is it worth it at this point i n your career? C a n you afford not to advertise?

Ted Churchill

• Ü . J

L .. . .

'

li

New England Telephon*, Holiday on he, Pepsi, Conoco, Monsanto, Sergio Valente, Saks Fifth Avenue, Manufacturer* Hanover Bank, Sesame Stmt Live, Coast Soap, Digital, Friso-Lay, New York Air

212/691-0536

333

The Sleddicam Operator s Handbook

Insurance

for you and the gear You should carry insurance for you and your gear. There is no good reason to risk your l i v e l i h o o d to "save" a few hundred bucks a year. Consider the expense part of your business, and budget accordingly, just as you w o u l d for a new widget or focus motor. Insurance for you is called liability insurance, and it protects you when you accidentally drop your Steadicam on the leading actress's b i g toe. It is generally very inexpensive insurance, and y o u ' d be foolish not to have it. B u y i n g insurance for your equipment can be a bit more complicated, because exactly what is covered, under what circumstances, for how m u c h , and with what sort of deductible can vary quite a bit. In general, you w i l l want a "replacement value" p o l i c y ; i.e., a policy that w i l l enable you to buy a replacement Steadicam i f yours is damaged or stolen, rather than a policy that only pays you what your gear is " w o r t h " (less and less as the years go by, and a number determined by the insurance company, not by you). A replacement value p o l i c y w i l l be more expensive, but when catastrophe strikes, you want to be back up and w o r k i n g as soon as possible. A n y p o l i c y with a high deductible w i l l cost y o u less money, as you are assuming some of the risk of loss. You should also read a l l the fine print. A friend of ours found out the very hard way that his insurance policy was good everywhere except when the gear was in his car — locked or unlocked.

Be sure your policy covers you and your gear everywhere, all the time. N o matter what sort o f insurance you have — or how much — you want to be sure that the production company is the first line of insurance both for you and your gear. You should always be an employee of the production company, not a subcontractor. Get paid an hourly wage and have the taxes taken out, unemployment taxes paid, etc. It may leave you w i t h less cash i n the short r u n , but it keeps you far away from potentially huge financial risks. Be sure to get an insurance certificate from the production company for your gear, with you and/or your company as the "named insured." Provide the production company with a list of your equipment and serial numbers. Have the insurance certificate i n hand before you start w o r k i n g , as it may be strangely difficult to obtain it after the little mishap. B e i n g an employee of the production company may not be easy or even possible on smaller jobs, student films, and the like. If you're getting paid cash, a flat sum, etc., y o u are a subcontractor and w i l l be assuming all the risks, so act accordingly, and charge accordingly. There's nothing dumber than taking a l l the risks and heavily discounting your rate at the same time. Fate would have it that the only time I've ever needed insurance was on a student film I agreed to work on.

The business side of Sieddkdm ACQRD»

CERTIFICATE OF LIABILITY INSURANCE

tmt ( M M t N V Í Y l 02-2HO5

PRODUCER B i g

M o v i e

P r o d u c t i o n s

1 Eeel

Drive

Hollywood,

C A

THIS C E R T I F I C A T E I S ISSUED A S A M A T T E R O F INFORMATION O N L Y A N D C O N F E R S N O RIGHTS U P O N T H E C E R T I F I C A T E H O L D E R . THIS C E R T I F I C A T E D O E S N O T A M E N D . E X T E N D O R ALTER THE C O V E R A G E AFFORDED 8 Y THE P O L I C I E S BELOW. INSURERS A F F O R D I N G MURERA:

INSURED M e g a M e d i a 7

C o n g l o m e r a t e

Sea G

R o a d

INSURERS:

N A I C *

J

VAMK GUARANTY MVJKAtKt CO.

MtuRERC: TRULY MAJOR FIDELITY A GUARANTY INSURER D: INSURER E:

E a r t h

COVERAGE

MAJOR PROPERTY4 C A S U A L T Y IH4. CO.

Ri AL MAJOR FIRE INSURANCE CO. MAJOR CASUALTY COMPANY

COVERAGES tl(L POLICIES Of INSURANCE 1STED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOnWTHSTANDING ANY REQUIREMENT TERM OR CONDITION Of ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO W r « C H THIS CERTIFICATE MAY BE ISSUED OR MAY PERT AM. THE MSURANC6 AFFORDED BY THE POUCCS DCSCROEO HEREIN IS SUBJECT TO AU. T K TERMS. EXCLUSIONS AND CONDITIONS Of SUCH POUCfcS AGGREGATE LIMITS SHOWN MAY HAVE g W RgPUCEO ITT PAO CLAMS PO UCT NUNMR

nrt or K U I U U K Í

«¡LlCY Í F Í t C I f t í DATE I M M O W ]

« H C l iH-IHtllOW

(WMRAl LtMMITY X

M R (muotunt

1 ».000.000

COOMEKCUI, OttHAL UMMUTT

tnooucTs - C O M H W A G Í

CUVW HW€

f t B « W A l « ACIV Mlfl'

I X [ OC OA*

2.000.000 2.000,000 2.000,000

I M M A » IV "LNItU

U r M I W S ff J

50,000

MUMM)

•Xtn. ACOlCACAIt UVE M t l t « riK

LXW1A0O?

AVIDIWXM.E U A M . I »

COM CUNEO 9 I C U LMHI

AWrAUlO

2,000,000

ALI ©vini» AUTOS SCJ«0Ui( « u t ; » HMD AUTOS

DEDUCTIBLE *0 COLI ACV-ÇOMP *CV ..r« Motore,

AUTD ONLY - CA ACCntWt ANY « n o

EXCMMMDPXU> LIABILITY ~Jt~| OCCA*

3

tA ACC

OTHER THAN AUTO cm V

¡E38

EACH OCCURWNCT Ö A ^ M M *

5000,000 5.000.000

UWMIÜAKttM

« œ u f W OMMttUTttN AMO

SISOOS

DO01YÍI002

CMPL0YCA9' LIWHUTY

AMY fHOPXIÍTOWAKttCRlEAf UIIWE 0 * n C E M « Í M B C * E*«IJÍ>ED>

t I TACK ACCA1ENT

2.000,000

( 1 [USÍAHE - £ A EMPLOYEE

2.000,000

t l D d A í r - POIKV (MR

2,000,000

omen 0SV7T

THIRD PARTY PROPERTY DAMAGE

2/1/04

MISCELLANEOUS EQUIPMENT PROPSfSETS VWROROee

Limn limH. I Unit:

S5.0C0.00O SS.000.000 »,000,000

-

CERTIFICATE HOLDER IS ADDED AS AN ADDITIONAL IN5UREM.03S PAYEE A S THEtR INTEREST MAY APPEAR, A3 RESPECTS TO LOCATON/PREUtSE3/VEHJClES A EQUFMENT LEASES/RENTED BY THE NAMED INSURED WITH RESPECTS TO THE OPERATIONS OF THE INSURED WHILE USED IN CONNECTION YYTTH THE PRODUCTION ENTITLED " NEVER CUT "'

CANCELLATION

CERTIFICATE HOLDER Stan 360

Steady

H o r i z o n

E v e r y w h e r e

Court U S A

SHOULD ANY 0 » TNI! ABOVE POCIOCS OC CANCELLED BEFORE THE EXPIRATION DATE THEREOF, THE » 8 0 1 NO MBUftER WILL ENDEAVOR TO MAIL 30 DAYS WRITTEN NOTICE TQ THE CERTIFICATE HOLDER NAMED TO THE LEFT. BUT FAILURE TO DO SO SHALL IMPOSE NOOMUOATTOM OK LIABILITY Of ANY K M D UPON INK INSURER, ITS MEMTS OR fiePWSEWTATWEt AUTHORIZED REPRESENTATIVE

'

"

A C O R O 25 ( 2 0 0 1 / û f t )

@ A C O R O C O R P O R A T I O N 1988

The certificate should read: "additionally insured, loss payee" with your name.

335

The Sleddkdm Operdlor's Handbook

336

Section Eleven

unique environments & requirements: special skills, gear, and accessories

337

The Steadicdm" Operator s Handbook

^H^H

Weather alerts Wind

wind, rain, heat, cold

W i n d is the invisible enemy of the Steadicam. E v e n the slightest breeze can alter your precise framing and ruin the shot. But there are several things y o u can do to minimize its effect.

Keep the wind off the rig First and foremost is to try to keep the w i n d from hitting your rig in the first place. T y p i cally, operators have a grip hold a " 4 - b y " solid or double net next to the rig to keep the wind from hitting it. The challenge is for the grip to keep the solid in the right spot as you move about and the direction of the w i n d shifts. Garrett always suggested that you keep a length of colorful yarn in your kit and tie it to the mounting rod of the solid. Y o u tell the grip to a i m the yarn at the sled, not you. I've always found it hard to find the time, inspiration, or the spare 4-by to tie my yam to, so I've still got that original piece of bright red yarn from 1982 in my kit, untouched. Instead, I try to have two solids and two grips make a " V " around my back to keep the w i n d off the rig, regardless of the wind's direction. In addition I w i l l use another grip and solid if needed, and/or the bodies of the director, D P , assistant, craft service technician, etc. huddled together to shield me from the w i n d . Some operators prefer using double nets rather than solids. A double w i l l cut the w i n d down significantly, but there is less turbulence i n the transition area from shielded to unshielded. It w o u l d be great to have the best o f both worlds and make up your own shields that were solid at the center and like a double net all around the edges. U s i n g a V o f solids, you can shoot looking directly into the w i n d . The V forms a little pocket o f c a l m air, and you can operate quite well in winds of 25 mph or more. ( H o w ever, it may require several grips to hold each solid.) L a r r y M c C o n k c y has long had a custom triptych o f 6 foot tall shields that c l i p together. Each shield has a Plexiglas w i n d o w that the grip can look through to see what Larry is d o i n g .

338

Unique environmenls and requirements

We often use grips to block the wind from the rig. The stronger the wind (wind force goes up by the square law), the bigger or more numerous the grips must be.

Increase the rig's inertia Y o u can also reduce the effect that the w i n d has on your rig b y increasing the rig's i n ertia. Y o u r first line of defense is extending the monitor and battery and lengthening the telescoping post. T h i s is nice because it adds no weight to the rig and is generally very quick to d o . Your second option is to add some more inertia v i a Antlers (or a similar scheme). This is useful because you can orient the Antlers sideways (unlike the fore-aft o r i entation o f a l l the other components) and even out the angular inertia i n a l l three axes. W h e n the w i n d hits a r i g with A n t lers oriented this way, it tends to be a lot less squirrelly — it tends to move spatially a bit, but not angularly. Your third choice is to add gyros. This is a bit more challenging, as it often requires a major rearrangement o f the sled's components and special brackets. It's also noisy and takes additional power. That being said, gyros can make your sled very, very stiff and w i n d resistant and are particularly good for lock offs at the head or tail o f a shot when it is really critical.

Rain Y o u want to keep the rain out of your rig. The electronics i n particular don't like the moisture, and there are steel parts i n the arm that can rust. It won't hurt the vest to get wet, but it's not much fun to wear it once it is soaked.

Covering the gear Several companies make custom covers for the arm and sled; you should have a Gore¬ Tex or similar rainproof but breathable shell to go over your vest.

339

The Steddkam' Operalor's Handhook W e l i k e the pre-fab gaiters for the a r m , but a big plastic garbage bag also works like a charm. Just poke a small hole i n the closed end for the arm post, gather it loosely about the center elbow and the hinge near the vest, and you are good to go. I prefer wrapping the monitor and the electronics in clear plastic wrap to using the custom covers. If moisture does get inside the plastic wrap, you just cut it off and start again, and the plastic wrap presents less of a w i n d shadow than the custom covers. Start wrapping the monitor with one clean, dry layer stretched over the monitor face. T h e n w i n d more plastic round and round until you think the monitor is protected. Secure with duct tape — not gaffer tape — and rubber bands or bungee cords. Start wrapping the electronics at the bottom, and wind your way up and around everything until the electronics are covered. The wrappings w i l l act like shingles on a roof, and you secure the top layer to the post with duct tape. Use rubber bands where you can. The battery on some rigs can be covered with a ziplock type bag, secured with a rubber band. O n other rigs it's best to use the plastic wrap method. You generally cover the camera as the assistants w o u l d l i k e to cover it, but try to m i n i mize the w i n d shadow. The camera cover generally covers the stage and electronics adequately. Forget about the gimbal. It gets wet and does not care. One of m y favorite rain moments was for a Woody A l l e n movie, Celebrity. In a big scene at the end of the f i l m , a crowd has gathered outside a movie theater for the premier. It's raining — artificially from a large number of towers. It's about 40° out, the extras cringe every time the A D calls " r o l l sound," and I ' m having a fine time shooting under the marquee, far from the freezing deluge. H a v i n g a fine time, that is, until they suggest I go out into the street. But this is a b i g movie with lots of resources. I q u i c k l y commandeer four grips and an " E a s y - U p " tent. We roll the edge to create a gutter on the front, and I can march about the street fully protected f r o m the rain, but not from the glare of the extras' eyes. I've also worked many times all day or night i n the pouring rain and w i n d and mud and, with the protections mentioned above, come away without a scratch. W h e n you can, it's nice to have an umbrella or EasyU p f o l l o w you around. W h e n you can't, it's generally not a big deal.

340

Unique environments and requtjemenls

Water and sand Sand gets everywhere and water is very corrosive, especially salt water. The beach is a very hostile environment for a Steadicam. C o v e r your gear as i f it were pouring rain. E v e n for that one quick shot, one gust o f w i n d or one splash could result i n hours of maintenance work o n your r i g .

Temperature extremes Steadicam operators have worked a l l over the w o r l d under the most extreme conditions. The equipment, with a few minor precautions, can operate f r o m - 4 0 ° F to over 120°F ( - 4 0 ° C to + 5 0 ° C ) . Under these extreme conditions, however, the operator must work hard to take care o f himself or herself.

Hydrate Whether it's hot or c o l d , or just a l o v e l y spring day, proper hydration is a must. Alternate water and a sports drink i f you are working hard. D r i n k some water followed by the sports drink. T h e n more water. The liquids should be at room temperature, so it's more easily absorbed with less shock to your system. D r i n k a little bit all the time; don't wait until you are thirsty. If you are dehydrated, y o u risk cramping or fainting, and you tend to think more slowly. P l u s , you are thirsty.

Cold climates

A trick for running on sand Bury a length of chicken wire or plastic fencing just beneath the surface of the sand. It works like snowshoes!

A s the temperature drops, the operator must add more and more layers o f clothing. D o w n to about 0 ° F , nothing really extraordinary is called for. A layer o f good moisture w i c k i n g material next to the skin (like polyester) should be followed b y several layers of fleece and a final rain- and wind-resistant layer. A l l layers should be loose enough to allow good circulation, and you should be able to open up your clothing between takes to vent out the moisture generated while you shoot.

1

The vest should be worn outside a l l but the outer shell, with the socket block protruding through a gap in the zipper. M a n y operators have special slits sewn into their clothing to accommodate the socket block, but a lot o f us just use o f f the rack jackets.

I

In conditions below zero, be sure to add extra insulation on the outside of the vest spar. The spar not only compresses the insulation under it, but it acts like a giant heat sink, sucking the heat out o f your heart. W e ' v e discovered the hard way it can be very painful. M a y b e even fatal i f you're i n the rig too l o n g .

341

The Steddicdin Operator's Hdndbook 1

Hands and feet A s the temperature drops, you need to consider when y o u should start wearing gloves and how thick should they be. Should your gloves be smooth or sticky? Y o u r decision should be based partly on the shot requirements, and partly on how your hands feel to y o u at the moment. Some o f us have less circulation i n our hands and quickly start putting on the gloves; others wait a lot longer. W h e n it's just a little bit c o l d , some people l i k e thin leather gloves, others may prefer latex or half gloves with the fingers cut off. It's a good idea to go to sporting goods stores and see what different athletes use — y o u may find something from kayaking that suits y o u just fine. Operators w h o typically w o r k i n c o l d environments have many different pairs of gloves and mittens in their kit. Chemical hand and foot warmers are great for keeping y o u w a r m , especially when you opt to grab the c o l d post with your bare fingers for the moment of shooting, and then return your hand to the glove between takes. A l w a y s take care of your feet. Unfortunately, as your boots get bigger and thicker to ward off the c o l d , they don't necessarily provide the same positive support as your normal operating shoes. C o m b i n e clumsy boots w i t h ice and snow and you risk falling with your gear. If you k n o w y o u w i l l be working i n the snow and ice, find boots that keep y o u warm and provide secure footing and proper support.

Batteries and monitor Most batteries do not work very well when c o l d . T r y to keep them above 4 0 ° F . M a n y operators charge their batteries and keep them ready i n an insulated cooler w i t h an electric blanket inside. Wrap the battery i n an insulated bag when it's on the rig, and i f necessary, put one of those little hand warmers i n the bag with the battery. L C D (liquid crystal display) screens do not like to operate below freezing — the l i q u i d freezes. M a n y L C D monitors have automatic circuits that prevent them from operating below freezing unless you choose to do so. N o r m a l l y , the L C D screens made for Steadic a m use have large backlights that generate a lot of heat. Y o u can keep your L C D w a r m in c o l d weather by insulating the back of it and keeping it on with the backlight set to m a x i m u m brightness. W h e n docked, place an insulated cover over the screen. If you k n o w y o u are going to spend a lot of time i n below freezing weather, we suggest you buy a commercial 14 or 24 volt D C power supply (at the same voltage as your batteries) of the right amperage (10 amps is more than sufficient for most rigs). M a k e an adaptor cable and use the mains to power the rig and keep everything warm between takes. Place your battery into the insulated cooler and go find a w a r m spot for yourself

Unique envlronmenls and requirements

Hot climates W h e n it's hot, y o u need to keep yourself and the equipment as cool as possible. For the gear, it's generally best to turn everything off so that it generates no heat, and keep everything out of the sun. There's nothing quite like putting on a black vest that's been baking i n the sun and then humping 70 pounds around. Keep yourself and all o f your equipment i n the shade. Once again, you must take special care of the batteries, as they don't like to be hot, and they generate heat when being used and when charging. M a n y batteries and chargers have thermal circuitry to prevent charging or discharging when the temperature is too high. B e sure that your charging station is i n the shade and that there is plenty of air circulating through the charger. Stay hydrated. D o not drink iced drinks, and stay away from sugary sodas. Tepid water and sports drinks may not sound appetizing, but they w i l l keep you w o r k i n g longer with less stress on your body. Wear a hat, maybe even one of those hats w i t h a small fan built into it. If it's dry enough, wrap a towel soaked i n c o l d water around your neck — especially when you are not wearing the rig. A n d wear the rig as little as possible. Stay c o o l . Wear loose, light-colored clothing that can breathe: nothing tight or constricting. If there's a reflection i n a shot that requires y o u to wear black, then wear black for the shot and then change back into your normal hot weather costume. Take care o f your feet. They w i l l really appreciate it if you change your socks and shoes at least once during the day. Soaking your feet in a bucket of cool water can be heavenly. When it's really hot, we do not jump in and out of an air conditioned building or vehicle. Stay outside in the shade and get used to the heat. Your body w i l l sweat, keeping you cool. It may seem strange, but don't forget to warm up and stretch when it's hot. Stay loose. Whenever you travel from one environment to another, be sure to pace yourself. If you l i v e i n N e w England and suddenly find yourself shooting i n Panama, it's going to take a few days to get used to the heat and humidity. Altitude, jet-lag, new f o o d , pollen, or pollution can also wreak havoc on your body. Have your assistants watch you carefully, making sure you don't get dehydrated or overextended. A day that w o u l d be okay back home can knock y o u out i n "paradise."

The Slejdicdin flpeiatois Handbook

by Scott Lakey In 19971 was asked by a Swedish company to shoot a new concept show called Expedition Robinson (Survivor). /1008 asked to shoot with my EFP camera on a tripod, handheld camera, as well as Steadicam. I didn't know what I was getting myself into, but thought, "Win/ not?" The location was to be an island hi Malaysia. Within 2 months I was in Malaysia, 125 km north of Singapore. The temperature was 33°C (91.4°F) in the shade, high humidity, sand, and salt air. We lived on a nearby island and planned a commute to the "Suivivors island." Steadicam xoas to be used on the games as well as during the island council. I was fortunate to remember Jerry's motto never, never, never use a Steadicam on a helicopter. I shot the opening aerial scenes and stock shots with a handheld camera from a helicopter door. (A week later on another job the helicopter crashed and kilted five people. My friend the pilot and co-pilot perished. If my American mother had been able to read the Swedish newspapers she would have thought I had died.) Later that first day I was back on the hard and we had to transport my Steadicam Master Film from a boat across the island's lowlands and then up a high hill to the island council. We had locals (bearers) who would help us get the gear up the hill. The red earth footpath up the hill killed us. The two bearers could not take more than one item at a time, and we could not convince them to take more on their low salary. We had to do the job ourselves and if lucky had some assistance. Our dreams of servants greeting us with iced tea and fans at the top were just dreams. Several tons of gear to transport up Hell Hill. Hot, sweaty, and thirsty. We drank 6-10 liters of water daily. Someone even had to get the water up that hill. The Steadicam was always a favorite item not to carry. Not light. We set up the cameras around the island council and I set up my Steadicam first as it was my responsibility. I threw a silver Mylar emergency blanket on the Steadicam to protect it from the sun. The positiotis chosen for us were back lit much of the day depending on when we were shooting. Oh well, too much trouble to move everything. Our cameras got quite hot in that direct sun so close to the equator. One camera switch panel melted. We decided to use white sheets at first to cover the cameras from the sun. Later we custom made Mylar plastic covers which we cut and taped ourselves. Much more effective and did not fly away with the wind gusts. When all cameras were built, we started to test our primitive setup. I noticed the island council was a circle filled with coral

344

Unique environmenls and irequif ements

heads. Very bumpy to walk on ami an attempt was made to fill sand between the coral heads. When all was fine I placed the Steadicam on my body. We went through a rep and then called in the contestants. We had tost much gas getting all the gear up on the hill and the 40°C (104 F) in the sun did not give us more energy. Trying to fly over the coral heads I was lucky not to break an ankle. Steady: xoell not exactly. As I stood there holding a fixed shoot after my bumpy move I noticed something biting my leg. As I was holding a fixed shot I was forced to bear it. When I placed the Steadicam down I realized the critter that bit me was a sand fly,* the world's most irritating creature. a

The sand was carted up from the beach. The beach shoots were equally as difficult. The island was full of holes where the former Vietnamese had dug for water and buried their dead. Ten thousand had lived there at one time after the war. And several thousand were thought to be buried there. The technique of placing plastic fencing down to make walking on sand tolerable was not possible, as they had no lime to prepare and interest to do it. I had to rough it.

no

I shot often on the beach barefoot. It seemed the best way to work. I tried many tech*(SandFly) niques for the sandfliesand on the mornA little white insect with black wings. Very easy to miss. ing boat to the location island I first use It has the jaws of a shark and it leaves a sting that turns sun screen and then applied the strongest to an itch and if you scratch it leaves a welt the size of a mosquito spray on top. That worked fine watch face within 3 days. If you continue to scratch it gets until I was in the water transferring gear or infected. I saw many beautiful Swedish women with lovely shooting. One dip in the drink was enough long legs that looked like they were losers in a shotgun battle after one day's encounter with the sand flies. The to get a swarm of sandflieson your leg. Malaysians fog and spray the beaches with diesel fuel. That first S u r v i v o r was historic as SwedThe sand flies don't die, they just swarm to the next island. ish press called it fascist TV. We had no Sorry neighbors. This was to be our shooting location for 2 idea we were creating TV history. The first months. I shot there two seasons. survwor to leave the island returned home to Sweden and committed suicide a month later. He was a Bosnian Serb married to a Muslim living in Croatia and then moving to Swede}!. He was an educated iawx/er and could not even get a job as a dishwasher, I was with him when he was de-programmed after leaving the island. He said he felt fine and was not hostile or depressed; someone had to be the first off. That did not go well with the Swedish press and his wife blamed the show. The TV WOS forced to remove the scenes with him. The chief left her position as the pressure was on her. Funny thing was that 2 months later it was the top show in Swedish history. Mark Burnett bought into Planet 24 and 2 years later turned it into the top show in the United States.

345

The Sleddicdm Operator s Handbook

Documentaries and industrials The Steadicam can be a great tool for shooting documentaries and industrials. There are two basic things to consider: Y o u should move the camera wisely, just as y o u would i n any other situation, and your behavior as an operator has much more impact on the "set" of a documentary or industrial than on a movie set. The Steadicam can move w e l l and add production value. It can give a sense o f freedom and naturalness, w h i c h is especially helpful and reassuring to non-professional actors. It can connect spaces and show the flow o f processes. The Steadicam operator can work i n spaces too difficult or dangerous to lay track, and he can easily and quickly move out of the way. This last factor is really important i n factories, around large machinery, near b i g animals, and i n hospitals, where m o v i n g yourself and your gear out of the way is truly a matter o f life and death.

Minimize the equipment and yourself D o n ' t make a big deal about the machine; stay focused on the subject. D o your setup and balancing unobtrusively, quickly, and i f possible, out of sight. M a k e the Steadicam, setting it u p , and getting the vest on and off seem routine and uninteresting. M i n i m i z e the mechanics, and try to connect with the subject on a personal level. If the operator behaves w e l l , the circus act of carrying a Steadicam can be minimized. I've often let folks be amazed and play with the contraption as I ' m wearing it. Their interest i n the device briefly takes their minds off the fact that they w i l l be on camera. We get to know each other a little and relax. Eventually we all get bored with the Steadicam, and then we start to shoot. The contraption disappears as the subject becomes more important. Wear dull colored clothing. D o n ' t stand out. B l e n d i n . If you're shooting an orchestra that's performing a l i v e concert, wear a tux. Really. D o n ' t show up i n a corporate environment and wear spandex. Actually, never wear spandex. It's not about y o u ; don't be a distraction. There are exceptions. Here's one: when w o r k i n g i n a prison environment, don't wear jeans and tee-shirts like the rest of the " p o p u l a t i o n . "

Connect with the subject One huge advantage a Steadicam operator has over conventional operators: his face is not hidden behind the viewfinder. The operator can connect to the subject, smile, and react as the audience. Y o u can either k i l l your subject: laugh at h i m , ridicule h i m ; or you can support h i m : laugh at his jokes, be interested i n his subject, what he has to say, etc. Steadicam operators always have the option of l o o k i n g around and easily seeing what is outside of the frame. Compared to conventional operators, you can move with more

346

security, k n o w i n g where to step, and you can anticipate and prepare for things about

to enter frame, and do it all without disturbing the image or your subject. Y o u also can be more aware of interesting incidents off camera and prepare to slide from the current subject toward the next, k n o w i n g where and when to stop more easily.

Keep the story, the project in mind Documentary footage shot on Steadicam doesn't suffer from distracting handheld bounces, l o n g the bane of documentary film editors. A l l too often a piece of important action or dialogue was ruined by an unwanted camera shake. Steadicam is smooth and continuous, the shots can go on forever, and there's the problem. There is an opportunity for Steadicam operators to be so intrigued with their work that they forget to shoot for the editor, for the m o v i e . G i v e your editor cut points. D o n ' t move the camera all the time, don't get caught up i n m o v i n g round and round your subject just because it's possible. Stop and watch things unfold. M o v e when necessary, for a reason. T h e n stop again. T h i n k l i k e an editor, l i k e a

filmmaker.

Use different lenses. Don't shoot everything w i d e , don't forget everything y o u ' v e learned about the rich language of cinema. Take many cutaways. B e prepared to j u m p to the dreaded tripod or the dolly or crane when it's appropriate to do so. It's good to have a second camera, or at least a quick release system compatible with your Steadicam set up, so y o u can change modes quickly, without fuss. To use longer lenses, you are going to need a good focusing system and, i n most cases, a good assistant. To use z o o m lenses, you w i l l need some sort of z o o m control l i k e the J-7 on your gimbal handle. A n d you w i l l always want the lightest possible camera for your Steadicam. D o not get stuck with a heavy camera; everyone w i l l be disappointed at the end of the day. B e sure everything is wireless. T h i s includes sound recording i f you are shooting video. Y o u r tape should only be considered the back-up audio or guide track; the audio guy should make the master audio on a separate, w i r e d deck. If your primary work is documentaries and industrials, you should strongly consider buying one o f the new f u l l y featured, lightweight Steadicams. They can do almost everything the top of the line Steadicams can d o . There is no compromise i n the performance, yet y o u have a lot less to carry around. (In the old days, many light stabilizers were also fight on features, performance, and quality — most rigs were not really professional grade.) Pace yourself. D o n ' t get overly fatigued. B e i n more than adequate shape for the physical challenge. M a k e sure everyone understands the limits, and whenever possible, design i n times and places where you can rest. Y o u may want more than one docking station, or a docking stand that can easily be rolled from place to place, with all your major tools, batteries, and accessories on board. Y o u may want extra batteries, as charging batteries may be inconvenient or impossible. Plan ahead for yourself and for the gear. B e i n g open to the subject, staying mentally alert, and creating images and cut points and everything on the fly is lots o f f u n . A n d y o u can end up i n really odd or interesting places — like the inside of a four-story high power generation boiler, an airplane factory, an operating r o o m , or some M a y a n ruins — the w o r l d is full of interesting, real things to shoot.

TheSleadkanr Operator's Handhook

Capturing reality by Chris Fawcett I adored handheld camerawork but was unsatisfied with the final product — which always had a touch of "wedding photography" to it. Handheld camera never replicates the smoothness of the eye, and if that is relevant to storytelling in drama, it can only be more relevant to documentary. I wanted a medium that would match movement with movement without introducing extraneous movement of its ozon. The jittery cinema -vérité look has power, but it is a style, and in approaching a subject, interposing any device is asking the viewer to peer through a stylistic window C h i l d r e n of Stalin was conceived as a feature length documentary about the daily life of a group of inmates and staff in a residential mental institution in the ex-Soviet Republic of Georgia. Some friends warned me off the project: "You will see things that you will never be able to forget," they said, and they were right. A small crew of director, camera, sound, t C^bkT . and interpreter were to spend 3 weeks living just Jfepb. I " i j \ s n g P outside tin- gates ami every available moment doc< * 5 C / ^ • / Ç ™ i umenting wind was going on inside them. With j+ some reservations, the director and 1 wanted to use Steadicam. Disadvantages seemed to include setup time and, in a mental hospital, the possibility of introducing something that might intimi-

V

348

Once on location, setup time vanished as a problem. Compared to the time spent moving tripod positions while shooting, the half-minute needed to put on the Steadicam was trivial. Once the patients became accustomed to us, we chanced introducing the Steadicam to the meti's ward. The reaction was almost opposite to that expected. Instead of being half hidden with a camera growing out of my head, I was open to the view of the patients, who were clearly more at ease with my presence. I could even shake hands and interact when necessary, while still filming. I was just a

Unique environments dnd reqniremenls

person with a camerafloatingalongside — and since the camera didn't do anything other than follow me about, it held little interest. Working with eye to eyepiece, as 1 had done up to then, seemed rude and distant in retrospect. Having studied Steadicam primarily in drama, I approached shots in a cinematographic way, checking out possible compositions relative to light sources, and planning interesting ways to move between them. I would think ahead so as to end up in good dramatic positions, considering the possibility of extending the shot from there. No longer was it necessary to stop the camera between tripod (or handheld) positions, but the scene could be documented in long sweeping takes, locking off at key moments to focus on detail. The experience was liberating, but the rushes fell short of expectations. The choreograpfiy was smooth, the compositions considered, and the dramatic moments — well, that was the problem — dramatic, instead of getting closer to the subject, I'd interposed another device, a new stylistic window to peer through. The medium ivas getting in the way of the message. Steadicam in documentary is often limited to reconstructive devices and other prepared shots, and I began to appreciate why. For several nights, I looked at Steadicam rushes, growing despondent until I remembered something I learned in fencing. When your opponent is on the attack, having a plan is counterproductive. If you stand en garde, running through the possibilities of defense and coimtcrattack, before you know it your opponent will score. If you refuse to plan, but let considerations wash over as they occur to you, there is a part of you that is capable of turning an attack, if you allow it. Leaving room for the unknown allows for the possibility of appropriate spontaneous response. Applying this to Steadicam meant still being aware of the situational and compositional possibilities, but refusing to engage them directly; and in the next few days, thanks to a supportive crew, I had a chance to experiment. At once, the rushes changed character. Instead of planning a shot in the typical dramatic way, I just tried to look and not look away until something drew the camera's attention. Without considering where we would end up, I attempted to let the lens rove where it wanted, allowing the mood and motion of the subject to drive. Toward the end of the shoot, we had an opportunity to film inside the unrenovated women's department, something denied to us up to that point because some staff worried we might present the hospital in a bad light. We had filmed the women in the yard and other areas of the

349

TIlrSltMllll.llll Opi'MiiilSii.ilililiiiiik

grounds, but had nothing to counterpoint our shots from inside the newly renovated men's department. A renegade decision (taken after a long Georgian lunch) on the part of one of the staff let us in, and we kneiv we would have just a few minutes before someone more senior turned us out. We begin the shot conventionally, making a round of the ward to take everything in. On returning to the main door we find ourselves still undisturbed — a few precious minutes remain. Now the interpreter tells us we must leave immediately — the chairman of the board is coming — but here is this strange place full of people we have grown to trust, admire, and respect laid before us, a place in which we feel welcome, a place we have come expressly to document. The sound recordist and I put our backs to the door, and settle in to just allowing ourselves to look and listen -within that space. In these precious minutes, zee sling-slioot the gravity wells of the initiates' internal zvorlds, and the relationships between them, free falling from one moment to

>

-

M

II r a a s ubsdB

^

M

B

-

—

Hkr E ^ L

the next. A simple close-up on a timid girl widens to reveal a weeping Woman pleading to the room. The girl ducks behind, and we follow till a pacing woman invites the lens on, rezvaliug another patient, complaining and gesticulating into space. We linger, sink to an old dear lying fidgeting, and drift across inmates perched on their beds — one calm, one agitated — rising to encounter a zvatching zcoman smoking by the window. Her glance throws us doxvn to Ketino's bed, from zvhere she shouts at a woman standing too close. We pass along her to engage the interloper — cursing back nozv — and track around to viezo the pair arguing. Someone's passing disengages us, and zee are drazvn deep into the zoard, wheeling now to meet ^ °st forlorn person in the ward, gyrating in her place, mumbling unheard zoords. w

m

When zee were (very tolerantly) ejected, I felt that half an hour had passed, yet that night we saw we had shot not 12 minutes of tape. Thinking on those filial minutes raises hairs on the back of my neck. Had I been condemned to hang in the morning, within that time I'd have for gotten entirely. I knew then and I knozv now; that is how I wish to zoork. In the edit, that scene zcas dropped. It was pivotal only to me.

350

Ilnique environments and requirements

Steadicam brings new possibilities to documentary making and not just for master shots; it cuts well too. Compared to tripod and hand-held work, the percentage of usable footage is increased, and more choice offered to the editor. When shifting camera positions, the Steadicam glides from one composition to the nexfa A static shot becomes a tracking shot becomes a static shot again. Pan, boom, tilt, track, and zoom interact in a seamless storytelling continuum. Traditional compositional features — the rule of thirds, the golden mean — become moments through which the moving frame passes. Vanishing points are supplemented by appearing and disappearing points, and the Platonic vision of "carving nature at its joints" is superseded by the timeiessness of a frame exploring space — not drifting aimlessly, but breathing with its subject; a frame free to blend the gravitas of a stare with the lightness of a glance, mirroring, with camera movement, the way the eye sees, matching qualities of actum with qualities of movement in four-dimensional composition.

Children of Stalin was shot in DVCPRO 50, on Panasonic AJ-SDX900P cameras, at 25 fps progressive. One camera was stripped of viewfinder and battery and mounted on a custom low-profile plate (instead of the standard Betacam-style quick-release plate) to lower its weight and center of gravity to suit the rig. Colorimetrics and resolution were heavily tweaked, with some success, to resemble film. The Steadicam Flyer was almost maxed out with two 1DX batteries, a Lockit box (to sync timecode to the audio hard disk recorder), a Micron wireless audio receiver (to record guide track from the audio mixer), and a Vocas ZiF-100 lens controller mounted on the gimbal handle. The ZiF was invaluable for covert zooming within moves, and for pulling up to seven stops of iris (sometimes successfully) between indoors and out. Despite operating at capacity, the Flyer was responsive, and its lightweight and low profile meant that fatigue was barely an issue. The documentary was directed by Harrie Timmermans for Egmond Film & Television, and M+S sound recorded by Pepijn Aben on an Aaton Cantar.

Equipment storage room

The SleadkanT Operator's Handbook

Video and Steadicam® One really great thing about video shoots is the quality of the image you get on the monitor — it's as sharp and clear as it's ever going to be. If y o u ' v e got a b i g , bright color monitor, so much the better! There are, of course, many issues and concerns related to working with video cameras and the specific video environment i n w h i c h y o u ' l l be w o r k i n g . Here are just a few: A r e you working with a camcorder or just a video head? Either way, how are you connected to the truck or video village? Wireless or cabled? Is it a multi-camera shoot? L i v e ? L i v e to tape? H i g h def or standard def? What sort of high def? H o w are you going to focus, iris, and/or zoom? W i l l you have an assistant? A cable puller? These questions are primarily related to specific gear you must have to survive, but they also have implications for operating.

The last thing you want is any technical concern reducing the quality of your shooting. That may seem obvious, but sometimes all the nuts and bolts, especially i n live shows, can overwhelm the best of us. So think ahead, do your homework, be prepared, and arrive early, because there's always something new i n the video world.

Mount the camera to your sled This might seem easy, but there are often many difficulties. The typical "tripod adapter" that comes with most handheld video cameras often has a lot of flex. They might be fine for working on a tripod, but they aren't so hot for Steadicam. F i n d a way (wedges, gaffer tape, something!) to get rid of the slop. If y o u are using an on-board battery, m i crophone, Obie light, etc., check those mounts for slop as w e l l . A l l cables on the sled should be tied or taped d o w n and i m m o b i l i z e d , as any loose cable w i l l flop and upset your critical balance. L o w mode can be really easy or very tough. The quickest and most secure way is just to flip the camera over and reorient the image in post (and at video village for the director). See the l o w mode section for some details, special brackets, and concerns.

Get the image to your monitor If you are shooting standard definition ( N T S C or P A L ) , there's no problem. If you're shooting H D , things get tricky. Hopefully, the camera has a standard definition output, or maybe you're lucky and have a monitor that works in S D and all flavors of H D . If not, you've got to get a down-converter, or if y o u are sending an H D signal by wire to video village, it might be possible to send a standard def signal back to your monitor. Regardless, y o u ' v e got to make it work.

Dnique environmenls dnd requirements H D , monitor, and related technologies are changing rapidly, so y o u ' v e got to do some research to find out how your Steadicam equipment is going to work with a particular camera on your shoot day. Fortunately, the web makes finding the information you need easy, and you can get advice on the latest widgets from experienced operators.

Sending your signal Sometimes you have to get your high quality signal out to the w o r l d , either for monitoring, broadcasting, or recording. There are two basic possibilities, wired or wireless: wireless is generally preferred from an operating point of view — one is free to roam without the influence of cables or the danger of inattentive cable pullers. There are worries, however. A broadcast quality microwave transmitter weighs a bit, consumes more power, and sometimes the "auto-receiver-locator" i n the dome gets the jitters, making it impossible to deliver smooth shots. O n a multi-camera shoot, just swap your camera w i t h one of the handheld operator's cameras, and test for the jitters again. Newer W i - F i transmitters may work just fine without the aiming required of microwave transmitters. A g a i n , technology i n this area is racing forward, so do your homework. Y o u r other option is to be cabled to the rest of the w o r l d .

/ used to do a lot of TV, especially live TV, and being one of the first I was able to insist on what I thought I needed to do it properly. Properly meant that no one at home would be able to spot a difference in video quality, and the level of control of the shot should not appear different from other moving cameras that were generally being operated on a crane of some sort (with lots of zooming to enhance the restrictions of their physical moves). I wanted to offer moves that they could not make, albeit with judicious use of zoom as well, especially savoring moves that crossed the boundary of stage and audience. My intent was to make the use of Steadicam the same quality as the other cameras, aesthetically and technically and at the same time break dozen long established barriers to where the camera could go. Along the way directors and I had to create a new aesthetic, a new language of camera moves, that could be incorporated seemlessly into the preexisting structure. All this meant that 1 had to avoid any Steadicam-centric operating flaxes from being evident (floating horizon, shiftless frametiues, wandering headroom, inconsistent focus, falling on my ass). So, particularly for the live shozes, my primary goal zoas not to fall, then to stay out of the other shots, to minimize control problems, and finally do something spectacular looking, in that order. — Larry McConkey, June 21, 2004, on the Steadicam forum 353

The Steaditam Operator s Haruibook

Cable running technique It's imperative to minimize the influence of the cable(s) on the Steadicam and to be sure the cable w i l l not compromise your safety. Typically, try to get the most flexible (not necessarily the thinnest!) cable you can. M o s t operators carry several 12 foot lengths o f really flexible coax cable with B N C connectors on each end in their kits. In standard definition situations, this cable is used as an extension o f the main (heavy and stiff) coax from video village to the camera or with two special triax to coax adapters. M o s t importantly, the way you attach even the most flexible cable to the Steadicam w i l l have a great effect on the quality o f your shots.

Tip: Consider balancing your sled a bit more bottom heavy than normal when using cables (and/or a gimbal mounted zoom controller). The lighter your top to bottom balance, the more influence the cables will have.

Here's the best method for cabling: run the flexible cable down from the camera next to the lens and make a small loop that passes through your operating hand on the gimbal. This loop does not change much as you operate — and you can easily control its influence on the sled. For years, we had the cable exit the operating hand into a bigger loop on the side and tucked it under the vest or belt, and from there the cable ran back to the truck or video village. Some folks ran the cable on the inside; some ran it up the arm. But recently, while working with the Panavi¬ sion Genesis camera — w h i c h had two video cables, one audio cable, and one extra thick and stiff external power cable — we were forced to learn a new trick. Before p i c k i n g up your r i g , w i n d a turn or two of the cable(s) around your forearm as shown i n the bottom photo, and then pass the cable through your operating hand to create the small loop forward and up to the camera. The other end of the cable leaves your forearm, loops to your vest or belt as before, and on to the cable puller and video village. W h e n you get the loops right, put a tag or two o f tape on the cable so you can recreate the loops each time you lift the camera. This cabling method almost eliminates any influence from cables on your rig. and we recommend it no matter how small and flexible a cable you use.

354

Unique environmenls and requirements

Cable running for low mode Note how the cable is laced up to the monitor rods and secured by a yellow strip of Velcro. A small-as-possible loop drops d o w n to the operating hand, the cable is wound around the operator's wrist, and then it is looped again to the vest. A l l too often proper cable running is ignored when shooting i n l o w mode. Take the time to re-string the cables. D o n ' t let bad cabling diminish your operating!

Gear unique to video shoots: • A spare Sony or Ikegami camera mounting plate in case they want to swap your camera from the Steadicam to sticks. Otherwise, use the mounting plate that comes with the camera. • A remote tally light system • A small LCD monitor with both power and video inputs from your sled. You will use this monitor for "Program." • A set of triax to coax barrel adapters • Several right-angle BNC adapters • 2 carabiners • Aselection of 3.6, and 20 Ohm BNC jacked attenuators. Sometimes your video transmitter will interfere with the camcorder record heads or with the audio receivers on the camera. Suppressing the strength of your video transmitter may cause a messy monitoring image, but it will ensure clean audio. • A 6 foot length of ultra-flexible silicone-jacketed triax cable • 10 to 12 feet of ultra-flexible coax cable. Mogami makes an excellent neo¬ prene jacketed cable, number 2964. Do not use the "spaghetti" BNC cable typically supplied with Steadicams. They do not have enough copper wire running through them to safely handle the 165 volts that is passed down to power your camera. • An HD to SD (NTSC or PAL) down converter • A monopod with a spare Steadicam docking bracket on it • A wireless belt pack for your audio. In the case of loud shows, a doublemuffed headset that has a straight cable. Most headsets are single-muffed because the handheld camera is pressed against the right ear. Not so with Steadicam. Both ears need to be muffed, but a coiled cable will wreck the trim of the Steadicam sled.

355

The Sleadkanr Operator's Handbook

Multi-camera and live productions When you get hired, you need to ask which camera and lens y o u ' l l be using. Is it high def or standard def? Is it multi-cam or camcorder? Fiber optic or triax? Does the H D camera have a built-in down-converter to give you an N T S C or P A L image? W h a t lens w i l l you be using? Y o u need to determine the proper gear pitch for f o l l o w focus as w e l l as the proper cable for your J-7. M a n y o f your questions can only be answered by other technical personnel. Get the phone number of the company supplying the truck and the contact personnel. They are your key for prepping. The sooner you make contact with the truck's video engineer, the happier everyone w i l l be.

Triax and coax adaptors If the j o b is triax, talk to the video engineer. T e l l h i m you are using triax to coax adapters. The engineer k n o w s you are g o i n g to say this, and he w i l l give y o u one o f three responses:

• "I've already set the base station up for your adapter, you'll be fine." You say, "Thank you. * Or, "Okay I will go short the base station so you can use your adapter." Or he says, "You are not allowed to use that setup. You have to use our triaxiai cable. A triaxial to coaxial cable is a safety hazard and not permitted." You say. "Thank you. I understand." Then you go off and cry.

Sound issues: If they want you to have a microphone on your camera, go meet the sound person and have him mount it up for you before you build the rig. A gentle reminder: the mic on your camera is live when your camera is on. Everything you say is heard in the truck. Everything. Fair warning.

In some houses, that last answer is not negotiable. This is usually the result o f a cracked cable or a person being shocked while using the adapter method. It is not inherently dangerous, but i f the cable is torn, you can get a jolt. Plug i n the coax cable coming off the camera so the truck can be sure everything is working and adjust your camera properly. Be sure your monitor and focus gear and other accessories arc on and running during these tests — you don't want any surprises just as you are about to go live.

Unique enviroiimenls and requirements

Tally light Take the remote tally light and carefully tape the sensor over the rear tally. This way the talent can still see the tally on the camera's front. R u n the L E D down to your monitor. M a n y newer sleds have a tally system built i n , with internal electronics, wires down the post, and L E D s built into the monitors. The camera tally light is your only safe way to know i f you are " o n - a i r " or not — unless you use a Program monitor on your r i g . If you cannot rig up a second Program monitor, the tally light is your god. It's one thing" to hear i n your double-muffs, " D i s s o l v e Camera 4 to Camera 11." It's another to see your tally light fade in or out as the dissolve occurs. Y o u are clean and off-air only when your tally is totally off.

Program monitor It's a good idea to rig a small L C D monitor as a Program monitor so you can see what is on-air. Attach it close to your Steadicam monitor. Some sleds have two monitor mounts built i n , so they can be easily configured to h o l d a small program monitor. Y o u can avoid showing up in other cameras' shots and create images that cut easily into the fabric of the show.

Your assistant B r i n g a focus puller. Some producers try to get away without assistants or insist that they always use Steadicam operators who are one-man bands. Don't go for that. Y o u r focus puller may also act as your first cable puller, but be sure that does not interfere with the primary j o b — keeping everything in focus and assisting y o u . U s u a l l y you w i l l be assigned one or more video utility folks to pull your cable.

Teleprompters M a n y prompters are not made to fly o n a Steadicam. They're either lightweight with flimsy bracketry or heavy and unwieldy. A l m o s t all require an additional cable and consume some power. The front-to-back profile o f your camera might increase 12 inches or more, and you w i l l need longer dovetail plates to balance the camera.

Panasonic DVX-100A, SteadiPrompt, two wireless mic receivers, stick mic for reference audio just in case. The thin wire is the prompter feed.

The Sleadkam'Operator's Hdnclhook

Getting the shots O n live multi-camera Steadicam jobs, it's all about fitting i n and still shining when your tally light is o n . M o s t of the time, we are given small bits of time to show flawless work that cuts w e l l . F r a m i n g ; the pacing of tilts, pans, and zooms to match the mood o f the scene; and a willingness to at least try to be invisible all contribute to a good live T V experience. F l i p p i n g to l o w mode generally takes too much time for a live show, but see i f they can flip your image " l i v e " in the truck. A simple move of the gimbal and you've got a new range of lens heights to give them for that one weird song about a Chihuahua.

Regarding zooming: I came of age in the movie business operating Steadicam with prime tenses. On O n e F r o m the Heart, we tried the Cooke 20-60 mm on my BLtlt, but it had to be zoomed by my assistant, and the combination was mortally heavy, finally, on L a Traviata, L i v e from P a r i s 2000 (also for Vittorio Storaro), I got control over my own lens and could move and zoom at will. In a tiny apartment on lie St. Louis, I had the joy of shooting the entire finale of Act IV in a single, 23 minute, uncut one-take Steadicam shot, as Violetta approached her death at the window on the stroke of Notre Dame's midnight bell. I made hundreds of undetectable adjustments in focal length, watching the images unfold on my monitor, as moment, place, lens angle, and motion came together time and again. Though perhaps routine for our brothers and sisters who operate pedestal-mounted TV cameras, the understated art of the move/ zoom combination was a revelation to me. (As 1 write this, eerily, up on my satellite radio come Violetta and Alfredo and their last fateful waltz before that window overlooking Notre Dame.) — Garrett Brown, from part two of his moving camera article for Z e r b

358

Unique environments and requirements

Zoom control Y o u can z o o m using a J-7 or similar device with the proper cable to the lens. If y o u are not familiar with using a J-7 z o o m control, get one early on and play around with it. The camera lens has a zoom-speed adjustment. Unless you are shooting for M T V , production w o n ' t want snap zooms. The control is typically just behind the handgrip on the right side o f the lens. Back it all the way down to slow. Production w i l l be happy to see zooms and moves that solve problems. If y o u are throwing a shadow on talent or so close that you risk being i n another camera's shot, back off a bit and zoom i n to compensate. A lot o f stuff looks nicer or tells the story better at a longer focal length, so why cut yourself off at the knees? There was a time when some Steadicam operators w o u l d say, " I don't z o o m ; you hired a Steadicam. Z o o m from tripods, not with me." That was a highly non-productive approach. A wonderful little bonus: The J-7 has two " o n / o f f ' switches. One is a small button, and one is a rocker switch. The camera record button can be made to trigger your headset mike. W h e n you hit the record button on your J-7, you can talk to the truck without taking your hands off the rig and disturbing your shot.

Interacting with the audience If they plant y o u i n the audience, anything can happen. W e ' v e had disgruntled audience members try to trip us as we went past, steal our batteries, yank on the cable, etc. We're blocking their v i e w , and they're not pleased. If they're drunk, there's not much you can do about it. Y o u can try to be nice, smile as you fly past, duck out o f the way to change batteries, and try to keep your cable pullers out o f their view. Shooting the audience around y o u usually gets them into the proper spirit o f the show, but not always. Keep a watchful eye on the b i g , mean-looking guy with the "Tripods R u l e " tattoo.

/ haven't a thing to mar If you are shooting inside or at night, you might be expected to wear "show blacks" so you are clothed in black from head to toe. Ask if you and your focus puller are required to wear show blacks. Some shows don't care. Other shows are rather sticky about it, and will make your life miserable if you show up unprepared. The SteadiTux had its debut on the 2001 Hispanic Heritage Awards at the Kennedy Center in Washington, DC. Snappy. Customized tuxedo with slit lined with satin, allowing the arm to pass through from the vest underneath.

359

The Stcddicdm' Operator's Handbook

Steadicam® and live TV by Lars Riis Sometimes the hardest part of being a Steadicam operator is figuring out how to be useful to production

As Steadicam became more common in movies, more and more TV producers sazo a new way to spice up their studio productions. Often they had littte idea how to put it to good use — they just loved what they saw in the movies. It was up to the operators to educate producers to a level where they would understand what to expect and what to ask for in Steadicam 'work. Some advantages of having the Steadicam in the studio were not even visible in the program, like the fact that a Steadicam operator can disappear from the floor in a second or two, leaving the floor open for other cameras. As a result, decorations could be built for 350" shooting, leaving a small area for catneras on pedestals, cranes, etc.

In Denmark in the mid-nineties. State of the N a t i o n ran for 4 years as a weekly 45 minute live-broadcast talk show, debating politics, moral issues, current events, etc. The set was an arena with four seat TOWS in a 300" circle. We would have around one hundred twenty specta tors and up to ten miked guests. In the center of the circle was an oval table where the host would stand at one end and four head guests stood, two on each side of him. The idea was to have a very intense debate, at the table or between table and audience, where many opinions could be tested. This program demanded a highly flexible production setup, to allow for maximum freedom in the debate. We ended up shooting on just four cameras — one on a crane mainly used for introloutro shots and for reactions from the audience, another camera on a pedestal, holding a safe shot of the entire table, and two Steadicams, one on each half of the arena.

It was decided that we would stay on the Steadicam if at all possible. Rather than cut to crane or pedestal, we wanted to have the geography sorted out as well as give the viewers a sense of being in the middle of things. This meant that we as operators were all over the place, with just two rules; we only leave our half of the floor when we kiww we can return safely, and we sort out axis problems between us. Axis problems rarely occur in a traditional studio design, but when the studio is 300* or more, you ask for trouble. These axis problems were easily solved with two Steadicams — we could

360

Unique environments and iequiremenls

always establish a new axis that only the Steadicams could work on and return when we felt the discussion was taking another direction — tally lit or not. Of course we had to listen very intensely to the debate and try to figure out who would react to this and that statement — add them to the frame if possible or offer the producer a reaction shot. To add to the confusion the host might leave the table and sit with guests in the audience, thereby forcing us to have both rigs on the same side of the studio for a while. We had talked these situations through so the host knew which camera to address. This understanding gave him total freedom to take off when he wanted — we knew we could cover his actions, and the producer knew to give us the ball. Most producers have worked with cameras on pedestals that don't change places — they often number them from left to right in the studio, but with the Steadkam the producer had little idea where we were and was therefore unable to guide us. Often the best he could do was to suggest where the whole thing would go from here and leave the puzzle solving to us. It takes a while before a producer is comfortable with that arrangement, and it takes a lot of talking to make sure that you know exactly what he wants. After all it is still his show, and you as operator can easily take it in the wrong direction. On the other hand, when all pieces fall into place the producer is all smiles, because he gets tilings that he was unable to plan for or even describe. When xve get everything right we are able to tell the story in a much more elegant way than that of just cutting to reaction and back. Getting it right of course involves focus pulling. In order to minimize the number of people on the floor, we had our pullers placed behind the pedestal camera with a monitor each, so they could see our framing, and decide who to keep in focus. We worked a lot on the long end of the lenses, so zoe could have interesting focus changes from audience to guest. Communication with the pullers was, as between operators, a matter of eyebrows and sign language. It helped me a lot to have the same puller all the time, so 1 could feel confident that zee understood each other without 'words. Without that understanding zee could not push the eiroelope for what was possible in that studio. I hazv the deepest respect for those guys. It is not fair to place them far azray with a monitor and only sometimes a good angle at us — and still demand not just focus but even mind reading skills. Of course we were relying on luck sometimes, but the more you prepare the luckier you get.

The Steddicam' Operalor's Handbook

Heavy cameras The upside of using a massive camera is primarily the stability it provides — it's simply steadier. Big cameras, either film or video, also usually deliver great image quality. Some heavy cameras are also long cameras with lots of extra pan inertia (video cameras with long zoom lenses are one example), while others are quite compact, like the Arri 535B. The added stability and great image quality is one reason that many Steadicam operators like heavy cameras. Using a heavy camera also presents serious problems and limitations. The most obvious one is operator fatigue; it simply takes more effort to lug around a heavier rig. In short shots (under a minute or two), this is usually not a problem, but for longer shots, going up hills or stairs, etc., it can really an issue. Running with a heavy camera is inherently more dangerous; you just don't have the power to overcome the camera's momentum if things go wrong. Balancing and viewing the monitor become more difficult and less flexible with heavy cameras. The big camera mass must be counterbalanced by the same relatively light monitor and battery. Typically this requires a long sled with a low monitor, with the sorts of problems described above. Often additional weights are added to the bottom of the sled to keep the sled length reasonable, but this adds to the fatigue factor. True long mode with the lens far from the gimbal is impossible; a 3 foot superpost extension may only move the lens an inch or two. Depressing. Heavy cameras are often physically wider than light cameras. I remember the joy of working with Panavison's Genesis camera (in the all in one mode, recorder attached) when it first came out. It was heavy, and the power requirements (14 amps @ 14 volts when recording) meant that I had to power it externally. The power cable was big and thick and stuck out the right side of the camera, so I was forced to hold the sled farther from my body than normal, making for more effort and reducing the sweet spot. Finesse disappeared, and everything got worse during long, lactic acid masters, which we did for hours and hours and hours.

362

Unique environments and requirements By day two I was determined to make everything work better. I bent the power cable — over the AC's and DIT's protests; I simply had to get the camera closer to me. If that meant I broke a few wires and the camera wouldn't run at the lowest voltage, well, too bad. I also rerouted the audio and video cables on the camera, and I found a slightly different than normal Missionary position that got the camera another inch closer in. I also gave up on seeing the whole monitor most of the time; it was really low to counterbalance the camera and often blocked by the arm. Learn the shot and look only at the edges. It's got to fly well, or it isn't Steadicam the way I like it. Forced march conditioning made operating the Genesis quite tolerable. After 2 weeks it was like picking up an Aaton 35III, although several long shots with 2 minute lock offs on the end still made my legs scream for oxygen. Heavy cameras also put extra stress on the gear. Remember, in this context, a light camera for a big rig may be a heavy camera for a lighter rig. Vests distort under the increased loads, requiring more work from the operator to fly the Steadicam. The socket blocks, the arm, and the precision gimbal are subjected excessive loads. Be careful of violent moves.

Unintended consequences It happens. A n inventor (okay, Garrett) does one good deed and oops! — something else is affected. Older arms lifted a relatively small range of payloads, and the sleds were designed with the proper counterweights (battery, monitor, post length, etc.) for a good overall feel and monitor position with the anticipated weights of cameras. With the new arms, the camera weight can easily be anything from a pound or two to 50 pounds. That's great, except there are unintended consequences for the sled's length and the monitor's position. So as an operator, you now have one more thing to worry about — adapting your sled to a much wider range of camera weights than, well, we used to have to worry about. This requires a bit of extra effort and some accessories or even a modification to your sled. Sleds like the Pilot™ were designed from the get-go for a wide range of camera weights. Some sleds ignore the issue, and some have enough versatility built in for a lot — but not all — cameras that can be carried by the arm. With heavier cameras, you will need to add more weight to the base to keep the sled length relatively short. Your other option, dropping the monitor, may drop it too low for good viewing. Weights that dovetail or bolt to the base are convenient, but adding weight to the battery mount might give you more inertia as well.

For really light cameras, you will need to have a lighter base and/or to raise the monitor and/ or to shorten the sled in order to have the gimbal relatively near the camera mounting stage. A weight plate between the camera mounting dovetail and the camera is simple, but a cage, with its e.g. 3-4 inches above the camera dovetail, is more efficient and gets the gimbal higher with less weight. In some sleds, the monitor and battery positions are fixed to each other or have little vertical displacement, so your non-destructive options are to add some weight to the base (for heavy cameras) or to the stage (with very light cameras). A more expensive solution is to make an accessory that mounts the monitor separate from the battery/base, keeping it high for heavy cameras and/or keeping the gimbal high with very light rigs. How much weight to add depends on which cameras you carry and how "perfect" you want the sled length and monitor viewing to be versus how much weight you want to carry and how much time and energy and cash you want to spend on accessories and modifications. Some sleds are simply too light for heavy cameras and other sleds are just too heavy for really light cameras, even though the arms can carry the weight.

With the Pilot, a heavy camera (left) requires added weight at the base of the sled, and weights added to the top of the sled help to balance a light camera (right).

Lightweight rigs Tuesday, September 11, 1973. On that fateful day, Garrett Brown makes the deal with Ed DiGiulio in the offices of Cinema Products, and our industry is born. Just as Garrett was walking out the door, Ed quietly asked him, "Will it work with 35 mm cameras?" Garrett assured Ed that it could. (Why say otherwise, even if..., but that's another story.) The original Steadicams — the CP-35, the Universal Models I, II, and III — were designed around relatively heavy cameras, whether 35 mm, 16mm, or the video cameras of the day. But by 1986 it was clear — at least in Garrett's mind — that the physical principles that made a big Steadicam work might also fly with the newly available camcorders. The trick, of course, was to create a structure that could still be carried and aimed by human hands (the operators did not shrink!) and to properly price the little Steadicam to mate with ever smaller, less expensive, and higher quality cameras.

Unique environments cind requirements US. PMtnt

A«t.T.im

S M ^ K J.W6J72

Garrett quickly realized (a wonderful trait of his!) that a Steadicam for camcorders would be hampered by a traditional post and gimbal design — the torque on the wrist would be excessive. The operator needed to get the lifting hand more underneath the camera's e.g., and this required a very clever "inter-gimbaled" handle. Garrett also realized that, for the operating hand, the control surface — the equivalent of the large diameter centerpost in the big rigs — had to be very small. Big rig handgrips and pressures would simply overwhelm the tiny Steadicam and its limited inertia.

It still had to have balanced masses below the camera. It also had to fold, have a tiny monitor, include batteries, etc. These and other design needs were finally accomplished (how easy past challenges seem to us now!), and in 1989, the Steadicam JR.™ was born. Not Junior, but JR, I've been reminded many times. Once a new operator understood and followed the instructions and advice in the manual, training tape, and the "cookbook" of camera settings, the JR could dolly like its larger, vest-and-arm-carried cousins, and more: it boomed from near the floor to high overhead. It was unobtrusive, light, and small. It was inexpensive. You could pass it through windows — even hand it off to another operator! You could shoot in a car or on a bicycle with ease, but of course it was still a Steadicam and required the same skills and practice and balance and patience as the big rigs, and as cameras and techniques continued to evolve, a few of the JR's "warts" became evident. A new design was called for.

In fact, several new designs! M e r l i n in l o w m o d e : The JR and now the Merlin can get quite low, just by placing the rig close to the floor. For shots where you need to get the lens really close to the surface along the floor or just skimming over things, it's possible to fly the "metal gimbaled" Merlin in low mode (really in upside down mode). Just clip a small weight to the camera handle above the gimbal (bag clip?) and you are good to go. Don't try this with the JR or plastic gimbals because the gimbal might pull apart. Test first over a bed or with an assistant with his hands underneath the camera, and practice the new handgrips!

I 365

The Steadicam- Operator's Handbook

by Garrett Brown l recently taught Anthony Dod Mantle (the great Danish handheld cameraman) to operate the lightweight Steadicam Flyer, so he could shoot an intensely personal docudrama in South Africa. Afterward, he sent me this email: "You are right in predicting that however bad or good I have been at it, I will never be the same again. I discovered a kind of personal knife through butter Zen. I cannot explain it to you really. Something in all honesty has happened inside of me. It was alive before but it is certainly even more alive now than ever. With Steadicam you have helped me to get closer to finding the magic space in between the planned and the unexpected, and you have licensed me to travel through it at leisure and in pleasure in a way I have never been able to imagine before." As my friend discovered, today's new lightweight Steadicams can be just as powerful and eloquent as their big brothers and even more agile, and Steadicam (at any size) is distinctly not handheld. Beginning with the Steadicam Flyer (for 6-19 lb cameras), and continuing with the remarkably successful Pilot (4-10 lb) and Merlin (1/2-5 lb), we now have capable, affordable light rigs that can be employed for hours at a time! The physics scales down, the burden is negligible, the joys of operating are increased, and the ease of ambulating and reaching high and low (and even kneeling) will make you smile — not to mention your ability to carry on tirelessly as wider events unfold. The only caveat with these light rigs is that extra care may be needed to isolate that "safe zone" and let the gifts of Steadicam prevail — exposing the center of gravity to your touch, separating large lifting forces from small aiming forces, taming spatial and angular aberrations, and getting your head out of the vieivfinder and back in the real world — so you can move with vision and purpose.

366

Flyer, Pilot, and Merlin The Flyer was designed for a new generation ofDVC camcorders and made its debut in 2000, along with modern batteries and brighter LCD monitors that could finally be seen outdoors. The result exceeded expectations. Once the requisite light touch zvas mastered, it proved to be a precise and satisfying rig and an invaluable tool for workshops, where it eases the new* bie's burden and discourages "deathgrip" operating. The Flyer's simple, folding construction greatly facilitates run and gun shooting and empowers long sequences, and its formed-metal arm -was a real breakthrough, with inexpensive construction, increased boom range and true isoelastic performance. This arm led me to the "Geo" arms for the big Steadicams and to the lighter, high performance arms for the Pilot and the Merlin. The ultralight Pilot came along sroeral years later and included another useful advance. The key for lightweight rigs is inertial resistance to unwanted moves. Rotational inertia increases by the square of the distance between the masses, so the Pilot includes a kit ofscreio-on stainless steel Merlin weights that can be attached at the far extremities of its bottom post. As with Antlers on the big rigs, the result is a startling increase in inertia (with just a pound or so of added mass!) and the feel of a much heavier sled. The same weights also screw in fore and aft to the top stage, so even an absurdly liglil camera can be bulked up to keep thegimbal position where needed. And the Pilot goes easily into dynamic balance by shifting its novel bottom post forward or back as needed. I think the Pilot/Merlin arm is one of my best, with a 28 inch lifting range and great performance, hand-dialed for cameras from 3 to 10 lbs, and we worked hard to make its slim, comfortable vest fit the broadest range of human sizes ever — even under a tux!

The Steadicatn" Operator's Handbook

The Steadkam Merlin is my dream machine. I was proud of the fR, and used it to good effect, but the original aluminum prototype was always my favorite — the lightest, stiffest JR on earth — and when the plastic molds started wearing out and modern cameras began to include monitors, I persuaded Tiffen that it was time to upgrade the handheld Steadkam and turn it into the precision instrument it deserved to be. Long story short: in 2004, xoe got the goahead and Tony Sacksteder and I patented its "folding-caliper hinge" and designed streamlined stainless steel weights and a micrometer stage with removable dovetail and a six ball bearing version of our patented "inter-gimbaled" handle. Its name was inspired by the swift little merlin hawk, but the marketing guys like its magical connotations, and I can't disagree. Like all Steadicams, the Merlin is not just

368

Stable, it's a more elegant way to hold a camera than handheld — not only for big moves and running around, but also for subtle, intimate lens trajectories that cannot be achieved any other way. Your camera can be as still as if on a tripod and suddenly your entire range of movement — your full arm reach, bending to the floor and lifting overhead plus the freedom to walk and run — can be in play without the handheld wobbles and shakes. Professional Steadicam operators often use Merlins on big films to pre-visualize the work (why hump the big guy around to work out that long shot?) and it's great for prosumers — great for parties, home movies, weddings, and impromptu videos where it can fly more easily and less obtrusively than anything else. The Merlin and the Pilot also shine for documentaries, neivs segments, commercials, and low budget movies, and they're great for remote locations, tiny crews, and anywhere that dollies and track, or even a full-sized Steadicam with all the trimmings, might simply overwhelm the subject.

Operating light Steadicams Operating technique is the same as with the big guys, except the lighter the rig, the lighter the touch! Practicing at full telephoto is the fastest way to team just how little contact is needed. Otherwise, same posture, same "Sistine Chapel, God-to-Adam" loose, relaxed handgrip, same concentrated rigor! In all cases, good operating and bad operating require about the same amount of effort, so it '$ all about the choices we make for moving and aiming tin- leus. Do tliey match the director's vision? Do we have the will and the skill to execute them take after take?

Garrett Brown

The Steddicdm' Operalor's Handbook

Lightweight Steadicam® tips and tricks Comprehensive information about the Flyer, Pilot, and Merlin can be found in their respective D V D s and manuals, but here are some useful techniques and hints for light rigs:

Quick adjusting lift for light arms: • Load the arm with the rig as if you were about to shoot. The arm will likely be either too weak or too strong, or the two arm segments may lift unequally. • Just as one does for the G-arms, lift or press down the camera and sled until the forearm (nearest to the camera) is held just above level, and then adjust the lift knob up or down as needed until the forearm stays level by itself. • Lift or press down the camera and sled until the upper arm section is just above level. Adjust its lift up or down as needed. You'll have to continuously raise or lower the position of the sled to keep the upper arm in place as you adjust it. Stop when both segments float level. • Raise and lower the entire arm (with payload) to see if the segments track roughly together. Adjust lift on whichever one is out of sync — up or down as needed. • Decide whether you want the arm level (recommended), or flying slightly low or high to help get a specific shot, and adjust both lift knobs appropriately.

Quick-adjusting arm-to-body trim • Begin with the upper rod end dialed out 1/4" (6 mm) and the lower rod end fully dialed in (see photo at right). • Mount the rig to the arm and hold it closely in front of you. • Walk comfortably in place looking straight ahead. Freeze. • Analyze what direction, if any, the rig is trying to fall away. • Hold the sled back close to you and correct in/out by releasing the appropriate rocker screw and tightening the other. • Side to side trim is probably okay, but if not, forcibly lift the rig to unload the arm and dial the upper rod end slightly in or out. If the rod end is too hard to adjust while wearing the rig, dock it and adjust the unloaded rod end. • Repeat if necessary. It doesn't have to be exact. When the arm sort of stays put laterally, you should sort of be comfortable! 370

Unique environmenls and requirements Lightweight sled trim and inertia For light rigs with extendable posts, keep the sled as short and the monitor and battery as extended as you can while remaining in dynamic balance. This helps keep your shooting more precise. Why? Because it reduces tilt inertia and increases pan inertia to be more similar, so combination moves are easier to manage. Also, it keeps the gimbal up higher on the post, which we like. Tuck the monitor and battery together only if you need to reduce inertia for faster pans. Lengthen the sled only if you need to get the lens higher or if you can't balance a heavy camera. It's better to add a small weight down below and keep the rig shorter.

Here are some examples: The Flyer L E monitor and battery do not extend, but you can keep the monitor mount low and the monitor and battery out to the front and rear to keep the rig as inert as possible. A simple modification to extend the monitor and battery would help get more pan inertia, as well as adding small weights like one can with the Pilot. The Pilot becomes more inert and feels more like a larger rig as you add weights fore and aft (which also helps shorten the centerpost to keep its pan and tilt inertia balanced). Note that some ace event videographers strip off the monitor and battery and keep only the weights to make the rig back-packable for run and gun shooting — and to stop people from walking along to see the image. One such hotshot refers to the onboard monitor as a "bug light"! The Merlin (except with the heaviest cameras) performs best with a "mid-weight" added to the. "finish weight" in the forward position. To rebalance you'll need to raise the lower spar a bit — which will also enlarge the fore and aft separation of the weights — thus greatly increasing the inertial feel with just a quarter-pound (113 gr) of added weight.

Drop times for lightweight Steadicams Lighter or shorter rigs typically have shorter drop times. Super-post big rigs require longer drop times — as much as 10 seconds for radical tilts. Normal big rig drop times are a matter of taste, but are usually between 2.5 and 4 seconds. Minimum Flyer, Pilot, and Merlin drop times are, respectively 2 seconds, 1.5 seconds, and 1 second. Of course, some operators are happy with less bottom heaviness and longer drop times. Experiment and see what level of bottom-heaviness suits your style of operating. If your Merlin has the six ball bearing gimbal, you can slightly lengthen the drop time.

371

T l i r M i t d i n Operator's Htindhook Dynamic balance Find your camera's fore and aft e.g. by mounting all accessories, opening the monitor door, and rolling it on a pencil until it balances. Mark the fore and aft and side to side c.g.'s. For lightweight rigs like the Flyer and Pilot, mount the camera on the sled and set the camera e.g. about 1/2 inch (12 mm) aft of the middle of the center post. Simple, jointed rigs like the Flyer LE may then be usably put in dynamic balance by swinging down the battery until the sled is in static balance. Dock the gimbal on the balancing pin and give it a spin. It should be close. If not, move the camera slighdy fore and aft and retry balancing with the battery. Afterward, adjust the gimbal height for desired bottom-heaviness. The Pilot, with its unique weight augmentation scheme, is more easily dealt with. Place the camera e.g. 1/2 inch (12 mm) aft of the post, loosen the bottom post clamp, and slide it fore and aft until statically balanced. Test spin and touch it up as needed. The Merlin is the only handheld that adjusts for dynamic balance. It has two independent ways to trim fore and aft: by sliding the dovetail plate and by adjusting the blue fore and aft trim roller. If panning the Merlin seems to precess (depart from level), you can fix it by trial and error: sliding the dovetail forward or back 1/4 inch (6 mm) at a time and re-trimming. If it seems to improve, "repeat until sweet." Keep in mind that the Merlin can't make endless 360° pans, so it's hard to be sure that it's out of dynamic balance. However, if your pans are flat time after time, you're probably there.

Using the "Magic Formula" — available on www.merlincookbook.com — can probably get you closer than the trial and error method. Follow the online instructions, make the required vertical e.g. measurement, plug in the numbers, and voila — all available solutions, all correct combinations of weights, arc size, trim marks — appear on the right. It even has separate sections for additional front weights for maximizing inertia.

Unique environmenls and requirements Body position Optimal body position is the same for all Steadicams, including the Merlin. Keep your hips angled about 30° to your path and keep the rig close (very close!). Don't have bulging pockets or wear loose clothing that can flap against the rig. This angled body position is great practice for the bigger rigs, where it seriously reduces fatigue — even for the Flyer at the end of a long day. Work close with the Pilot and Merlin and you'll more easily view the camera's monitor and see onscreen data and peak focus. Although it's easier with a lightweight rig to find yourself operating with the rig in front of you in "no man's land," it's more fatiguing and less precise. Get into the good old Missionary or Don Juan, even with the lightest of rigs.

Dollying

How much the hips are turned in depends on the operator, and on the speed of the move.

Think of your arm hand (or your support hand for Merlin) as if it was pushing a big heavy dolly in 3D space. If you can dedicate a spare mental circuit to flying it along the desired path, it will move smoothly and stay on the rails. Starts and stops (often the most riveting moments) will be more powerful, and the emotional feel of your moves will match your intent. Otherwise, if your attention is elsewhere, the camera will just randomly weave through space, betraying every footstep!

The big secret: ligh ten your grip. Then practice at full telephoto — it's the fastest way to learn just how much or little control is needed. Wind Lightweight Steadicam operators make do without some of the amenities their colleagues on big features enjoy — multiple assistants, fancy trailers, massage therapists, personal chefs, etc., but what they miss most are grips standing by with wind deflecting flags. Wind is the nemesis of good operating and about all we can say to you low budget types is select shooting positions that place your body between the wind and the camera. Fortunately, smaller Steadicams have less surface area and are easier to shield. If the wind is coming straight at the lens, stand behind the camera and at least block the straight-through path. The Merlin is the smallest and easiest to shield.

TheSteddkdm Operdlor's Hdiidliook

Merlin — special considerations Hand positions Two-handed operating, as shown in the D V D and manual, requires one of your hands (your choice) to support; the other to "guide." Keep your thumb behind the guide ring, your first and second fingertips in front on the "tongue." The second finger is used to help control tilt. This style is the easiest to learn and is generally the most precise. Master this first, before you move on to the one-handed technique.

k Two-handed operating: the thumb and two fingertips of the guide hand lightly touch the guide ring and the tongue of the gimbal to aim the camera.

One-handed operating: the forefinger wraps farther around the gimbal.

Operating one-handed has more panache, allows spectacular reaching and hi-lo booms, and keeps the other hand free for opening doors, nudging the clueless out of the way, and hanging onto cars, trains, and bicycles. But it's definitely trickier than two-handed operating (and good stage trim is essential). Look closely at the photo (left): you'll see that the one hand grip actually comes in from the side, with the Merlin handle kicked out toward your hand. Place your forefinger crossways so that the second section (not the first section that includes the nail) lightly contacts the front of the tongue. The thumb will then naturally touch the guide ring on its back surface. Use those two opposing surfaces to start/stop and pan/tilt (it works for tilting because its gripping effect is square with the lens axis of the camera. When panning, give it a start, letting your whole hand turn a bit, so your fingers are never strained or contorted, let it slide through your fingers until it's almost pointing where you want, and put on the brakes! (If necessary, open and close your finger and thumb, one little rotational impulse after, to keep panning). This will take some practice, but it's worth it. If your grip feels uncomfortable, it is incorrect.

Fatigue Merlin is by far the lightest hand-held stabilizer, but your full payload will be about 1.4 times the weight of your camera. If the camera is a 5 pounder (2.27 kg), you'll need your entire set of weights and the total will top 7 lbs (3.2 kg) and require some work to lug around. For heavy payloads, we suggest, at least initially, that you design shorter sequences ! A 2 minute take is longer than most theatrical Steadicam shots. Simply using your Merlin will strengthen the relevant muscles and within days your endurance will greatly increase. In the meantime, you can get some lifting help from the unused fingers of your guide hand. Hook that little finger in between the fingers of your support hand a bit like a golf grip, as shown in the photo, and the load can be shared by both hands. If your camera is even heavier (up to 7 pounds) and long continuous shots are in your future, have a look at the Merlin arm and vest. You can shoot forever without fatigue and if you suddenly need ultra-low or ultra-high lens heights or feel like handing the Merlin through a window, you can fly the rig right off of the arm and keep shooting.

374

Unique environments and requirements Electronic image stabilization EIS is designed to counteract small angular vibrations. With EIS, if you begin to walk or attempt to move your camcorder with your arms, those unwanted deviations become too gross for EIS to counteract. In two important ways, Merlin beats the drawers off electronic image stabilizing features. The first way is that Steadicam (and Merlin in particular) provide superior stability against both small and large angular influences by shifting the e.g. from inside the camera body to the center of a gimbal that isolates the entire structure. In addition, Merlin turns your camcorder into a poised, balanced, inert object that can be oriented — panned and tilted — with gentle finger pressure and moved energetically without angular influence. In other words, it's an inherently more elegant, smooth, and precise way to hold a camera than handheld. At full telephoto, EIS may provide some additional vibration damping, but be aware that some versions introduce hesitations at the beginning of your moves if the circuitry decides it's a bump. Leave EIS turned off unless working at the long end of the zoom.

Accessories We suggest mounting camera accessories such as wireless microphone receivers below the gimbal. Jim Farrell has invented an ingenious aftermarket accessory shelf (see websites on page 415) that replaces one of the supplied counterweights and has mounting locations for more weights as required. Controlling zoom and start/stop is exponentially more important for lightweight Steadicams, particularly in impromptu or documentary situations. You are less likely to have an assistant with a fancy lens control, and more likely to "Roll!" because something great just started happening — but touching the camera makes your first few frames useless. Various stand-alone zoom/focus/pause controls are available. Panasonic made (and discontinued) a particularly small and light L A N C control that could be secured to the Merlin handle. Once you master one-handed operation, you can also control these other functions with your free hand by means of the infrared remotes supplied with many camcorders. We've even been known to run a short length of plastic fiber optic cable from under the stage up to the camera's infrared sensor, so your support hand can operate the supplied remote.

Practice The line dances and other exercises are just as useful for operating a lightweight rig as a full sized rig. You can also reproduce defined shots like the ones that have impressed you in the movies. Do them repeatedly, and critically play back every take and compare it with the originals. Micro-rehearse the difficult parts and build up your endurance and your ability to concentrate. Cycle your attention between the framing, the bubble (is it level?), the cues, the feel, the action, the hazards, the framing, the bubble, etc., and make sure you see the crucial element at the essential moment. For example, as you take the first step up a staircase, boom down slightly to delay any change in the framing. This will buy you an instant to look away from the screen and scout that dangerous first step! Success as an operator requires a great deal of that kind of lore, hard won by operators for 30 years, and most easily acquired by studying this book and/or attending a Steadicam workshop — even if your only Steadicam is a Merlin.

The Sledfeani-Operator's Hdndbook

Garrett's big night out In 40 years of shooting, one of my best assignments was 1989, with that original Merlin-like }R prototype.

a revelatory all-nighter in September

The Philadelphia Committee for the Homeless called to ask if i would shoot a documentary for high school kids with misguided notions about the "freedom" of the streets, to show them the true grim picture. PCH had helped one highly intelligent, formerly homeless kid named Michael Bowden pull himself up and get back into society and he 'volunteered to moderate the video and be our guide to that strange lost world. But he had been a denizen for 18 months and knew that if we arrived with a full crew, Steadicam, assistants, lights, etc., our would-be subjects would melt away into the darkness. I showed Michael my brand-new little prototype and its small Obie light, and he conceded that just the two of us might be less intimidating. It was decided that he would wear a little wireless mike and I would be his sidekick as we penetrated the fluorescent labyrinth of Philly's subway concourses, observing our camera-shy subjects from the hip. We began in tzcilight and 'worked until dawn. A PCH van carrying spare S-VHS-C tapes and batteries shadowed us on the streets up above, on call with a pair of klutzy portable cell phones. 1 shot 25 cassettes, used 48 alkaline batteries, and dollied for miles with my tiny Steadicam and my backpack full of spares. We passed like ghosts through the churches and agencies that pass out used clothing; we snaked along the dinner line to the steam tables at St. John's Hospice, dogged PCH volunteers bringing people to shelters, and trolled for breakfast at the dumpster out behind McDonald's. And everywhere we listened to our less fortunate brothers and sisters: the sad, the angry, the hopeless, and the hopeful; the druggies and tired old boozers; the appallingly dirty and the impossibly clean men, women, and even children who slept fitfully in subway alcoves and under cardboard huts on the grand veranda of the Federal Reserve Bank and were roused up at dazvn to trudge the long miles between meals and handouts and odd jobs. Michael was brilliant. He still knew many of these wainlering souls and they signed our releases, told their tales, and were somehow not scared off by my large self or my camcorder, hiding behind its dim little basher liglit.

376

Unique environments and requirements

My brother Shel ions the principal editor at NFL Films and he donated his services to cut the video, and it premiered with a lot of hoopla and played for years at a number of the area high schools. I am still proud of that little production and the influence it had, and I recently dug out a copy and realized what a unique chance it provided to learn what that little invention could accomplish. My camera zvas almost supernalurally invisible and inconsequential to our subjects, yet the moves have a breathtakingly grave and 'weighty presence. It remains to this day one of my most satisfying and memorable shoots.

Garrett shoots the food line at St. Johns soup kitchen. Note how accessorized the prototype is with an Obie, transmitter, extra batteries, etc., and how much it resembles the Merlin. Those interested in the aesthetic aspects of the moving camera might also enjoy a pair of relevant articles online at: www.garrettcam.com/.zerb.php and a contemporary newspaper article about Garrett's 1989 homeless video at: www.garrettcam.com.

377

The Steddicam Operalors Handbook T

378

Section Twelve the experienced operator

The Steddicam Operator s Handbook

Therightattitude The Steadicam operator may be called in for one day, even just for one shot. This makes you feel a little special — with all the crew and equipment on the production already, they still needed to call you to get the shot. Don't let this go to your head. By the time you get to the set, thousands of hours of preparation have been done by other, very creative crew members. Don't for a moment forget all the efforts that put everything in front of your lens to photograph. Motion pictures were made for about 75 years without a Steadicam. You are simply a specialist on a piece of useful equipment. At the same time, we all believe that being a Steadicam operator is the best job in the business. Use your enthusiasm for the Steadicam; put it toward making a great shot, the best shot you can do.

Steadicam operators must be many things A Good Camera Operator. This may seem obvious, but you will be expected to deliver the same beautifully framed images that your counterpart on the dolly does. Just because you are carrying quite a load, you are cut no slack here. A Good Communicator. You must be able to speak coherently about visual ideas, explain precisely what you need from the grips, the assistant directors, the actors, the extras, your own assistant (the list could go on: "Craft service, I need water!"). A Good Leader. You will need to motivate yourself and others to get the job done well. A Steadicam shot can require a lot of involvement by other departments on the set. You may have to enlist the help of members of the crew and coordinate all these efforts to a good end.

380

The experienced operator A Good Follower. Ultimately, the project is the director's and after some hopefully tactful discussions about the shot, you find the way to embrace his vision. A Good Team Player. Again, a film is not made by the Steadicam operator alone. There are many people working together to make the shot happen. You will, however, get a lot of the credit when the shot is brilliant and a lot of the blame if it stinks! Share the credit, eat the blame, and do better work tomorrow. A Great Solo Artist. Bottom line: When you hear the director call action, you are on stage, performing a most intricate ballet. You are setting the pace, you are making it happen, you are composing the shot, navigating your way through sets and extras, balancing, breathing, anticipating the actor's every move. You are behind the wheel, alone. Be prepared, be confident, and be humble. A Peacemaker. The director and director of photography don't always agree about how the shot should go. Sometimes even the actors can get involved. The Steadicam operator has to listen to all the ideas, put out any fires, and once in a while come up with the perfect shot that pleases everyone. A Rebel Leader. You must be willing to stop the production if the shot isn't safe, or if things are getting out of hand and they are asking you to do the shot without enough rehearsal, preparation, or rigging. You are the Steadicam expert, and exactly how you get the shot they want is your business. Sometimes you have to fight for a better (or safer) way to get a shot, sometimes you have to convince them that a shot is better (or possible) with a Steadicam. Don't forget! You Wow!

You

also must be proficient at assembling, repairing, and operating your gear.

can do all that? You

It's a big job, but even if you

must feel pretty confident. get it all right, don't let it go to your head.

What they pay you

for

What they pay you for is to make them feel good, especially about hiring you. You achieve this goal primarily by doing the job they ask, and after that by being excited about them, their ideas, their movie, or video or whatever. It should never be about you, and everything you do — or do not do — has some influence on them. I'm sometimes too quiet, too deep into the joy of what I'm doing. I have to watch myself on set and let them know in some way how much I enjoy the work. On the other hand, I've replaced many talented operators on shows because they did not do the whole job. After the check clears, you can always decide if you want to work with them again. It's not about some abstraction with the image; it's about working with people.

3X1

TheSteddkdm' Operator's Handbook

Additional concerns on the set Keeping tabs on everything It may not seem fair, with all the things you've got to do as a Steadicam operator, that you are not relieved of the usual operator tasks. You are still responsible for the set, what's in and what's out. You've got to watch the lighting, bogies, crosses, wisps of hair, nose shadows, makeup, placement of other cameras, everything. Early in my Steadicam career, I thought that the DP and just about everyone else would understand what would be in frame throughout a long complex shot. I was horrified, when during a casual walk through, I'd find that the DP had placed a light directly in the frame or my path. And the rest of the camera crew had even set up a camera where I'd see it. I mean, I sort of expected that video village would have to be relocated once in a while, but why were there major problems coming from my own department? I guess I've learned that it's my job to watch the whole set, just like a regular camera operator does. It's very confusing on a movie set. Things change all the time. Other people aren't privy to what you've been told, or they have other concerns. Part of your job is to resolve all these little conflicts. And most of them are small. When I asked that otherwise brilliant DP why he put a light in my frame, he just calmly said, "Oh, we'll change it." And I realized he wasn't entirely in my world — and that he expected me to keep track of exactly this sort of problem. That's just the job. If you are busy working out a complicated move, this can be frustrating. It's a lot harder to move around or have conversations when you are wearing 70+ pounds. So get help (and don't carry the rig until you really need to!). I always ask the A-camera operator for his eyes, his help. And I involve my assistants when they are free. I ask the on set decorator to be sure the right props are in frame. We're a team, and we all have more fun if we are working together. Most people, that is. Sometimes the A-camera operator just wants a break. A famous operator once told me, "You can do it, kid," as he promptly went to sleep on his dolly.

Lens choice How many times have we heard that the dialogue scene will be "covered" in overs and singles, as if by rote? A lot of the time, decisions are made in an automatic pilot mode, even when it comes to Steadicam. The lens choice is often made this way, because someone just assumes that this is the right lens to carry. Don't be caught making decisions by auto pilot. You've worked hard to get on this set. It's your shot. Make it the best it can be for the movie. On the set of In Dreams, we had a little walk through the blood smeared house that I was asked to do on a 27 mm lens, fairly wide. I asked if I could do it closer in on a 50mm, in spite of the fact that I would have a devil of a time just keeping the subject in frame, and the shot starts with a window breaking, and we only had five sheets of candy glass. I let on that I might blow a few takes, but if I got it, it would be a lot more powerful. We should even skip doing it wide and safe even once. Oh boy.

The experienced operdïor Over the protests of my assistant (things got dicey for Mark, again), this was the choice we made, and I think it worked well. On take three, just as sound started rolling, Darius Khondji, the DP, whispered in my ear," I have a little surprise for you. I've added a light." I asked him where. He smiled and said, "Oh, I think you'll find it." And, action. I now wonder if he was just having fun — it was fun, like being frightened to death on a looping roller coaster! Or was he, in an all-to-subtle-for-me way, telling me that I should have been watching the set?

Special FX and safety It may seem mid. but people sometimes treal you different!) if you arc a Sleadicam operator. This dix:s not always work in your favor. When special effects and stunts are around, watch out! While a conventional camera and crew will get protective clothing. Plexiglas. sound blankets, and the like, a Steadicam operator tends to get very little protection. We also might not be in the right spot at the right time, so we are closer than we should be to the gun with the blanks or the squib (a small, "safe" bomb) or. worse, to the stunt car careening out of control. I don't know how many times I've been the POV of a character as he is shot at by a big revolver. I insist on ear protection and a full face shield. I extend the sled as far from my bod) as I can for the shot and try to relax — almost inevitably the gunshot makes me jump. I've learned (always the hard way!) that the little wads of paper coming out of the barrel really hurt when they hit your skin. I now wear long sleeves, long pants, and gloves when I'm around special effects, even on the hottest days. It\ a good idea to question everything the stunt coordinator or specials effects supervisor tells you about how safe you will be during the upcoming stunt. In fact, it's a good idea to question them in great detai! about what they think is going to happen, come to your own conclusions, and then choose the most conservative course Of action — yours or theirs. If you think these guy s have all the answers, go to lunch with them some day . Listen to the stories of how many bones they've broken. Count their lingers. It may be a source of pride for them, but it indicates a degree of risk taking that you should not emulate. Some special effects and stunt guys are very good and safe; others have put us all at great risk, and a few have gotten crew members badly hurt or killed. Ask questions. Imagine the worst. A big red Hag should start waving in your head when you are loo tired to ask or care about your safely. The stunl guy is probably just as tired.

383

How do we get this shot? by Charles Papert

Who decides whether a given shot will be performed on Steadicam, dolly, or crane? Some directors are camera savvy enough to have a specific type of motion in mind when they design a sequence in prep; others will rely on the DP to make this decision. Certainly, if Steadicam is being day played and thus scheduled in advance, this is no casual decision. However, it's more common these days for Steadicam to be available full time with the A-or B-camera position — not to mention two ACs, the grip, and the craft serzñce people who love to tell you that they have Steadicams at home also! For A-cameralSteadicam jobs, I like to work with DPs who encourage my participation and input on scene breakdowns. As ice discuss the individual shots with the director, I start to consider the advantages or disadvantages of each shooting platform and make suggestions on how the shot could expand in different directions or be achieved more efficiently depending on our choices. On Crazy /Beautiful, we were covering Kirsten Dunst walking dozen the length of a series of cafeteria tables having a conversation with an actor who zeas zcalking dozen the other side. We had to shoot an over the shoulder and a clean version of each actor. Since there were additional rozos of tables running parallel to the hero one, there wasn't enough room to squeeze the camera in just behind the actor's shoulder; the camera would have to travel one table away, about 20 feet from Kirsten. After lining it up on the finder, zoe determined that a 100 mm would be the size for the overs and the 150 mm for the singles. It seemed like an obvious setup for a dolly shot on track, especially considering the focal length. However, I anticipated that maintaining the oz er zvas going to be very challenging for the dolly grip. If either actor sped up or slowed dozen at all, it W0ÚJ4 require a significant and immediate adjustment in the dolly speed because of our distance to the actors. I reasoiwd that I would be able to react more quickly on Steadicam. }

Having sent the dolly grip off to enjoy a cup of coffee and a nezospaper, l nozo had to assume a new set of personal challenges: the long focal lengths would require extra precision to operate, and because of the limited depth of field, I needed to maintain a consistent distance to help the camera assistant with focus. I decided to use Antlers to add some inertia to the system to assist with the fram'nig,and we laid out a tape line parallel to the tables for me to follow.

The experienced operalor

Once we started shooting, I realized that Steadicam was a good choice. I zvas able to turn on the sudden bursts of speed or hit the brakes — whatever it took to keep the over from getting stacked or spread — and I didn't have to ask the actors to maintain a constant speed. You never know what sort of response you'll get if you do dare to ask for such things — some actors will cheerfully respond "no problem!" and then do the exact opposite; others will glare at you but lock in like they are on a conveyor belt. With everyone satisfied with the overs, we moved on to the single. We swung to the 150mm and continued with Steadicam. This actually was easier for me since I didn't have the intricate pacing issues to Crazy/Beautiful contend with. But my assistant zvas now managing a ferociously shallow depth of field, hi fact, some of the resulting footage turned out soft.

1:06:30

Had I been operating this conventionally, I would have been able to report this from the znezvfinder and we would have gone again. In hindsight, Steadicam zoas the right choice for the overs, but it zvould have been preferable to switch to dolly for the singles. However, laying 60+ feet of doily track for zvhat zvould be considered a "punch-in" is not something that one gets away, with on most production schedules. What happens when a shot requires the capability of a dolly with the shock absorption of Steadicam ? We trot out our good friend, the hard mount. The operator can sit comfortably and focus all of his/her attention on the shot without having to negotiate the terrain, and a smooth dance floor is no longer required to keep the shot steady. It's a great zoay to work. Sometimes a shot zvill stretch the limits of both platforms.

3X5

TlieSledditdiri Operators Handbook

One sequence in Mr. 3000 involved Bernie Mac as a baseball player sliding into 1st base. We started afoot off the ground for the slide and rotated ISO" around him as he stood up, booming up all along to maintain eye level throughout. Because we were shooting in a major league stadium, toe weren't alloived to lay dolly track directly on the grass and we didn't have our Technocratic with us that day.

Mr. 3 0 0 0 1 : 0 2 : 3 6

The 5 feet of boom required for the shot was more than I could accommodate with a body mounted Steadieam. The solution lay in hard mounting the rig in low mode onto a PeeWee dolly which in turn sat on a western dolly. The large pneumatic tires of the western were acceptable to the grounds keeper, so two grips manhandled the setup around the desired arc while the dolly grip worked the hydraulic arm on the PeeWee. I walked alongside the doily, operating the rig, which ended up virtually overhead at the final mark. To observers the setup probably resembled the flag raising at Two Jima, but we got the shot! The availability of Steadieam to a production can inspire certain personality types to become obsessed with its use: directors often believe they can get more work done faster -with the device. Sometimes they are correct, other times not. Often the operator will get stuck doing lock offs with the dolly close at hand for virtually arbitrary reasons. It's good to gently nudge a director into seeing how easy it is to switch back and forth from conventional to Steadieam, and how it can mm benefit them. For instance, when a shot is being set up on the dolly, the operator can set the locks and leave it indefinitely for all to observe on the monitors. A classic Steadieam shot is to pull a couple of characters in conversation down a hallway, then one will turn around to face the other and the Steadieam pushes into a)i over the shoulder shot. This is a fairly typical episodic television stunt; by getting the actors into motion, you can burn up a substantial page count and create visual interest with the tracking move at the same time. Having the master turn into coverage reduces the number of setups — all you owe is the turnaround, a matching size reverse.

386

The experienced operator

If the end of the scene with the two characters facing each other goes on for a substantial amount of time, it's often worth suggesting a switch to conventional camera for the coverage. On my A-cawera jobs, I will make sure that the dolly is standing by near the set, ready to roll in with the appropriate matching lens to the Steadicam, and then present the concept to the DP and the director. Generally all that is needed is to have the first couple of tines ofawerage completed on the Steadicam shot. Then cut is called and the dolly rolls in. Ideally, it should take no longer to line up the matching shot than the normal amount of time between takes. Even if the scene is short enough that you can just burn it out on the Steadicam, it's usually just fine to shoot the reverse on the dolly; just have the assistant measure the distance and focal length and match them. Some directors will insist that it won't cut properly, that both sides need to be shot on Steadicam to match the "look" — a phrase usually accompanied by a wobbly hand gesture that suggests that the Steadicam shot is "floaty." This is when it's important to be able to assess your own zoork. If your first lock off zvas stable enough to be mistaken for a dolly, you can make a really good argument for using the dolly on the reverse. If it zoas indeed floaty (perhaps because you are new at operating, or high winds zvere buffeting the frame, or you'd broken into the zvrap beers a bit early) it's best iwt to push this. As an A-catnera/Stcadicam operator, you have a better understanding than anyone on the set of the capabilities of each instrument and can bring a lot of ideas to the table on how to maximize any given setup by selecting the right tool.

387

The Sleddicam Operator's Handbook

Breaking the rules alternative techniques What we suggest in workshops — and in this book — is that it's essential to master "the grammar" of Steadicam (just as it is for all art forms) before this unique language can provide a flexible instrument appropriate to the moment and responsive to inspiration. In other words, what we teach is what we've learned works for a lot of operators, and what works to develop the skills of Steadicam quickly and clearly. We also teach when it's useful to break the rules to get the shot. There are plenty of alternate ways to operate a Steadicam. There are many successful operators making great shots with form, balance, and techniques that are less than ideal. One against the rules technique we find interesting is a very different way to start and stop the sled. The technique Larry McConkey uses requires a slightly quicker drop time, say 2 seconds or so, because the sled's e.g. must be about half-way between the thumb and index finger of the operating hand and the common axis of the "yoke bearings" of the gimbal, i.e., lower than normal. Now when starting or stopping the rig, both the arm hand and the operating hand push the sled along equally (one acting just above and one acting just below the e.g. of the rig) and the rig does not act like a pendulum. To start the sled moving forward, use a grip like the first picture. The operating hand's force is directed at a spot between the thumb and index finger. The second photo shows the grip for stopping the sled or pulling it back toward you — the index finger is wrapped around the post just below the e.g. Most operators use another against the rules technique almost every day: touching the sled far from the e.g. We all know touching the rig farther and farther from the e.g. creates more angular disturbance for a given force, but if we are careful with our touch, we can operate just fine touching the sled with either hand far from the e.g.

It is essential to master the grammar before the language can provide a flexible instrument appropriate to the variable imagery. —Professor Allan Ellenius, (writing about the Swedish painter Philip von Schantz's technical skills in Still Lifes, ISBN 91-971418-2-8)

388

The most common example of this technique is grabbing the sled around or above the gimbal yoke while in low mode. The technique makes it easier to get the lens lower, especially with the new arms and their extended boom range. If you are very careful, you can even operate touching the top of the sled. A lot depends on the shot; if it's a relatively straight move with no pans or tilts, you will have fewer operating challenges. The more the shot changes directions, pans, or tilts, the harder it will be to operate far from the old e.g. We sometimes operate far from the e.g. when the sled is near horizontal, and, for instance, looking down over a railing, or when making a crazy rolling over move for a music video. Another common touching-the-sled-far-from-the-c.g. technique is reaching up with the arm hand to manipulate the lens. The operating hand does all the work of operating and placing the camera in space. You can, with a careful touch, work the zoom on a video lens or even change focus or iris if you lack a motorized system.

TTie experienced oppfdlot Alter quality of movement with your grip A Steadicam operator can alter how a shot feels by changing the handgrip. In general operating, both hand grips are as light as possible, exerting only as much force as required to get the shot. This light touch gives the Steadicam its magical floating quality, powerful and unhurried. Gripping the post hard with the operating hand can add harshness to the image, even if the camera is not panned or shifted radically in space. We can use this technique creatively, to add a subtle tension to a shot, even when we place the Steadicam gently in space with the arm hand. A hard grip with the arm hand can force the camera to move in short bursts with sharp accelerations. Combined with a hard operating handgrip, we can make a sled behave more and more like a handheld camera. We could use a hard grip with the arm hand, and a light as possible grip with the operating hand, to create a free floating, yet suddenly accelerating, darting camera. We might use this to create the point of view of a butterfly or the whimsy of a child at play: action with gentleness. This change of feeling can be subtle or dramatic, depending on the scene, how much we alter the grip, and for how long. Look at a moment in the movie All the Pretty Horses, when Jimmy Blevins (Lucas Black) is struggling with the Captain (Julio Mechoso). For most of the sequence and the shot, both my hands are gripping the Steadicam hard for a handheld, violent effect. In the middle of the fight, Blevins realizes he is going to be shot, and for an instant, he stares up at the Captain. At that moment, my operating hand relaxes, and the camera floats with Blevins, emphasizing the look, and then the moment is gone, the handgrip gets hard, and the fight goes on.

All the Pretty Horses

1:08:25

You should always experiment, push the envelope, and find your own methods. Remember, every "normaI" operating technique was once revolutionary, including operating in Missionary with two hands! 389

The Sledditam' Operdlor's Handbook

The emotional stuff One of the things we always try to do is find some emotional connection to what is happening in the story and somehow have that influence our operating. Sometimes this connection is pretty thin, and not much shows up in the shot. Making an emotional connection to the story helps with remembering what the story is and therefore, at a minimum, knowing what should be in frame. At other times the emotional connection to the story is strong, but the exact effect on the image is subtle. A case in point: Late in the film In Dreams, Claire Cooper (Annette Bening) is being chased by Vivian Thompson (Robert Downey Jr.) up into a loft in the barn full of rotting apples. The situation is a bit complicated by the fact that she is not only being chased but she is leading this psychotic killer away from a little girl. The shot starts looking through Claire's legs down the stairs. Read what you like into that. Vivian enters frame and the camera catches a line of his dialogue and a glimpse of him coming up the stairs. Then the camera rapidly tilts up, pans left, and backs away to sharply reveal Claire trapped in the loft and, an instant later, Vivian popping into frame. The sharpness of the camera's move was discussed on set; the first take was a safer, slower move, and it was really dull and uninvolving. We actually used the word "sharp" to describe how the camera should move, but no one discussed the sharpness of the actors' movements. The next part of the shot is a straight backward tracking shot that continues until there is a walkway to the left of frame leading to a silo. The emotional image in my mind at that point was that Claire is trapped, and the frame is her cage. Therefore the camera only pans if Claire bangs up against the frame and forces it over. Several times during the walk back she approaches the left edge of the frame, but the camera refuses to reframe. The frame becomes part of her trap. Even during the pan, Claire has to push the frame several times to enter the new space. The connection between my operating and the story is clear in my mind. Everyone responds to the "tightness" of this approach, yet nothing about it is ever said on set, nor is the effect glaring or obtrusive on the screen. The next section of the shot is rather curious, as Vivian is no longer in frame. Are we in a P O V shot? It's not the classic "passing over the shoulder and becoming a P O V " trick. The situation is not clear. The camera sort of takes a beat and lets Claire get away. Now the camera is really where the audience knows Vivian should be, but he doesn't enter the frame. Are we in a POV now? Where is the killer?

The experienced operator The camera charges Claire as if it were Vivian's POV, but at the last instant the camera flies by her and tilts radically down to reveal her POV of the empty silo. It's an extremely visceral move at the end of a curious and unsettling shot. It felt pretty good after the eleventh take — that last move was a killer.

Making an emotional connection helps to: • Create specific frames and moves • Remember the story • Improve your work

Long shots everyfilmmaker'sdream The very first Steadicam shot in a movie was Garrett's brilliant 4 minute crane step-off and track with David Carradine through the crowd of migrant workers in Bound for Glory. Not only did the lack of cutting contribute to the realism of the moment, but the shot immersed the viewer in the story in a way never seen before on screen: both the characters and the omniscient camera were bound by the same physical laws of space and time. The best long Steadicam shots, like the one from Bound for Glory, are full of dramatic action, and there is a powerful human presence or connection to the camera that is transferred to the audience. Larry McConkey's famous Copa shot from Goodfellas has it: we are transported down those stairs and whisked around the corners, sharing in the camera's powerful moves, playful stops, humorous pans. It's us, we're there in the space, thinking, reacting, inside the scene (see page 401).

/

2

A

1 <*1 _ J

We're emotionally and physically there as well in Scott Sakamoto's cold, calculated, murderous crane shot in Road to Perdition (see page 276), and we're frantically climbing three flights of stairs with Shelly Duvall in The Shining (page 150). We're trying to stay as calm as Denzel Washington in Stephen Consentino's "checking the hostages" shot in Inside Man, or we're flying strangely close to the ground in Patrick de Ranter's train station chase sequence in Amélie. There are hundreds of examples to choose from — and many of them can be viewed on Afton Grant's wonderful website, wwwSteadiShots.org. What makes a great long shot is basically the same as what makes a great shot of any length: the conception and execution of the shot move the story along properly. Long shots require lots of preparation from everyone, but the good news is everyone from the most incidental extra to the third grip to the director understands what the work is, how his or her work can help the story, and how it all plays out. Everyone can contribute to the shot and see his or her role in its creation. It's an ensemble process; there's a clearer sense of building the movie. Compare this to a series of shots in a complicated scene. You might be shooting from this angle or that, crossing the line, shooting out of order, punching in for the M C U ' s and CU's or dropping back for masters, sub-masters, and mini-masters and the pickups

ft

The Sleaditdiir Operator's Hantl hook and the changing light, and it's after lunch now and only the director, DP, and script supervisor might know what the heck is going on, how this bit is going to fit. For a good long Steadicam shot, the operator must be more than physically capable of moving the camera. Primarily, he must have a solid grasp of the moment and the camera's relationship to it throughout the shot. When the camera's role or purpose flags (either from operator exhaustion or a director's lack of imagination), the shot begins to ^^^^^^^^^^^^^^^^^^^^^^ unravel. Keeping the intention clear and interesting isn't easy, and it's harder when you are tired and lactic acid is burning. other operator, and I tried every

Alessandro Gentili, the possible way to pass the gear from one operator to the other for about 2 weeks. First we went with the original idea our The gear must also be able to withstand the shot — in particular the batteries must DP, Maurizio Calvesi, AlC, suggested — making a kind of charged and have sufficient capacity for base on which we landed the Steadicam to allow the switch, the duration. Many concerts and sportbut it did not work; it really felt like a long shot landing and ing events routinely have "shots" lasting an hour or more; a few movies have now taking off agaiti. Then I thought of putting a ring on the camera. We fixed a hook on a rope that came down from the been made as a single continuous take. ceiling, and the operator number one would liook the cam¬ era to the rope with the help of a grip, boom down till the The worst long Steadicam shots suffer a lack of purpose and drama. One danger of rope was in tension, let another operator (number 3) hold long shots is that if the design of the shot the sled and aim it for the few seconds it took the number 1 is poor, the audience has plenty of time to slip off and number 2 take over. This was working well to catch on and tune out, whereas a short enough that We kept on trying it until we could even get rid dull shot is over before the audience has a of the rope. The key elements: the third operator, my friend chance to think about it. and colleague Max Ruggeri, was as experienced as the two Many long shots are also the opening Steadicam opts, and the switch must be made in motion. We shot of a movie, where there's a lot of kept choreographing the move until it was good enough for production effort to get the movie off to a the film. good start. Larry's Bonfire of the Vanities The switch was done three times. I did the longest piece (25 minutes) and Alessandro Gentili did the first one and probably the most interesting. The story begins with the Steadicam attached to the front of a convertible car that carries the actors for 2 km in the city, and then goes down in an underground parking lot where the four plastic straps holding the gear (attached to a custom made support on the open BMW) get cut by the grips in the moment the main character (actress Valeria Solarino, who won a prize for this film) jumps off the car and starts running away, promptly followed by Alessandro Gentili.

is a brilliant example of the shooting taking the audience along for the ride (see page 277), as does Tass Michos's opening shot from The People vs. Larry Flint. The website www.SteadiShots.org has many other examples of opening shots and sequences to contrast and compare from this perspective. I'm guilty of shooting that other sort of long opening shot (many times over!), the one where the director spends the first couple of minutes showing the audience the world, but where the camera's relationship to the world is not very clear.

For 87 minutes the camera never stops moving, the story is If presented with a long shot, really think great, and shooting it was fun. — Alex Brambilla, on the film Valzer, directed by Salvatore Maira, shot in January 2007 in Turin, Italy 392

about what the audience is seeing, moment to moment. How do you look at objects or characters, how close do you get? Are you curious, bemused, detached? How long do you linger on the detail, what music moves you forward?

The experienced operdlor

A great walk and talk Walk and talks are typical long Steadicam shots. We see them all the time in movies, TV shows, industrials, and commercials. It's the bread and butter shot for Steadicam operators, plowing through pages and pages of dialogue, yet often these shots are very unsatisfying or uninteresting. So what makes a good walk and talk shot? They do exist! What makes for a dull one?

Dramatic tension Earlier in the book we talked about dancing with the Steadicam and maintaining a tension with the rig. It is important to maintain this tension, this relationship, even when the camera is still. It is similar to the tension that must be maintained between the dancers in a tango, even when the dancers pause. The Steadicam's tension is defined by its weight and mass (it's a very consistent partner!), and we hold a physical relationship to it throughout the shot. A similar tension or relationship must exist in the scene. In Acting 101, one learns that dramatic tension is created when an actor's intention or goal meets an obstacle. Often the obstacle is another character's intention. If there is dramatic tension, there is usually some physical manifestation; for instance, one actor grabs another and spins her around. Sometimes the battle is more cerebral, with one actor winning an argument, and the physical manifestations are very small, such as a look or a drop in the shoulders, a turn of the head. If there is dramatic tension, the characters can have a relationship to one another, and then the camera can have a relationship to them. As Steadicam operators, we can dance with the action. Far too often in walk and talks, the actors walk simply to reach their end marks, an activity without dramatic tension. Moving though space substitutes for real dramatic action. It feels like an important shot and many pages are covered, but it is very dull.

An example A good walk and talk manages to get the actors to their end marks, cover lots of pages, and use the space without subverting the dramatic action. A brilliant walk and talk shot can be found in Carlito's Way, directed by Brian DePalma and operated by Larry McConkey. The scene is late in the movie, when Gail (Penelope Ann Miller) says she is late. Carlito (Al Pacino) has to stop her physically, find out what is going on, prevent her from going to the doctor to end the pregnancy, and get closer to her. She wants to escape, get to the doctor's, keep Carlito in the dark, keep him physically away. There is plenty of dramatic tension here. Who is going to win the battle?

Actors move Watch the scene several times. Note how the characters use the space, and how they change their relationship to each other. They move toward and away from each other, change their tactics as they hear new information, stop and start again, all in the service of the drama. And they also get to their end marks.

393

TiieSlPdiliidin Operators Hdiirthook Move the camera Watch how Larry's camera moves with them, changes framing to help the dramatic tension (shorting, centering, raking), and starts and stops with the action. At the beginning, the space between the characters is great, both emotionally and physically. Gail is not only on the far side, but the camera is placed to maximize the separation between the characters. As the characters get closer at the end, notice the subtle push-ins. And Larry arrives at a precise end frame, in sync with the actors. Even the background action is folded into this plan. There is a tailing FBI agent who is carefully revealed and hidden throughout the shot. A lot of what makes this shot interesting is how the camera reveals the space, and, at the same time, emphasizes the dramatic action. Imagine if the actors had been told to walk side by side, and keep walking until they got to the end marks. What could the camera have done? Not much, and the result might have been okay. Okay, but not brilliant.

Use the space Look again at the opening frames. Angling the camera off of the line of camera movement (i.e., raking the camera) emphasizes the space between the characters. Remember, raking the camera to the line of movement creates two vanishing points — the "normal one" that the lens points at, and a second point, also called "the appearing point," that the camera moves away from. The two vanishing points help to create the sensation of three dimensions. At other moments in the shot, the composition is more formal and centered, reflecting a different relationship between the characters.

Stops and starts Check out the clear, clean and precise stops and starts, all in tune with the action. It all works to emphasize the story. Larry often talks about urging the Steadicam into the proper frame. You can almost feel him slowly shifting the perspective, just barely panning enough to keep Carlito in frame as he comes around Gail. The camera moves just enough to keep up with the action, just enough to get to the right spot to reveal the next story point. Carlito doesn't want to frighten Gail away, and the camera doesn't get too pushy or close either — until the end when Carlito makes his move to get close to her. Watch this shot again and again, and you will discover even more about great operating.

394

Carlito's Way

1:44:15

The experienced operator Watch out There should be some automatic warning system on your sled that activates sirens, flashes lights, and spews dark smoke out of you monitor when the actors are asked to do a scene in reverse — start at the end marks and walk and talk the scene to discover their starting positions. Then when they walk from this mark, they will end up at their end marks. Clever, right? Not really. The walk becomes all about getting to the end mark, and the biggest physical action the actors have to work with is subverted to this mundane goal. We know of at least one walk and talk on a high definition T V show that was as long as the crew could wind the fiber optic cables through the set. The cable length determined the start marks, and the result was the same: the walking was for movement's sake, unrelated to whatever drama was in the script. Although the operator thought it looked cool and it was fun to do at the time, he now thinks it was pretty unremarkable as a shot. Without the dramatic tension, the relationship of the camera to the action is arbitrary or patterned: we are stuck maintaining a size, a relationship between foreground and background, holding so many characters in frame, a given raking angle, etc.

So what can an operator do when presented with a big, let's-plozv-through-pages-of-dialogue walk and talk? Sometimes nothing. Maybe not every shot has to be so well conceived. The old line is that one should not pee on every fireplug. Some moments in the movie are more important and worthy of the time and effort than others. But such an attitude is defeatist — every shot can be interesting and appropriate. There are only a few precious moments to tell this story, so let's make every one count!

Designing a better walk and talk All too often, you will find yourself consumed with just getting to the end of the shot (like the actors are) and avoiding reflections and lights and tripping over the curb. But if you can, try to suggest camera positions, speed changes, and even stops and starts to emphasize the drama. Suggest that you would love to be in one position to see this moment and in another position to see a different moment. Try to be really, really positive about how you can help what is already in the script and happening with the acting and the location. Try not to wed yourself to one long continuous shot.

Breaking up a long walk and talk On the set of The Gum I was presented with a long exterior walk and talk shot that started under some elevated subway tracks and ended up several blocks later at an apartment door. During the scout and rehearsal, I began to feel (as did the director and DP) that we did not have the extras and set dressing to fill the entire shot, that there were a couple of dead areas that might be best served by a cut, and that no matter what the camera did, some of the flavor of the new location would be lost if it was all shot on one wide lens.

TlicSleddidim QpertUor s Handbook

Director Daisey von Scherler Mayer, DP John de Borman, and A-camera operator Ken Ferris came up with a series of shots to take maximum advantage of the location and production realities. We started the sequence with the A-camera. We used an extreme telephoto shot and a sliding dolly move to introduce the neighborhood and emphasize the graphic shadows from the train tracks. This shot was followed by two shorter Steadicam shots. This approach allowed us to time the shots to have a train in frame at one point, concentrate our extras and set dressing, and give the actors a chance to get each part of the dialogue right and to alter their physical action. It also saved my legs, so I could concentrate on getting good framing, rather than just trying to get from the beginning to the end of a long shot. In the final cut, the editor split the first shot in two. No one watching the movie seemed upset that we used four shots instead of one.

Make a plan, make it happen It's really tricky to assert oneself creatively and change the plan at the last moment. The sooner one has the conversations, the easier it is on production to alter the big plan. Some people will like your making suggestions, others will not. Be sensitive to the people and the situation you find yourself in. Ask for help from the director and the actors to improve your relationship to the action. The major key to creating better walk and talks is tuning in to the dramatic action. Read the script, listen to the director, and watch the actors rehearse. Try to adjust your framing and timing to accentuate the director's goals. Be wary of shots where the actors don't change size — as if they are walking on a treadmill in front of a green screen. Sometimes it works, but most often it's a sign that everyone is just aiming for the end mark. Try to change the angle of the shot to emphasize space

The experienced operator when appropriate and to shoot straight forward or backward when a formal composition is required. Even a slight rake will take the shot into a more naturalistic realm. Use your feet. Speed up, slow down. Get closer, move away. The Steadicam's big weapon is movement, and there's generally no good reason — beyond convention — to lock your movement to that of the actors'. (Our apologies to focus pullers here.) We're not advocating movement for movement's sake. When appropriate, let the actors change their size and position in the frame. Use your arms, too. Try to micro-adjust your framing by moving the camera rather than panning or tilting. This keeps the background from shifting, which pulls the audience's attention away from the actors. Pan or tilt when you need to, but be careful. The wider the lens, the more conscious you need to be of vertical lines keystoning at the edges of your frame. With really wide lenses, keep the Steadicam level fore and aft. You might want to add another bubble level to the sled to help you keep the post perfectly vertical. Use marks where you can. The more precise everyone tries to be, the more specific, clear, and full the shot can be. All departments can be on the same page and contribute to the overall effect of the shot. Don't let all the regular production quality of filmmaking drop just because the Steadicam can move freely and correct for missed marks and timing. You do not want the shot to stick out like a sore thumb.

Suggestions for better walk and talks: • Design a shot! Don't just walk along with the actors. • Enhance the drama: change the angle, size, distance, and speed. • Make corrections with the arm instead of tilting or panning, thus minimizing angular change. • Use marks, especially for key story points.

397

The long Steadicam® shot by Larry McConkey

As a filmmaker, the idea of using a continuous long shot as a storytelling tool is quite seductive. 1 used to think most moviegoers didn't notice and probably didn't care if a shot teas accomplished without a cut, but in the years since Goodfellas was released, I've learned that a lot of people not only realized the shot into the Copacabana -was a single long Steadicam take, but they enjoyed being "taken for a ride." There is real power in the utter sittiplicity of this kind of filmmaking, and Steadicam offers unmatched flexibility to achieve it. There is risk in attempting a long shot. It could be little more than an opportunity to show off if you aren't careful. It can seem arbitrary if there is no good reason to do it. You must believe it is important, even necessary to the film, and if you don't believe it, then figure out a way to create something that is, or break the shot up into more manageable chunks that -will better serve the film. I do think a long shot has the potential to let the audience become involved with the characters in a more intimate, natural way than an edited sequence. They experience what is happening as the characters do without the sense of manipulation that editing can sometimes produce. 1 have been a Steadicam operator since the late 1970s, first shooting documentaries and later feature films. Along the -way I have been asked many titnes to do continuous shots of up to 4 or 5 minutes long, the practical limit with a 35 mm camera. I feel very fortunate to have had these opportunities and also to have had the support and resources to make them successftd. It is a big challenge to structure a long shot and it involves things that are normally the bailiwick of the director, the ADs, and the editor. There are many elements that must work in perfect sync with the camera and the operator is in the best place to choreograph the dance. It is essential for the operator to understand the director's intentions and be clear about what emotions and reactions the camera should provide. This brings us to the iiwstimable value of the stupid question: "This might be a stupid question, but...." "What is this scene about?" "What is this movie about?" "Why are we starting the shot out in the hall?" "Should I be surprised when he enters the room, or am I anticipating him?" "Wliy are ice so far away? Are you trying to avoid a sense of confrontation, or create a sense of emotional distance?" I wanted the "why" even more than the "what." If I was coming onto a production for a "guest spot" (a single shot or scene), I would not hesitate to ask questions. By taking this license I got

The experiencetl opeidloi

wonderfully revealing explanations that the director might not normally think to share with anyone hut the actors. Sometimes a crowd of crew members would begin to form around us as the director took this opportunity to summarize his current thinking about the film. These were insights we all cherished and were essential to sharing the responsibility for a scene.

Developing

a musical

style

My first big opportunity to do an extended shot in a feature film was After Hours. / was working with Martin Scorsese and Michael Balhaus and I was very, very excited. They were doing a few days ofreshoots for the film and were in a relaxed mood. Michael lit a large office so that I could shoot in any direction without concern about seeing lights or grip equipment. The staging was very simple and Scorsese told me to "have fun." The music for the scene was played Over speakers. I was being given a virtual playground while Marty and Michael watched the video from an adjacent room. Only the actor, one extra, my assistant, and I 'were on the set. With so few elements I had to depend primarily upon the music for a sense of structure. I tried to move with the rhythms of the music. When I finished each take I could hear laughter and applause. Marty had invited his parents to the shoot, and I realized that / WHS performing for them. / also saw that the rhythm of shots could be inspired by musical structures. Camera movement has an intrinsic aesthetic component with clear corollaries to music and dance. Throughout my career I have struggled to refine a sensibility for this aesthetic that would work within the demands of narrative storytelling, amplifying the dramatic intent rather than subverting or distracting from it. Before I caught the film bug, I was studying to be a concert pianist. During a lesson -with a renowned performer, I embarrassed myself by repeatedly missing a single note several octaves above the rest. I became so preoccupied with looking for the key that I lost track of everything else. My teacher finally intervened and gaz>c me some advice that has been useful in many ways since. He first corrected my posture. Sitting consistently in a balanced position gave me a stable platform. He told me to push off with my hand in an arc that was connected firmly to the elus'we key on the other end.

The SleadkdiTi Operator's Hand hook

After practicing a dozen times I hit the target ever}/ time. No mid-course corrections. I simply let inertia and gravity guide my hand through the arc. He taught me that musical expression WOS the inevitable result of the physical movement through space of my hands and fingers. This may seem so obvious as to be meaningless, but it revealed an underlying truth about performing that I still find valuable today. When executing a complex, fast-moving, and expressive performance of classical music — or a long Steadicam shot — if you first carefully pre-plan and then practice the physical movements, it leaves you free to simply execute the piece. Wlien the expressive musical choices are made consciously and clearly, they are translated into the performance and to the audience. The parallels with Steadicam shotmaking are strikingly clear; the purest camera movements are those that seem to obey the same laws of inertia and gravity that govern those arcs at the piano. The Steadicam is extremely well suited to this because it is designed to increase inertia. Once a move is started, there is real beauty in the naturally smooth flow of the system. The operator's job becomes getting it started and then trying not to interfere as it follows the arc that you started, the arc that leads inevitably to the end of that move and into the next. Like any sophisticated instrument, the Steadicam takes a long time to master. You must find its strengths and limitations and you must constantly push it to do more while conserving what can already be done well, hi addition, tliis instrument lias a volatile personality thai is changed radically with the adjustment of masses and the addition of accessories. Evenf change in configuration means relearning how to play. Just as a dolly following track has a defined path through space, the path of the Steadicam can also be defined by simply limiting what you do with it. This "limitation" can actually free you in surprisingly sophisticated -ways. The art is in defining the movements into clearly articulated ideas that eschew the multiplicity of possibilities and craft them into an irreducible few, The complexity involved in changing speed or direction (each requiring perfect anticipation of the required corrections to keep the Steadicam level) has persuaded me to make as few as possible. I therefore plan the simplest sequence of movements I can. I do whatever is necessary to accomplish this including modifying the path of the actors (either asking them for what I need or rearranging the furniture to encourage the desired result). I don't try to be a hero. 1 take the easy way out in every situation. This is especially useful during a long shot where the tricky parts will more likely cause the shot to fail and any mistake means a redo, or breaking the shot apart, or worse yet, putting flawed work on the screen. The easier I make my job, the better the shot will be.

400

The experienced operator

This process of nuiking life easier also contributes to my personal aesthetic. A series of simple shot segments, linked by clear and simple transitions, results in a strong clean style. I regard each segment as an individual idea or phrase. I approach any shot, but especially a long one, by first breaking it down into these "phrases." Each transition between phrases comes at carefully considered points in time and space with a frame that defines something about the characters or the set or both. The principal reason for delineating the shot into these segments or phrases is to avoid any distracting anomalies in the motion of the camera, but the result is the imposition of an internal rhythm to the shot. A phrase in this sense is almost an exact corollary of a musical phrase and it can consist of many different things: a straight path like a dolly shot or a constant radius such as a conventional crane shot. There are countless other examples, but in each case I strwe to define the shot with the simplest geometry and transitions. I decide where the lens should be at each critical moment and construct the phrases that connect these dots. I also find motivations for each of these transitions so the audience will be constantly curious about what is coming next If I am successful, the audience is not aware of the camera but instead is on a magic carpet ride, seemingly controlling their journey with their own thoughts and desires.

The Copacabana

shot

We had a walk through in the late afternoon. Marty explained that I -would follow the two actors, Ray Liotta and Lorraine Bracco, as they entered the club. The only specific was a closeup of Ray's hand as he tipped a valet to start the shot. We followed along with Marty as the two crossed the street, cut through a line of "civilians " -waiting to get into the club, descended stairs to a back entrance, and walked along a twisting hallway, through the kitchen, back out to the hallway, and around a comer to emerge at the back of the club, now at the front of the line. The maitre d' welcomed them, gestured off camera, and a table suddenly appeared and was "flown " into position in front of everyone else — giving them the best seats in the house. As they sat there was scripted dialogue. What concerned me was that this seemed like the worst case of "shoe leather" I had ever seen. I thought the shot was destined for the cutting room floor unless I could figure out a way to make something more out of it. There were some tricky problems presented by the architecture as 'well — the stairs and corners were places that I could lose sight of the actors, and shooting their backs for so long 'would be frustrating. Marty left, Michael got busy lighting while 1 started to break the shot down using a finder. Lorraine said her character -was just following Ray wherever he took her and would have almost no interaction with anyone else. It was all about Ray's character, Henry Hill. Thankfully he offered to help work out the shot.

The Steddkdm' Operator's Handbook

Here are a couple of examples of what I did. As the actors went down the stairs, the shot needed to be wide enough to see some perspective and take some of the curse off what quickly became an arbitrarily high angle. At the bottom there was a door and a corner into the hallway just past the door. It -was a classic Steadicam problem: every step on a stairway only moves you about S inches forward but a normal stride on level ground will cover several feet. Unless they stalled at the door I would lose sight of them around the corner. I asked if there was someone Ray could interact with at the bottom of the stairs and the 1st AD, foe Reidy, said there was a doorman — no problem. Ray decided to give him a tip and improvised some dialogue designed mostly to impress his date. While this was going on I could continue smoothly down the stairs so when they turned the corner I zvas close enough to follow What began as a solution to a technical problem tinned into an integral part of the scene, a demonstration of Henry's status as a mobster and how he used it to sweep Lorraine's character off her feet. We continued this way through the entire shot, coming up with opportunities for Ray to turn back to the camera from time to time and using extras to give me an excuse to pan off Ray when I couldn't keep him in frame (the kitchen had some really tight spots!). What I love is that these devices contributed directly to the content of the scene. Rather than distractions, Ray used them to demonstrate Henry Hill's gregarious personality and status as a mobster. Form and function perfectly merged.

Goodfellas

402

0:31:30

I have learned over the years to ask my AC, Larry Huston, "How did it feel?" rather than asking if focus was good or not. If it felt good to

The experienced operdtor

him, I had done my job. The shot was predictable, simple, and understandable both to him and ultimately to the audience. It took seven takes before it felt good. There was great collaboration on this shot. Joe Reidy and his army of ADs, the sound department, grips, props, set dressing — all were with us every step of the way. In a long shot like this, everyone has to pay extra attrition: a mistake by anyone means starting all over from the top. We also knew that Marty doesn't like the process to get bogged down. We really wanted to get everything right on every take. In most situations, only the director has a clear idea about how a sequence will be edited, but in this case we could all watch the video after each take, and "'what you see is what you get." We could all evaluate our contribution instantly. The knowledge that editing cannot save the scene brings with it a greater sense of responsibility, and there is added pressure in knowing that if you did make a mistake you would be letting everyone else down. This sense of shared responsibility raises the intensity of the experience several notches. In ways I do not understand, I think that intensity translates to the experience the audience has as well.

Z

Perhaps the most remarkable thing is that we finished the shot before lunch! I've spent as much as 2 full days on other long shots, and while some of them may have been technically better, none has had the impact of the Copacabana shot. This is perhaps because it serves the film so well — demonstrating the access and respect Ray's character commands. Fear and greed are powerful tools. And so is the Steadicam.

403

TheSteadicdm" Operator's Handbook

The

process

There are many details to remember in a long shot. I use an onboard video recorder and consider that essential. / can quickly review a rehearsal without competing with others at video village. When playing back a shot, I first evaluate the entire shot, checking that the overall rhythm is right, all the way to the end. It is important to be able to step back from the effort of executing a shot and see the end result — imagining how it will look to an audience divorced entirely from the process and viewing from a stationary point of view. That can be difficult in the midst of a highly charged set. I have learned to trust my instincts. If anything bothers me about a shot, I take that as a mandate to figure out what it is. I take responsibility for everything. My belief is that if I am scrupulously honest about how the scene affects me and change whatever doesn't feel right, the shot will be improved. Anything less would be a disservice to the film and its audience. I also look for the myriad mistakes in my operating. Every change in speed or direction requires the right corrective forces at exactly the right time to avoid unintentional changes in the frame: did I push too hard or not hard enough with my left hand when 1 went around a corner, making the horizon roll off level, or was the pressure too soon, too late, held too long or not long enough? The video gives me instant feedback and I have found no better way to get it. Once I have my list of notes (written or remembered) I walk the entire shot and pantomime the corrective actions at each trouble spot. I talk to each of the extras along the route, either congratulating them on their performances or chiding them for their mistakes. I make sure they know exactly what should be changed. I also check for flares, shadows, and equipment that has been adjusted between takes. When I can, I will go to especially troublesome parts of the shot ivith the Steadicam and practice until I have trained myself to do it right. It is a rehearsal process exactly like I used to employ for difficult passages on the piano. Wlien 1 have finished the walk through, I return to the Steadicam and take a minute to run through the entire shot in my mind, eyes closed. I go through it all: the corrections I plan to make, the various cues I will look for. 1 turn in space as I do this, pantomiming the entire shot. I have seen acrobatic pilots and dancers doi)ig much the same thing before a performance. When working out a difficult passage on the piano, even though I could not always get it right during practice, after a night's sleep I could perform the passage flawlessly. That is normally not practical on set. My pantomime session helps the choreography sink in, and I then take a minute to do a deep stretching exercise, it releases tension and frees my unconscious mind to take over some of the work. It is not the same as a full night's sleep, but it helps.

404

When i get enough rehearsals (and pantomime sessions) I can let go of much of the conscious check listiiig as I perform a shot and focus on the moment. I like to concentrate on the actor's eyes whenever I can. The thousands of cues, marks, and physical demands start to xoork on "autopilot" and that allows me to concentrate on unifying all the elements into a great shot. 1 am connected to the actors as if we are dancing. And on good days we are. That is when things can become almost magical. All the mechanical and organizational elements fade away, and the shot starts to flow. Lucky Seven. That is usually the take that it all comes together. Steadicam operators depend upon technology and physics to create camera movements that can be so beautiful, so perfect and right feeling that they belie the means by which they were created. It is in these transcendent moments that I experience the greatest satisfaction. When everything is right the shot is pure thought. Every move has a purpose. Nothing arbitrary, nothing mechanical. Herein lies a paradox. The very path to transcending the use of physical means to achieve abstract thought and emotion lies in the absolute reliance and involvement with mechanical things. It's how I make music.

Larry McConkey

The Steaditdin' Opet dtor s Handbook

We are all born to be Steadicam operators.

^^^^fl

Camera Darwinism It's in our hunter-gatherer genes to move, to change our perspective, to consider the world from other angles. It's the changes — the subtle shifts of perspective or dramatic moves — that reveal the world and stimulate us at some deep, primal level. It's just not in our genes to be locked to a contraption bound to rails, or to move in exact straight lines. As audience members, we respond more to a camera that moves like we do and makes images that reflect our experience of the world. We want the camera to move as our moods take us, as our interest guides us. Our hunter-gatherer genes also predispose us to enjoy being a Steadicam operator. Our species likes moving around, exercising both gross and fine motor activity. Sitting all day is boring. Working well with a sophisticated tool, moving about, sweating a little. Lots of sensory stimulus. Exotic locations. What could be better? And forget being a one-man band. Several million years of evolution have made us supremely social animals. It's better to work with others than alone. Enjoy the help you get. Be helpful. Don't fight it. Fulfill your biological destiny!

and Action! what really is going on when you are operating? Let's concentrate on one moment in one shot in the movie, Donnie Brasco. Lefty Rug¬ giero (Al Pacino) steps away from Donnie Brasco (Johnny Depp) after borrowing some of his money. It's a simple moment, but an important one. It's crucial that the audience sees Donnie's reaction as Lefty walks away. Lefty moves off first, very fast. We are generally attracted to moving objects, but I had to hold the frame long enough for the audience to understand that the story was now with Donnie. I also wanted the audience to feel assured that they are watching the right thing, that the camera-storyteller was in control.

The expet iemed operdtor Look at the framing while they are talking. It's unbalanced, with a lot of space on the left side revealing the sidewalk, the perspective lines of the buildings, the location. M y hope was that the framing felt natural, but just a little odd. I also wanted the framing to be correct for the current action, not a frame that is set up for what happens next. The camera is somewhat wide, not too intimate. They don't know each other well. With the frame set, almost all of my attention is focused on what happens next. As they talk, I am thinking about how Depp moves. In the rehearsals I was watching him closely, trying to see what visual clues I might use to know when and how he is going to move. At that moment, the story is about his decision, and how he moves to catch up with Pacino. I've got to be connected to the actor or the moment will be missed. I know that a few microseconds after Pacino moves, Depp is going to bolt after him. I don't want to give it away via the framing, or, God forbid, moving before Depp moves. As I hear the line, "Wise guy carries his money in a roll," I stop looking at the monitor. With the frame held still, all my concentration goes to watching Johnny Depp in the real world. I'm watching for a signal, some shift in his body that he is going to take that first step, so that I can move exactly with his step. Not before or after. M y whole body, my handgrips, etc., are all ready to go at the right moment, ready for what happens next. In my mind there will be no pendular dip as we accelerate, no floating horizons. I can visualize the path in space that the camera will take, booming up as Depp approaches. And there will be just that little pan to the right, and I will move with Depp down the sidewalk, concentrating on Depp, dragging out the moment, until.... Ready, ready. This little move is somewhat complicated by the fact that there is a heavily diffused 10K fill light aimed at Depp and Pacino. It's a light that has to be hidden in the next moment because Depp is going to cross right in front of it, and the grips need time for Depp to exit the light before they can pan it off and move it. That means I must keep him in the frame entirely by moving the camera and not panning until the light is hidden inside. With the freeze button on the D V D you can just catch the glow of the light as Johnny overtakes the camera and we begin the second part of the move with him. By the way, this is my first day on the set, first shot, first day with any of the principals (director, DP, Pacino, or Depp). I'm trying to fit in. I just got the script pages. What's this all about?

A

DonnieBrasco 00:15:11 407

TheSteadicam' Operator's Handbook I don't really know what the D P or the director means when they give me what I think are contradictory instructions just before "Action!" is shouted. Of course we had the usual problems of working on a crowded Chinatown street: traffic, wind, bystanders, and even pallets of food constantly being piled on "our" sidewalk by folks who resented our being in their way. And I've forgotten a hundred other things, because at that moment, I had to shut it all out and want to make this little moment work. Watch the moment several times on the DVD. How did I start this move? How does Depp grow in the frame? When is the choice made to let him go by and pan with him? Did you notice the light? Does the shot feel right to you? Isn't it nice that Al Pacino turns and faces the camera as Johnny approaches, reconnecting with him and pulling the story along? Imagine if Pacino had not turned around, and all we saw was the back of his head. There would have been no reason to pan with Depp. The scene would have been about Lefty walking off (which he already did) and Donnie Brasco following him. The scene would have been over; why pan? Pacino is a great actor for lots of reasons, and in this moment he demonstrates his knowledge of the craft by placing himself so that he is revealed at the right moment. I did my part by holding the frame on Donnie as long as possible, which not only clarifies his character's decision but separates him as far as possible from Lefty. I took my lead from Mike Newell, the director, and from Pacino's acting, and I tried to make the camera movement emphasize and clarify the next moment in the story when Lefty pulls Brasco along and includes him back in his world. I think we did four or five takes. I can't remember if we really said very much about it. We also shot a series of close-ups of Donnie and Lefty dealing with the money: singles, close ups of Pacino's hands and the cash. It wasn't supposed to be a "oner."

There are a lot of distractions on a movie set, and you've got to tune it all out and concentrate on your job. Watch almost any "making of" video and you'll get a sense of the confusion and the different worlds each member of the crew and cast inhabits. I was amazed, for instance, to watch the opening scene of the Donnie Brasco "original fcaturette" and glimpse myself waiting for the cameras to roll and "Action!" — oblivious to the rest of the toorld — while Al Pacino was trying to tell johnny Depp a joke. "A skeleton walks into a bar." "Roll, please." "Rolling!" Pacino (to the documentary camera!): "I'll do it later for you." Then Pacino, next to camera on my blind side, gets into character, juking around, getting his energy up for the scene (at 2:32 into the fcaturette). Alas, I never heard the joke. — ferry Holway

408

Conclusion

409

The Stetidicam ' Operator's Hdiidbook

How was it? It's the big question at the end of the shot, and surprisingly, there are some really good and bad ways to answer it. Before responding, I always try to get the okay from my focus puller, to be sure that he or she is satisfied. If there's a focus problem, there's no point yelling "Great!" and then having to retract that statement. One answer to "How was it?" is "Great!" or wonderful, excellent, terrific, etc., delivered at a good volume with plenty of enthusiasm. It's your assessment of all the variables and clearly states that you feel production can move on. The only other answer is, "Let's do it again. It would be really great if...." And then clearly state what you think needs to happen to fix whatever isn't great. "It would be really great if I could be 6 inches to the left so Pacino's line is delivered more to camera." "It would be really great if that extra in the blue suit crossed earlier so we could see the hero cop a bit longer before he fires the gun." The "It would be really great i f answer gets everyone on the same page for the next take, and gives everyone the motivation and reason to go again. It also gives the director or production a clear sense of what you think needed improvement and the choice to move on or not if that's not important to them.

I love it when a director gives the crew the same clues. "Do it again," without any specific directions to me or to the actors, leaves everyone without a good reason to change anything and with no new enthusiasm for the work. If the director gives the actor something new to do, fine, I know it's a performance thing, just as the actor might learn I missed my mark and his face was in profile or an extra crossing late blocked his action.

410

The worst answers are the ones that don't move anyone in any direction. "It was okay" leaves production with doubts. "It sucked" with bigger doubts. "Well, it might, well, yeah, in the middle, I don't know (etc.)" gives them nothing and takes up even more valuable time.

Conclusion Another bad answer: "The focus was soft." If the assistant has an issue, fine, you all need another take, but you can always improve something else about the shot. "It would be great i f while the focus puller works out his issues. Only if production wants to go forward do you say, "We might have a focus issue at such and such a point." I don't suggest you lie to production, but the reason to re-do a shot because there's a focus problem doesn't energize everyone to the next take like, "It would be really, really great if...."

In conclusion If there's a common trait among the best Steadicam operators, it's great passion — passion for the job, for how amazing our shots look on the screen, and for the gear. Great operators strive to be smarter, smoother, and more efficient — all to tell the story better. Exactly where the passions lie and how they are expressed vary from operator to operator, but every great operator takes that passion to the edge, pushes the envelope of possibility, and is willing to fail again and again going after the goal. They are pioneers, rebels, visionaries, and craftspeople; madmen all. We usually end the Steadicam workshops with an evaluation of each student's "Grand Prix" shot. Side by side on two monitors, we watch the student's shot and a movie of the student doing the Grand Prix. We discuss the student's choices and all the good and the not so good things we can see in the operating. We celebrate the moments of inspiration, illuminate the errors, and find ways to improve it all. Everyone wants another take. We have the review of the Grand Prix shots as a community, all together. Even the instructors are given a go and take their lumps. A l l of us have moments of brilliance — and lapses of framing and intent. It shows on screen when the form is off, the grip is incorrect, and the mind wanders. A l l of which gives us hope, because we can learn better form or the correct grips, and we can train ourselves to remember why we are on set, what we want out of the shot. What becomes crystal clear is that the Steadicam is not some magical instrument that makes great shots, but an instrument infinitely and wonderfully responsive to the will and commitment of the operator. When the operator is inspired and focused, there's a great image on the screen.

411

The Steadicdm Operator's Handbook At the very end, we welcome the students into the larger, worldwide community of Steadicam operators. We are friends, colleagues, and competitors. We own sleds and vests and arms and follow focus systems and widgets from many different manufacturers, and we enthusiastically debate, defend, and promote our gear. We invent things, try techniques, wear different clothes and shoes, and find different niches where we earn our living. It's still a relatively small number of folks, and most of us are only one degree of separation apart from each other, and from Garrett Brown, the inventor of the Steadicam. In a cinematic world full of secrets (special filters, digital and chemical processing, lighting tricks, etc.), Steadicam operators are unique..If we find a new widget or we discover a new way of operating, we share that knowledge and insight with the rest of the community. We often disagree about the value or truth of an idea, and our passionate discussions are also informative and important for our community. This open sharing of ideas started with Garrett, and it continues through the workshops, on the web, and with many books, including this one. Welcome to the community. — Jerry Holway and Laurie Hayball

Cut. Print. Great. We are moving on.

412

(UlllllNUIl

Acknowledgments A lot of effort goes into a creating a book like this. We had lots of help along the way — from operators and others all over the globe. We would like to humbly express our gratitude to all those who inspired us and donated their time, thoughts, equipment, smiling faces, and support to the project.

Many thanks to David Hayball and Carla Holway, our more than patient spouses. Garrett Brown and Steve Tiffen for their encouragement and support to create this book; to our agent, Buz Teacher, for his tireless efforts on our behalf; Phyllis Coyne for her painstaking work as copyeditor; and Elinor Actipis, Michele Cronin, and everyone else at Focal Press for publishing it. Our guest authors: Peter Abraham, Janice Arthur, Jakob Bonfils, Garrett Brown, Brant Fagan, Chris Fawcett, Dan Kneece, Scott Lakey, Larry McConkey, Charles Papert, and Lars Riis. Donal Holway for the cover image and Ruben Sluijter for his wonderful computer graphics. The operator/models: Chris Konash, David Taicher, Ruben Sluijter, and Patrick Van Weeren, and Evan Barthelman, Jerome Clark, Grant Culwell, Gregg Gialloreto, Frank Katona, Jay Kilroy, Jason Mann, Alan Mehlbrech, Ben Semanoff, and Skot Tamburri. And to Carlos Guevera and Blaise Miller for helping with the gear. And the models: Honor Hayball and Martha Steel. For their photos: Brad Baker, Marc De Blok, Jakob Bonfils, Garrett Brown, Robin Buerki, Amando Crespo, Will Eichler, David Emmerichs, Brant Fagan, Brian Fowler, Steve Fracol, Rusty Geller, David Allen Grove, Dale Henderson, Dan Kneece, Guido Lux, Holly Mosher, Buzz Moyer, Jordan Oplinger, Mike O'Shea, Bruce Ostrout, Charles Papert, Knut Pederson, Leah Powell, A l f Tramontin, Gustavo Trivino, Michael Tsimperopoulos, Ruben Sluijter, Tom Szklarski, Taj Teffaha, Patrick Van Weeren, Dave Williams, and Liz Ziegler. Our friends from Tiffen: Marty Joseph, Aldo Moya, Robert Orf, Frank Rush, Lyn Taylor, Robin Thwaites, and Toan Tu. A special place in our hearts for Ed DiGiulio, Ted Churchill, and Floris Sijbesma for their inspiration and advancement of the art and science of the Steadicam. For providing great workshops where we learned how to teach: Elisabetta Cartoni, Jacques Lipkau Goyard, Michael, Peter, and Jarl Hofmann, Cinema Products, The Tiffen Company, and the SOA. And to the instructors: Alex Brambilla, Jon Bergstrom, Riccardo Brunner, Robin Buerki, Jerry Jacobs, Sebastian Jewell, Mikael Kern, Vaky Mallaby, Tass Michos, Jacques and Valentine Monge, Saade Mustafa, Niclas Narvall, Joel Ollson, Dave Svenson, Kareem L a Vaullee — and so many others. A l l the students and helpers in all the workshops over the years.

TlirfatlUIII Ollil.iii.H^.iIliiliiKik

References All the Pretty Horses, D V D , directed by Billy Bob Thornton (2000; Sony Pictures, 2001) The Apostle, D V D , directed by Robert Duvall (1998; Universal Studios Home Entertainment, 2002) Before and After, D V D , directed by Barbet Schroeder (1996; Walt Disney Home Video, 2004) Blue Velvet, D V D , directed by David Lynch (1986; M G M Home Entertainment, 2000) Bonfire of the Vanities, D V D , directed by Brian De Palma (1990; Warner Home Video, 2004) The Bounty, D V D , directed by Adam Brooks (2008; Universal Studios Home Entertainment, 2008) Bulworth, D V D , directed by Warren Beatty (1998; Fox Home Entertainment, 1999) Carlito's Way, D V D , directed by Brian De Palma (1993; Universal Studios Home Entertainment, 2004) Crazy/Beautiful, DVD, directed by John Stockwell (2001 ; Walt Disney Home Video, 2001) Definitely, Maybe, D V D , directed by Adam Brooks (2008; Universal Studios Home Entertainment, 2008) Donnie Brusco, D V D , directed by Mike Newell (1997; Warner Home Video, 2004) The Family Stone, D V D , directed by Thomas Bezucha (2005; Fox Home Entertainment, 2006) The Guru, D V D , directed by Daisy von Scherler Mayer (2002; Universal Studios Home Entertainment, 2003) In Dreams, D V D , directed by Neil Jordan (1999; Dreamworks Video, 1999) Jericho, D V D , directed by Merlin Miller (2000; Monarch Video, 2005) The Lost World: Jurassic Park, D V D , directed by Steve Spielberg (1997; Universal Studios Home Entertainment, 2000) The Mighty Quinn, D V D , directed by Carl Schenkel (1989; M G M / U A Video, 2001) Mr. 3000, D V D , directed by Charles Stone III (2004; Buena Vista Home Entertainment, 2005) Nell, D V D , directed by Michael Apted (1994;: Fox Home Entertainment, 2004) Pelican Brief, D V D , directed by Alan J. Pakula (1993; Warner Home Video, 1997) Pride and Prejudice, D V D , directed by Joe Wright (2005; Universal Studios Home Entertainment, 2006) Reign Over Me, D V D , directed by Mike Binder (2007; Sony Pictures, 2007) Road to Perdition, D V D , directed by Sam Mendes (2002; Universal Studios Home Entertainment, 2003) Rounders, D V D , directed by John Dahl (1998; Buena Vista Home Entertainment, 1999) The Shining, D V D , directed by Stanley Kubrick (1980; Warner Home Video, 2001) Snake Eyes, D V D , directed by Brian De Palma (1998; Paramount, 1999) Sudden Death, D V D , directed by Peter Hyams (1995; Universal Studios Home Entertainment, 1997)

414

Condusion

Websites www.Focalpress.com www.garrettcam.com www.garrettcam.com/.zerb.php www.jerryholway.com www.steadicam.com www.steadicamforum.com www.steadicam-ops.com www.steadishots.org www.meriincookbook.com www.jimfarreii.com/meriin www.prestoncinema.com www.bartechengineering.com www.heden-engineering.com www.arri.com www.chrosziei.com www.chapman-ieonard.com

415

The Steadicam® Operator's Handbook

416

Index A Abraham, Peter, 158, 159 Academy of Motion Picture Arts and Sciences (AMPAS), 5 Academy of Television Arts and Sciences (ATAS), 5 A-camera, a-camera operator, 222, 225 working with, 230, 231 A C (assistant cameraman), 171, 215, 216, 218, 231-232, 233, 284, 357, 402 Acceleration, level indicators measuring, 96 Accessories, 210-221 humble stair set, 236 inertial augmentation, 212 low mode, 210 Merlin, 375 power rig, 212 practice, 210 remote focusing, 211 remote viewing, 211 scouting and designing shots, 212 vehicle mounting, 211 video recording, 212 view image, 212 Actors moving, 393 communication with, 226 Adaptor gears, 221 Adaptors coax, 356 custom, 212 diameters of, 221 triax, 356 A D (assistant director), 225, 284, 285, 340, 402 Additional masses, 253 positioning, 254-255 Advertising, 331-333 Aerial vehicle, 275 After Hours, 399 All the Pretty Horses, 389 Alsobrook, Russ, 203 American Cinematographer, 333 A M P A S (Academy of Motion Picture Arts and Sciences), 5 Angular inertia, 251, 252

Angular movement, angular vibrations, 9, 11 Ansorge, Reinhard, 322 Antlers™, 170, 192, 212, 253, 286 Apollo type cranes, 317 The Apostle, 162, 163, 199 Appearing points, 199, 204, 351 definition of, 394 Apple box, 153 Apted, Michael, 128 Arm hand, 82, 145, 154, 269, 275, 373 definition of, 54 Arm lifting power, 263 Flyer™, 263 G-series arm, 264 Arm links, 15 Arm posts, 242 freely rotating, 269 frictional, 269 A r r i B L III and IV, 110 Arthur, Janice, 122-123 Assistant cameraman (AC), 171, 215, 216, 218, 231-232, 233, 284, 357, 402 Assistant director (AD), 225, 284, 285, 340, 402 ATAS (Academy of Television Arts and Sciences), 5 Audience, interacting with, 359 Auditory memory, 74 Auto-receiver-locator, 353 Average force of zero, 10, 11, 186

B Backlight flares, 119 Back mounted vests, 100-101, 165, 266-267, 269 Balance, 8, 11,91, 103 Drop time, 28, 29, 31, 33, 245, 371, 388 dynamic, 30-36, 244, 251, 252, 367, 372 fore and aft, 23, 27, 30, 248, 371, 372 inertial, 25, 252 in-shot, 249 in long mode, 245 in low mode, 81 neutral, 28, 29 of operator, 58 pre-shot, 248-249 of rig, 19, 25-36, 39,44, 286

417

The Steadicam Operator's Handbook 8

side to side, 26, 27-28, 30, 249, 250 with sled, 45 spin, 31-33 static, 26-30,81,251,372 top to bottom, 28 top to bottom/bottom heaviness, 28-29, 68, 146, 245, 286 Bandolier, 284, 302, 303 Bartech Focus Device (BFD), 214 Battery, 32, 34, 35, 342 Beatty, Warren, 136, 202, 414 Before and After, crane shot from, 304 Bennet, Lizzie, 132 Berry, Halle, 202 Beurki, Robin, 167 BFD (Bartech Focus Device), 214 Binder, Mike, 203 Blue Velvet, 114 Boats, 315, 318 Body pan, 190 Body position, 373 Bonfils, Jakob, 249, 310, 321 Bonfire of the Vanities, 109, 197, 277, 332, 392 Boom, 68, 148,184 Booming techniques, 66 Boom range, 110, 238 Bottom heavy, bottom heaviness, 28-29,68, 146, 245,286 Bound for Glory, 5, 272, 280, 391 The Bounty, 21A Bowline, 288 Brown, Garrett, 4, 5, 9, 34, 136, 160, 193, 237, 248, 250, 260, 263, 264, 272, 275, 309, 312, 314, 338, 358, 364, 366, 369, 376,412 Brown Stabilizer, 4 Bubble level for horizon control, 95 measuring acceleration, 96 Bubble Tamer, 96 Buddycam, 168, 237-238 Bulworth, 128, 136-137, 202

c Cable running technique, 354 low mode, 355 Camera assistants. See Assistant cameraman (AC) Camera cars, 296 shooting from, 273 and trailers, 289 vans and pickup trucks as, 294 Camera crane. See Crane

418

Camera Darwinism, 406-408 Camera level tactile clues, 94 visual clues, 94 Camera mounting dovetail, 19, 23, 24, 46, 78, 80, 217, 219, 220,357, 363, 364 Camera mounting stage, 16, 17, 364 Camera moves strong, 136-139 weak or confusing, 139 Camera's path, 120 Camera support element, 16-19, 23 Camera truck, 296, 297 Canoes, 318 Capturing reality, 348-351 Carlito's Way POV from, 129 walk and talk shot in, 393, 394 Cartier-Bresson, Henri, 206 Center of gravity (e.g.), 10, 11, 19, 33, 35, 47, 107, 281,388 definition of, 9 finding, 23 Center of rotation, 200-201 Center-punched framing, 127 Center-riding arm, 273 C.G. See Center of gravity (e.g.) Chapman Titan II crane, 317 Cheadle, Don, 203 Children of Stalin, 351 Churchill, Ted, 131, 133, 333 Circling shots, 202-203 Clipper 2 Sled, 16 Clove hitch, 288 Coax adaptors, 356 Cold climates, 341 Comfort level, 93 Communication on set, 226-233 talking to actors and actresses, 226 talking to camera operator, 230-231 talking to director and DP, 227 Communication with driver, 285 Compact vehicle kit, 321 Composition, 130 Compositional elements, patterns of movement as, 132-133 Conventional operating, and Steadicam® operating, 121, 346 Copacabana shot (from Goodfellas), 200, 391, 398, 401^03

Index Crane Apollo type, 317 artful part, 303 big, 303 Chapman Titan II, 317 hard landing technique, 303 safety issues, 300-301 sample shot, 304-305 small, 301, 317 stepping on and off, 276, 300, 302 SuperNova, 317 Titan, 317 Tulip, 317 Crane shot, 148 Crazy/Beautiful, 384, 385 Cube law, 247, 251 Custom adaptor, 212

D Day player, 228 D C servomotors, 217 Deal memos, 328 Delrin spacer, 268 Demo reels, 332 DePalma, Brian, 277, 393 Depp, Johnny, 135, 191, 228,406^108 Derwent, Harry, 150 DiGiulio, Arnold, 260 DiGiulio, Ed, 4, 364, 413 Director of photography (DP), 74, 227, 229-230, 248, 253, 283, 296, 302, 382, 383 Directors, working with, 227-230 Docking, 42, 347, 372 Docking bracket, 19, 22, 27, 31 Documentaries and industrials, shooting, 346-347 Dolly, 108, 217, 230, 291, 292, 323-324, 373, 384-387, 386 Don Juan, 20, 56, 57, 59, 60, 61, 62, 82, 85, 86, 118, 120, 150, 151, 174, 373 Donnie Brasco, 135, 191, 228, 406^108 Double shear, 79 Dovetail, camera mounting plate, 19, 23, 24, 46, 78, 80, 217, 219, 220, 357, 363, 364 Dovetail grabber, 24 Dovetail lock, 16, 248 Downey, Robert, 192, 217 Dozers, 308 DP (director of photography), 74, 227, 229-230, 248, 253, 283, 296, 302, 382, 383 Dramatic tension, 393 Drop-down post, 243

Drop test, 28 Drop time, 28, 29, 31, 33, 245, 371, 388 Dual mount vest, 165, 266 Dutch angle, 140 Dutched shot, 140 Duvall, Robert, 163 Duvall, Shelley, 150 DV-Cam type cameras, 80 D V C camcorders, 367 Dynamic balance, 30-36, 244, 251, 252, 367, 372 Dynamic balance computer program, 35 Dynamic forces, 36

E Efficiency, on set and operating, 36 EFP camera, 344 Eichler, Will, 316 Electronic image stabilization (EIS), 375 Electronics box, 18 Emmy®, 5 Emotional connection, between operating and story, 390 Equipoise, 15 Escalators, 152 European hard mount adaptor, 282 Exercise #1, 57 Exercise #2, 61 Exercise #3, 64 Exercise #4, 65 Exercise #5, 66 Exercise #6, 67 Exercise #7, 70 Exercise #8, 71 Exercise #9, 75 Exercise #10, 155 Exercise #11, 201 "Extend your components" technique, downside of, 251

F Fail-safe locking system, 24 Fagan, Brant, 296 The Family Stone, 178, 179 Farrell, Jim, 375 Fawcett, Chris, 98, 99, 348-351 Fawcett, Farrah, 163 F-bracket, 79, 210, 243 slanted, 82 Fine tuning fore and aft balance, 27, 30 side to side balance, 26, 30 socket block adjustments, 44 Float, of rig, 43,47, 73, 154

419

The Steadicanf Operator's Handbook Floating camera, 61, 105, 156 Floating point, 261 setting, 262 Flyer™ arm, 15, 46, 174, 263, 351, 366, 367, 371, 372 lifting power, 263 Flyman™, 310 Focus equipment, 217-218 Focus motor, setting, 219 Focus puller, 171, 215, 216, 218, 231-232, 233, 284, 357, 402 Focus pulling, 214-221 Focus systems, 214, 221 Fore and aft balance, 23, 27, 30, 248, 371, 372 Forklifts, 308 Foster, Jodi, 128, 196 Frame, 73, 74, 86, 94-96, 346, 351 focus on, 178 lock offsof, 186-187 Framing choice, 124 Framing corrections, 181 Framing techniques, 182 pointing the camera, 183-184 tilt and boom, 184 trailing edge, 182 Front mount vest, 101, 266, 267

G Garfield mount, 211 G-50 arm, 46, 174, 264, 266 high and low mode lens height range for, 283 G-70 arm, 46, 174, 264 kick back link, 266 Gear buying used, 327 covering, 339-340 promoting yourself via, 333

to video shoots, 355 Gear pitch, 220 Geo arms, 264, 367 Gimbal, 10, 42, 79, 82, 238, 243, 254, 269, 321, 372, 374, 375 hanging rig from, 27 Goldwyn, Tony, 131 Golf carts, 277 advantages and disadvantages, 292 Goodfellas, long shot in, 398, 402 Goofy foot, 160-161,266 definition of, 21 Grabbing, sled, 388 Grand Prix, 411 Grip lifts and pushes, 236

420

Gripology, 237 Grips, 106, 154, 166, 168, 182, 213, 225, 229, 234-238 and vehicles, 275-324 as guides, 234-238 communicate, 380 weather, 338-340, 373 Grove, David Allen, 295 G-series arm, 46, 120, 262 adjusting isoelastic response, 265 with back mounted vest, 266-267 lift adjustment, 265 lifting power, 264 ride adjustment, 264 Guitar hero posture, 98, 99 The Guru, 395 Gyro effect, 256, 259 Gyros, 253, 256, 286 "cans," 256 maintenance, 259 mounting, 258 orientation of, 256-257 in pairs, arrangement of, 257 V configuration of, 257-258 X configuration of, 257

H Haarhoff, Chris, 127, 246 Handgrips, 50 altering quality of movement with, 389 things to avoid, 53 Handheld operators, 10 Handsfree Transporter™, 322-323 Hanks, Tom, 202, 276 Hard back vests, 100-101, 165, 266-267, 269 Hard mount, 21, 230, 237, 286, 289-290, 292, 308, 311 mechanics of, 281-282 socket block, 281-282 Haybnll, I iiui it- 6, 44, 412 HD camera, 211, 356 Headroom, 30, 32, 258, 305 Heavy cameras, 362-363 Helicopters, 319, 320 High low mode, 242, 243 High mode, 20, 81-83, 119, 150 lens height range in, 242, 243, 283 Hirshfeld, Marc, 192 Hodjafrom Pjort, 320 Holding the gap, 92 Holway, Jerry, 6, 88, 408, 412 Horizontal rig, 169 Hot climates, 343 Hydrate, 341

Index

i Ice skates, 318 Ice sled, 311 India mount, 295 In Dreams, 169, 192, 390 Industrial lifts, 308 Inertia, 245, 253, 254, 256, 367, 371 angular, 251, 252 definition of, 10 pan, 80, 371 rig, 339 Inertial augmentation, 251-255 accessories for, 212 Inertial balance, 25 achieving, 252 Insurance, 334 buying, 334 liability, 334, 335 for you and your gear, 334 Inter-gimbaled handle, 365, 368 International Television Association (ITVA), 331 Iso and isoelasticity, 260 definition of, 46 ride control for maximum, 267 Isoelastic arms, 46, 260, 262, 273 ITVA (International Television Association), 331

J J-7, 347, 356, 359 J-bracket, 243 Jericho, 246 JR®, 237, 365, 368

K Kahlert, Ulik, 322 Kayaks, 318 Kenyon stabilizers, 256 Kick back link, 266 Kinesthetic memory, 74-75 definition of, 73 Kneece, Dan, 112 Knots, for rigging and safety, 288 Kubrick, Stanley, 78

L L C D (liquid crystal display) monitor, 342, 357 Lakey, Scott, 344-345 Lenses, 221, 347 and actor, space between, 166 choice of, 382-383 horizontal angles, 84

longer, 135, 191-192 Panavision Primo series of, 221 stiff, 219 video, 220-221 wide angle, 184 zoom, 193 Lens height changing, 66 maintaining, 64-65 Lens height range for G-50 arm, 283 in high mode, 242, 243, 283 in low mode, 243, 283 Level Assist™, 250 Level indicators, 95 measuring acceleration, 96 Liability insurance, 334, 335 Lift, 11,236 adjustment for G-series arm, 265 quick adjusting, for light arms, 370 Lifting force, 10, 11 Lift knob, 264 Light arms, quick adjusting lift for, 370 Lightweight rigs, 364-365, 372 Lightweight sled trim, 371 Lightweight Steadicam®, 370-373 drop times for, 371 Line dance, 19, 26, 59, 61, 62, 94, 144,155, 201, 252, 261,375 basic, 59 designing, 71 for tilting, 71 variations in, 63-71 Lithgow, Jonathan, 134 Liquid crystal display (LCD) monitor, 342, 357 Lloyd, Danny, 78 Locked frame, 186-187 The Loneliest Runner, 312 Longer gigs, 330 Long lenses, 135, 191-192 Long mode, 21, 362 balancing in, 245 operating concerns, 244 with tilt head, 244 Long rigs, 251 Long shots, 391-392 in Bound for Glory, 391 in Goodfellas, 398, 402 The Lost World, 127,246 Low angle, 153 Low high mode, 210, 233

421

The Steadicam® Operator's Handbook Low

mode, 20, 122, 127, 150, 242 accessories for, 210 balancing in, 81 brackets and cages, 80 cable running for, 355 lens height range in, 243, 283 Merlin in, 365 operating concerns in, 82-83 rig in, 78 in The Shining, 83 swithching to, 81 Lumbar pad, 312

M Mark, marks, 87-89, 216 for balancing the sled, 23, 24, 31, 81, 222, 225, 252, 372 for navigation, 56, 57, 61, 65, 85-90, 115, 119, 124, 145, 178, 179, 182, 183, 192, 193, 215, 216, 217, 233, 237, 386, 393-397, 405, 410 Mass addition, 10, 11 Master Series™ arm, 46, 79, 106, 262 detuning, 268 McConkey, Larry, 129, 140, 146, 197, 200, 249, 258, 270, 277, 292, 338, 353, 388, 391, 392, 393, 394, 398^105 Mechanical arm, 11, 15, 42 adjusting, to carry load, 46 adjusting tension in, 46 Medium shot, 135 Merlin, 368, 369, 371, 372 accessories for, 375 electronic image stabilization, 375 fatigue, 374 hand-positions, 373 in low mode, 365 practice, 375 special considerations, 374-375 Merrill®, 224 Micro-rehearsing, 74 The Mighty Quinn, 275, 309 Mingalone, Dick, 133 Mini-DV camera, 212 Missionary, 20, 56, 59, 60, 61, 62, 85, 86, 151, 265, 363 Mitchell mount adaptor, 211 Mitchell tripod, 281 M - l motor, 214 • Model One, Model I, 8, 33, 34, 260, 262, 269, 364 Model Three, Model III, 107, 261, 262, 269, 364 Model Two, Model II, 18, 33, 34, 107, 112, 114, 260, 262, 269, 321

422

Momentum, 253 definition of, 11 Monitor, 17, 33, 34, 121 LCD (liquid crystal display), 342, 357 positioning, 26 trick to avoid taking your eyes off, 86 viewing, 62 Motorcycles, 289-290 Motorized stage, 245 general balancing without, 248 in-shot balancing with, 249 pre-shot balancing with, 248-249 side to side balancing with, 249 smart, 249-250 speed adjustments, 248 Moving camera, 206-208 Mr. 3000, 386 Multi-camera and live productions, 356 Muro, Jimmy, 275, 309 Murphy, Dennis, 137 Muscle groups, for Steadicam® operating, 102-103 Muscle memory, 73 Musical style, developing, 399^4-00

N Narrow spaces, riding through, 167 Navigation, 84-93 safety, 90-91 Neeson, Liam, 128 Nell, 128, 196 Neutral balance, 28, 29 Newell, Mike, 191 Non-isoelastic arm, working with, 261 Non-motorized stages, 249 Nose box, 250 Nylon spacer, 268

o Omniscient mode, 129 One handed operating, 154 On-off plugs, for film and video cameras, 215 Operating. See Steadicam® operating Operating hand, 30, 50-53, 60, 280, 283 best usage of, 53 definition of, 50 maintaining level, 51 Operators, 85, 94, 118, 121, 180, 224, 341, 346-347, 360, 369 balance of, 58 female, 104, 107

Index lightweight, 373 qualities for, 380-381 O'Shea, Mike, 151 Oscar®, 5

P Pacino, A l , 129, 228, 393,406-408,410 Pan, 9, 30, 34, 66, 121, 124 starting and stopping, 67 Panavision® Primo® series of lenses, 221 Pan inertia, 80, 254, 371 Panning, 52, 53 PeeWee dolly, 386 Pendular, pendulum, 28,47, 51, 52, 56, 57, 76, 145, 146, 170, 286,388, 407 The Pelican Brief, 131, 133 The People vs. Larry Flint, 392 Pilot™, 363, 367, 369, 371,372 64 pitch adaptor gear, 221 32 pitch gear, 221 Point of view (POV), 130 of character, 9, 383 getting in and out of, 128-129 shots, 274, 276 techniques for creating, 127 Pole rig, 4 Position motors, 218 Practice cage, 19 Preston motors, 214 Preston system, 219 Pride and Prejudice, 132 Procedural memory, 73 Production manager, 329 Program monitor, 357 ProVid™ arm, 248, 262 Purser, Chris, 295

Q Quads, 293 Quick-adjusting arm-to-body trim, 370 Quick adjusting lift for light arms, 370

R Rack and pinion system, 248 Radio-controlled rig, 130 Rafts, 318 Ramps, 236 Range, definition, 90 Raphael, Rick, 257 Reframe, 121 Regular low mode, 242

Rehearsal process, 404^1-05 Reign Over Me, 203 Remote cameras, 309, 310 Richardson, Natasha, 128 Rickshaw, 306 accessories for, 307 Ride control, for maximum isoelasticity, 267 Ride knob, adjustment, 264 Rig, 21, 105,212 balancing, 19, 25-36, 39, 44, 286 configuring, 242-247, 286 definition of, 18 float of, 47 horizontal, 169 inertia, 339 lightweight, 364-365, 372 in low mode, 78 moving with, 47^19 pendular action, 145 picking up, 42 radio-controlled, 130 rain out of, 339 rest position of, 45 running, 174-176 wind off, 254, 338 Riis, Lars, 360 Road to Perdition, 276 Rod end, 15, 156, 370 Roller, skates, 318 Roll, inertia, 254 Rounders, 152 Running with Steadicam®, 172 backwards, 174 protection, 173

s Sailboats, 316 Sand, 341 Sandler, Adam, 203 Sand fly, 345 Screws adjusting threads of, 43-44 in and out, 40-41 Segway®, 322 Seitz transmitter, 214 Shakiness, 9, 10 The Shining, 78, 150, 160, 307 low mode in, 83 Shooting from camera car, 273 documentaries and industrials, 346-347

423

The Steadicam® Operator's Handbook inside a vehicle, 273 in snow, 311 vehicle to vehicle, 273 Shooting, preparing for, 222-225 on the day, 224 performance, 224 physical conditions, 223 take care of feet, 224 technical stuff, 222-223 Shots accessories for designing, 212 breaking up long walk and talk, 395-396 categories of, 215 changing speed during, 49 circling, 202-203 clear decisions, 125 Copacabana, 401-403 cut with scene, 133-135 design, 118 difficult part of, 120 dutched, 140 high mode, 119 long, 391-392, 398^05 long lens, 191-192 memorizing, 72-75 pass-bys, 194 sitting, 152-154 tracking, 145-146 vehicle. See Vehicle shots walk and talk, 49, 393-397 whip pans in, 189 Shoulder joint, 266, 269 Side to side balancing, 26, 27-28, 30, 249, 250 Side to side trim, 370 Skateboards, 318 Skatedolly'", 323-324 Skis, 318 Skycam™, 158, 309 Skyman™, 275, 290, 309-310 Slanted F-bracket, 82 Slavecam, 314-315 SLD motors, 214, 221 Sled, 16-19, 23, 95, 100, 237, 354, 357, 363, 364 adding mass to, 251, 253 angular inertia, 251, 252 balance with, 45 design of, 252 ice, 311 mounting camera to, 352-353 parts of, 16

424

Sled trim, 371 Sluijter, Ruben, 190 Smart motorized stage, 249-250 Snake Eyes, 140 Snowmobiles, 311 Socket blocks, 21,40-41, 100, 101, 165,234,243, 341, 363 adjustments for fine tuning, 44 definition of, 40 hard mount, 281-282 on vehicle, 278, 281-282 Soft mount, 21, 292, 308 advantage of, 280 mechanics of, 280 sitting, 21, 281 standing, 280 Sony PC3, 212 Spatial isolation, 11 Spatial movement, spatial vibration, 9 Special effects and stunt, and safety, 383 Spin balancing, 31-33 Square law, 251 Stage, 16, 17, 364 Stair set, accessories for, 236 Stairs shot following an actor, 148-149 going down, 147 going up, 147 headroom on, 149 Static balance, 26-30, 81, 251, 372 Steadicam® accelerating sharply, 146 advertising, 331-333 basic rules of flying with, 48 buying, 326-329 falling with, 172 floating, 156 history of, 4-5 to imply movement in scene, 274 lightweight. See Lightweight Steadicam® and live TV, 360-361 locking to horizon, 272, 273 locking to vehicle's motions, 272 minimize, 346 moving, 206-208, 394 moving through space, 48, 145 negotiating tight spaces, 162-171 operating without, 178 path, 58, 70 pointing, 183-184 running backwards with, 174

Index running with rig, 172 speed and direction, 146 starting and stopping, 55-58, 64, 394 steps to set up, 22-23 tilt and boom, 184 versatility, 278 walking with, 47 wearing, 8 working, 10-11 working on stairs, 147 Steadicam® operating, 3, 6, 47, 58, 72, 142, 266, 270, 388, 406 alternative techniques, 388-389 balance, 142 conventional operating and, 121 efficiency, 36 general health, 102-103 goofy foot, 266 one handed, 154 same side as arm, 161-162 space, 143 techniques, 269 tension, 142-143 timing, 144 Steadicam® posture, 97-101 adopting bad postures, 98 Guitar Hero posture, 98, 99 Tower of Pisa posture, 98 Whoopie posture, 98 your vest and your posture, 100 Stiffening system, 247 Stiff lenses, 219 Storaro, Vittorio, 136 Storytelling focusing attention, 198 panning vs. tracking, 198 spatial vs. angular movement, 198 Sudden Death, 237 Strasburg, Ivan, 296 Super Antlers™, 255 SuperNova™ crane, 317 Superposts, 244 Sweet spot, 156, 265, 362 Switch, 81, 94, 110, 218, 219, 359 to low mode, 81 making, 59-63

T Tachometer motors, 218 Tactile clues, 94 Tally light, 357

Tape marks, 87 Taut-line hitch, 288 Teleprompters, 357 Telescoping posts, 17 Temperature extremes, 341 Tension, definition of, 393 T-handle Allen wrench, 33 Threads, 45, 80, 263, 264 Tight spaces, 162-171 Tilt, 9, 51, 52, 53, 68, 86, 148, 184 line dance for, 71 up or down, using boom to, 69 Tilt head, 17, 32, 167-168, 190, 244 Tilt plate, 82 Titan™ crane, 272 Tracking shots, 145-146, 275, 298 definition, 145 Triax adaptors, 356 Tripod adapter, 352 Truck shot, 296, 297 Tsimperopoulos, Michael, 276 Tulip " crane, 317 The Twilight Zone, 21A

u U-bolts, 285 Ultra™ arms, 46, 262 detuning, 268 Unintended consequences, for sled's length and monitor's position, 363-364 Unit Production Manager (UPM), 328

V Vanishing points, 351 Vectran™, 192, 247 Vehicle, 272-274 aerial, 275 to avoid, 317-319 capsizing of, 318 choosing position on, 275 decision to use, 278 involving falling down, 317 shooting inside, 273 socket block on, 278, 281-282 types and riding techniques, 289-295 Vehicle shots communication with driver, 285 dangers of, 284 factors considering, 279 general techniques, 286 safety of, 279, 281,283,284

425

The Steadicanf Operator's Handbook speed of, 284 training for, 286-287 types of, 274 Velcro™, 13,211 Velcro™-based quick release system, 312 Verbal memory, 74 Vertical control, and arm type, 260-268 Vest, 11, 12-14, 90, 100, 101, 106, 243, 281, 285,313,341,363 back mounted, 100-101, 165, 266-267, 269 fitting, 39-40, 106 parts of, 12-13 Video and Steadicam®, 352-359 cable running technique, 354 get image to monitor, 352-353 getting shots, 358 mounting camera to sled, 352-353 quick fix for, 81 sending your signal, 353 Video lenses, 220-221 Video shoots, gear unique to, 355 Visual clues, 94 Visual memory, 73-74 V marks, 87 VocasZiF-100 lens, 351

w Washington, Denzel, 134 Water, 341 Weather alerts, 338-343 batteries, 342 hands and feet, 342

426

monitor, 342 Western dolly, 292 Wheelchairs, 307 Whip pans, 32, 188-190, 238, 259 balancing the sled for, 188 with body pan, 190 grip for, 188 in middle of shots, 189 with switch, 189 Wide angle lenses, 184 Wi-Fi transmitters, 353 Willis, Bruce, 197, 332 Wind, 338, 373 Women Steadicam® operators, 104-107 advantages, 107 carrying load, 105-106 fitting vest, 106 muscles required, 107 stature, 105 tinkering, 106 Woodhead, Leslie, 296

X X Y stage, 16, 17, 364

z Ziegler, Liz, 104 Zoom control, 193, 358-359 J-7, 359 Zoom lenses, 193 Zoom motors, 218