I did my production research on the Steadicam.
I was intrigued when we were able to try the actual camera on and feel
what it was like to use this piece of equipment. When we were able to try it on
and move around you could see how it can be a profession in it's self. It
takes getting comfortable with this piece of equipment.
It inspired me to do some research on
the history, uses, and profession of the steady cam.
To began lets define what a
Steadicam is. The steadicam is a device that functions as a stabilizing
mount for a motion-picture camera. By utilizing a Steadicam, it is possible to
capture action without causing unintentional jerky movement or lack of focus in
the shot. The steadicam can take on a couple of different forms, depending on the
type of camera in use and the environment in which the camera is utilized.
When many people think of the
steadicam, the first thought that comes to mind are the support systems that
are used for cameras shooting on movie lots or locations. These larger and more
powerful cameras are often loaded onto a hydraulically controlled stand that
help to relieve the camera operator of exerting physical energy to hold the camera
steady. These larger examples of a stabilizing mount may include seating for
the cameraperson or allow space for the operator to stand behind the unit and
focus the angle and lens. The value of these types of larger steadicam supports
is that the camera can be easily moved to accommodate the action being filmed
without creating issues such as fuzzy focusing or rapid movements out of range.
(http://www.wisegeek.com/what-is-a-steadicam.htm)
As with any type of technology
the steadicam is infinitely changing. Garrett Brown the Steadicam had an
immediate impact on how films were shot first introduced Steadicams in the
1970’s. Before his invention if filmmakers wanted tracking
shots (i.e. ones where the camera moves), they
were limited to using a dolly track or hand-heldwork.
At an EG conference Brown gave a talk where he described how he came up
with the idea for his revolutionary camera rig and its subsequent
application in movies, sports broadcasting and industry.
This video link is a bit long, but so
inspiring. It helps you to appreciate where we are in the film industry
today thanks to people like Garrett Brown.
After shooting a demo reel with a
prototype rig, he caught the attention of Hollywood and it led to work on such
films as Bound for Glory (1976),
Rocky (1976) and The Shining (1980) as well as an Academy Award of
Merit.
The
Steadicam Shot
Operating a Steadicam is one of the
most difficult jobs on a movie set, but it is also one the most rewarding. For
a typical Steadicam shot, a cameraman must follow a predetermined path,
while simultaneously adjusting the camera and avoiding any obstacles, all the
while supporting more than 60 pounds of camera equipment.
The job requires a good deal of
physical stamina and technical skill, but it also calls for a good sense
of shot composition. The director plans the shot, but the Steadicam
operator makes it happen.
The best technique for Steadicam
operation depends entirely on the nature of the shot. To film a simple
conversation between two actors, an operator may try to replicate the even feel
of a dolly shot, keeping the camera perfectly level and moving it slowly around
the action. For a "flying sequence" over low ground, the operator
might intentionally tilt the camera from side to side, creating a soaring
effect.
One of the most common uses of the
Steadicam is to track actors as they move around obstacles or rough ground.
Typically, the operator will walk ahead of the actors, shooting them from the
front as they walk and talk. For this sort of shot, the operator may walk
backwards through the scene, with the help of other crewmembers. Or he or she
may walk forward, with the camera pointing behind him or her. For these shots,
and most any other shot, the director, the crew and the operator will all work
together to figure out the best approach.
The
Steadicam Profession
Most professional Steadicam
operators work freelance, renting themselves as well as their equipment
out as a complete package. When a scene in a film calls for a Steadicam shot,
the filmmakers will select a Steadicam operator based on his or her past work.
Most established Steadicam operators are members of the Steadicam
Operators Association (SOA), founded in 1988
by Garrett Brown. In addition to representing hundreds of Steadicam operators,
the SOA holds regular Steadicam training workshops. Tiffen, the company that
manufactures Steadicams, also organizes training sessions.
Steadicam operators have helped
create some of the most memorable shots in film history. In "Rocky"(1976), one of the first feature films to use the steadicam,
Garrett Brown let the audience follow Sylvester Stallone as he ran up the steps
of the Philadelphia Art Museum. This shot, one of the most memorable in the
movie, would have been nearly impossible before the Steadicam. In "The
Shining"(1980), director Stanley Kubrick used
a Steadicam shot to zip down the hallways of a haunted hotel, and another to
follow Jack Nicholson through a snowy hedge maze.
Martin Scorsese, Paul Thomas Anderson
and many other directors have used extremely complex Steadicam sequences to
establish mood and setting. In "Goodfellas" (1990), Scorsese used a Steadicam to bring the
viewer into the bustling Copacabana restaurant. In a single five-minute shot,
the audience follows Ray Liotta in the back door, through the kitchen and up to
the bar, stopping to meet patrons all the way. It's one of the most mesmerizing
sequences in the movie.
Steadicams are also used
in special effects sequences. For the speeder bike chase in "Return
of the Jedi" (1983), Garrett Brown walked
the camera very slowly through parts of California's Redwood National Park. The
special effects crew sped this footage up and combined it with blue-screen
footage of the actors on bikes for one of the
most exhilarating chase sequences ever filmed. Without a Steadicam, the footage
would have been way too shaky when it was sped up.
Steadicams have given filmmakers and moviegoers
alike a new freedom of movement. With a Steadicam, a director can float the
camera (and, by extension, the audience) into a forest, through a crowd of
people, or down into a cave. In TV shows like "ER," Steadicam shots
put the audience in the middle of the action, as if they were another character
in the show. This simple machine has truly changed the world of filmmaking
forever.
Resources:
http://www.wisegeek.com/what-is-a-steadicam.htm
http://entertainment.howstuffworks.com/steadicam4.htmhttp://www.filmdetail.com/2011/03/28/a-brief-history-of-the-steadicam-garrett-brown/
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