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How the Steadicam Stabilizes Camera Images
What is the Steadicam?
The Steadicam is a camera stabilization device that, in the hands
of a skilled operator, combines the image steadiness of a dolly with the freedom of
movement of a hand-held shot.
How does it work?
The Steadicam works in three ways: 1) it isolates the camera from
all but the largest movements of the operator, 2) it spreads the mass of the camera to
increase resistance to rotation, and 3) it brings the **center of gravity** outside of the
camera to where the operator can manipulate it directly.
What does isolation of the camera accomplish?
Most hand-held shots suffer from a distinct jerkiness. This is
because the camera is subject to all of the movements of the operator -- including the
undesired shocks and bounces that accompany each footstep. In the human body, the muscles,
joints, tendons and ligaments absorb a large portion of these shocks; what the body does
not absorb, the muscles of the eyes and the image processing of the brain corrects for,
turning a bumpy ride into a smooth flight. .
These undesired shocks of walking consist of two elements: 1)
quick movement of the entire camera by a small amount, and 2) rotation of the camera
itself (tilt, pan, and roll). Successful isolation will significantly reduce the size of
both types of movement -- and the Steadicam is designed and manufactured for successful
isolation.
Isolation from whole-camera movement
This is the work of the **Articulated Arm**. The articulating arm
absorbs the up-and-down movements of the operator, taking advantage of the mass of the
camera, as well as the mass of the **sled**, **post** and **gimbal** parts of the
Steadicam.
**The Articulated Arm**
|] "Bone"
|] _ /
[ |- -_ /
[_| -_ Joint
-_ -_ /
-_ -__ _/ _ "Bone"
-_ [ -- ]- -_ /
-_-[_--_] -_ / _____Joints
/ -_ -_ / / /
/ -_ - __-- _
Joint -_ | | |
-_----__|-
[Note: this is a sketch of the arm without any weight on
it. Under the weight of the camera/sled combination, the "bones" of the arm are
slightly below parallel to the ground, and have a range of motion from approx. 45- above
to 45- below horizontal]
Each "bone" (see sketch above) consists of a
sophisticated cable, pulley, and titanium spring shock absorption system. This shock
absorption balances the tension in the arm, so that it takes as much effort for the
operator to lower the rig as to raise it.
The Articulated Arm absorbs the vertical shocks transmitted with
each footstep. Under the weight of the camera/sled combination, the articulated arm
averages out these shocks. Since each upward shock is matched by a downward shock, this
averaging effectively nullifies the bounce of each footstep, isolating the camera from the
Operator's footsteps.
The key to this isolation is the mass of the camera/sled
combination. This is where rigs capable of handling heavier cameras, like the 3A, the
Master, and the PRO Sled have an advantage over rigs designed for lighter cameras, like
the SK and, to a smaller degree, the EFP. The larger the mass of the camera/sled
combination, the more resistant that combination is to movement; the more resistant the
combination, the easier it is for the arm to average out larger shocks.
This mass also resists side-to-side and front-to-back whole camera
movement; however, without the added complication of gravity, the sturdy but free-moving
hinges at the locations marked "joints" in the sketch above are all that's
necessary to isolate the camera from the small side-to-side movements of walking.
Spreading the Camera's Mass
Imagine this: you're trying to launch a rocket at the moon, and it
will only fly in the direction that its nose points, just like a camera will only shoot
where its lens points. If you move it one hundred miles (ignoring the curvature of the
earth) and point it at precisely the same angle, in the process using 100 gallons of gas,
you'll still hit the moon. If, however, you use one-quarter gallon of gas to change the
angle of the rocket by one degree, you'll miss the moon completely.
This is why camera rotation, rather than whole-camera movement, is
the primary enemy of stable images. It just takes a lot less energy to tilt, pan, or roll
the camera than to displace the entire camera, yet a small change in camera angle has a
much greater effect than even a big change in camera position.
The Steadicam fights this rotational instability by increasing the
cameras **Moment of Intertia**. An object with a high Moment of Inertia is more resistant
to rotation (nothing like a circular argument when discussing rotation).
As the sketch earlier showed, the camera is mounted on one end of
the **Post**, and the battery and monitor (and whatever special electronics the operator
has added) are mounted to the other end. This increases the Moment of Inertia. Now, the
weight of the camera and the battery and monitor are located at a greater distance from
the point around which the rig rotates -- the **gimbal**. The added distance (and weight)
means that the camera moves much faster when rotated at the gimbal -- just like the outer
edge of a record (remember them?) moves much faster than the inner edge at the spindle.
Since the camera moves faster at the end of the post than it would if mounted at the
gimbal, it takes more effort to rotate the the camera. (This is why high-wire walkers use
a very long pole to help them balance -- instead of increasing weight, they increase
length, so the pole increases stability much more than just sticking their arms straight
out to their sides)
In conjunction with the increased moment of inertia, the Steadicam
isolates the camera from rotation with its nearly frictionless gimbal (I've heard the
Master Series operates with such apparent disregard for friction that it elicits gasps
from members of the crew). Interestingly, the easier it is for the gimbal to rotate, the
less likely the Steadicam itself will rotate. This is because the unwanted rotation
travels up the articulated arm, rather than originating in the rig. The arm rotates
relative to the rig. If there is significant friction in the gimbal, this friction acts as
a rotational force; without significant friction, the rotational forces aren't
transmitted, and the camera doesn't rotate unless the operator tells it to.
Where are the gyroscopes hidden?
Contrary to popular belief, and even some published reports, there
are no gyroscopes in a Steadicam! The Steadicam stabilizes with balance, isolation, and
inertia. Gyros can help in specific, rare instances -- excessive wind, Steadicam shots
used as plates for special effects (ie.. ~Return of the Jedi~ forest chase [operated by
the Steadicam's inventor, Garret Brown])
So how do you control it now that you're isolated from it?
The big Steadicam secret: the job of the operator is not to remove
instability; the operator's job is to shoot without adding any.
Now that we've invested all this engineering in isolating the
camera from the operator, how can the operator control the camera without ruining all that
work? A camera moving without any additional control may be smooth, but the footage would
be pretty much pointless. So how can the operator manipulate the frame without adding the
dreaded rotation the Steadicam is designed to isolate? The answer is: the operator
manipulates the camera at its **Center of Gravity**
What the heck is the Center of Gravity?
There is one place on any object where you can push, pull, tug,
yank, or throw it without adding rotation: its **Center of Gravity** (which I will be
calling the **Center of Mass** throughout the rest of the document).
[The terms "Center of Gravity" and "Center of
Mass" are equivalent in this context; any difference between the two is far smaller
than the precision with which human fingers can make adjustments. There are certain
contexts where the difference would be significant -- in free-fall, zero gravity, or in
places with massive tidal gravity, such as near the event horizon of a black hole.
However, most budgets do not cover the hazard pay required for such situations.]
A short ruler (say, 6 in. or 15 cm) illustrates the concept of
Center of Mass. If you attempt to push this ruler across your desk using just one finger
at, say, the 1 inch or 2.5 cm mark, it rotates out from in front of your finger. If you
attempt to push much closer to its center of mass (the 3 in. or 7.5 cm mark), you can push
it indefinitely across your desk with only slight adjustments along the way (The actual
Center of Mass is in the center of ruler, where it would balance on a fingertip).
The **Center of Mass** is the point at which an object is in
balance in all three dimensions. In most cameras, this point is located deep inside the
camera, where the operator cannot get within a few inches of it. Unable to reach the
Center of Mass, the operator has to control not only the image, but the operator's own
added rotation -- which significantly increases instability.
How does the Center of Mass get into the operator's hands?
__________
_ | \
/ --__| | ---- Camera
| __| |
\_-- | |
\__________| *Vest* [Front]
------------- -- Camera Mounting |
|__| | | Platform ____ ____
/ | | \ \ / /
Junction | | \ \______/ /
Box [----] -- *Gimbal* (Wraps \ /
| |\ \ around post) \__ __/
| | \ \ Strap \ /
| | || \ _______| |_______
| | |_______| |_______|
Monitor | | -- *Post* | |
\ | | Socket ---\ _____|__|
_ | | _| \ |----___
/ -_ _-/ \ | |_/______| |
/ /_- / _ /___ | |
/ /- \| -| | ---____________---
-_/ | | | -- Battery
|_-|___|
In the Steadicam, the camera attaches to one end of an adjustable
post; on the other end of the post are a battery, a small monitor, and the electronics for
whatever accessories are on the Steadicam. This spreads the mass of the camera, pulling
the center of mass out of the camera and centering it (once the rig is balanced) in the
post just below the Gimbal. Why just below the gimbal? So that the camera comes to rest
level to the horizon, and because the operator's hand manipulates the rig just below the
gimbal.
No, really, where are the gyroscopes?
Again, there are no gyroscopes. Gyroscopes are massive objects,
which take a great deal of energy to operate (more battery power means more weight), and
which increase mechanical complexity. Part of the magic of the Steadicam is that it
achieves its effects (except the external view screen) without added power -- just mass,
balance and inertia.
|
|
What are some good things to know before I shoot?
What is the Steadicam well suited for?
[This is edited from Steadicam inventor Garrett Brown's
introductory note in the operator's manual for the Steadicam 3A]
 | Moving camera shots in tight quarters. [Where a dolly would bang
into walls, door jambs, or trees] |
| Shots over rough ground, particularly where one needs to look
straight ahead or behind. |
| Where one needs to continue on beyond the practical distance that
can be accommodated with track. |
| Where any other technique for moving the camera would be
impractical for external reasons, such as the load-bearing abilities of the floor or the
rigidity of a dock or bridge, etc. |
| for any moving camera shot where the quality of the move
contributes to the emotional qualities of the scene, such as the "hardness" of
accelerations/decelerations, pans, etc., and the momentary control over the
balanced/unbalanced nature of the composition as actors enter or are let out of the frame. |
| Where one needs to isolate the camera from the movement of a
vehicle (virtually any vehicle) for any reason, for instance: 1) where we wish to perceive
the on-screen vehicle's motion within our frame, or 2) where we wish to negate the
movement of our off-screen vehicle so it doesn't effect our shot of some other subject. |
| Where we wish to simulate vehicle motion within a set that doesn't
move (such as the work in the airplane set in ~The Twilight Zone[: The Movie]~) |
| Where we wish to provide the effect of a zoom lens of much greater
range than any available, by moving toward or away from a subject (perhaps while zooming
slightly) |
| For human or animal (or alien) points of view, that move through
the world realistically, but don't shake unrealistically. |
| [For] quick static shots with simple set ups, where time is a
factor - such as during a sunset, or in the middle of a series of Steadicam shots, [or
when shooting VIP's on tight schedules] where changing cameras and bringing in a dolly
would be an unnecessary waster of effort. |
| Where unpredictable events preclude marks -- like shooting dogs and
kids and non-actors and rainbows! |
| or for various extremely [!] technical shot requirements, such as
certain kinds of optical plates, or shots that need to pan around diverse axes... |
What is a Steadicam not well suited for?
[Again, this is edited from inventor Garrett Brown's introductory
note in the operator's manual for the Steadicam 3A]
| Static shots of long focal lengths... |
| Ultra-violent actions with running, etc. (Why risk falling or
crashing with a $50,000 rig plus camera? This kind of thing is perfect for
"shaky-cams" and "Pogo-cams" that don't have to be rock steady, and
that mostly don't need video viewfinding) |
| Quick pans with instantaneous lock-offs (This can be murder, even
on a tripod, because of the viewfinding problem, and it's perhaps best done on a geared
head. However Steadicam is getting to be a close second. [Course instructors] regularly
teach the technique, but even a top gun will still blow one take in three...) Rapid tilts
are even more difficult -- that is the most inert axis of the Steadicam |
| For mounting/carrying on things that regularly crash: skis, skates,
horses, helicopters, vehicles in violent motion... Again, shaky-cam is great for stunt
vehicle shots, including skates, because if [the operator] falls, at least [he or she
isn't] welded to it and can toss it away. [Productions wishing to shoot from vehicles that
travel at high speeds with quick turns, such as stunt helicopters and racing boats, should
consider renting a gyroscope-based camera stabilizing system, in which the camera stays in
place relative to the vehicle and all whole-camera movement is achieved by moving the
vehicle.] |
| For any shots that can be easily and perfectly executed on the
dolly. Why carry it ~if it can ride just as well!~ |
How much would it cost to hire a rig and operator?
These expenses vary with operator experience (generally the
largest factor in setting rates), Steadicam rig type, rig accessories, geographical area,
and the nature of the Steadicam work for your project. For an idea of the rates in your
area, you could contact a local operator or the Steadicam Operators of America (1-800-CALL
CAM), who can provide a listing of operators with rates.
Rate card rates with rig range from around $600 (Typically, a
young operator with an EFP in a small market; some operators with SKs might be even less
expensive, but limited almost entirely to video) to $3000 (an operator who has been
shooting for over 15 years, with the following equipment: a 3A, Master, or PRO [with 3A
arm & vest]; a 35mm camera [such as the Moviecam Compact] with Steadicam Mag, another
rig as back-up; wireless focus, iris, zoom, and video transmitter, video taps for several
types of camera; buns of steel). The latter group tends to be the operators that can be
identified by one name -- i.e. Ted, Garrett, Peter, Larry, Janice, and just a few
others.
What other equipment might the operator have?
| Video Tap -- for film cameras. This is essential. Because the
monitor on every Steadicam (and the PRO) is fed by a video signal, a film camera without a
video tap means that the operator will have to shoot without an image. _Bad Idea_. |
| Remote Focus -- Since touching the lens barrel would severely
hamper the isolation of the rig, focus, if you want to control it, can only be done
remotely. These will take a little longer to set up than a camera without; and,
importantly, the focus puller should be someone familiar with remote focussing -- which is
why most full-budget film shoots hire a Steadicam Assist with the Steadicam operator. |
| Remote Iris or Zoom -- If you want to control either of these
during a shot, say if the camera passes from inside to outside, than you will need the
Iris as well. Generally, the same controller will run Focus, Iris, And zoom, while the
actual lens adjustments are made by separate motors. |
| Video Zoom Control -- Known as the J7, this comes standard with the
EFP. Instead of controlling the zoom from external motors, like a remote focus, the J7
uses the Lenses own power zoom, operating much like the controls in the lenses hand-grip.
If you think that control might be useful to your shoot, be sure to tell your Steadicam
Operator the Make and Model of your video camera's zoom lens, so the operator can be sure
to have the proper cables, if available. |
What about low budget films, student work and PSAs?
Even though an operator's day rate may exceed the budget of your
production, if the project is well-planned and legitimate, there is a good chance you
might find an operator to shoot it on a volunteer basis. In fact, if your project offers a
challenge that the operator would like to work on (i.e. it's film, and the operator
usually works in video, or a shot that will look particularly good in the operator's
reel), you may find the operator quite eager.
One thing you must be sure of -- get the operator a copy of the
final project on high-quality video the instant it's ready. Operators, especially the
young ones most likely to volunteer, live and die by the demo reel, and your project's
footage is going to be vital to that reel.
Can I get a Steadicam for shooting video?
Yes. While Cinema Products markets only the EFP and SK (and JR)
with a video emphasis, all Steadicams should work well with your video camcorder if it
weighs enough. Even when flying film cameras, all Steadicams use a video reference,
usually provided with a video tap or assist. A simple video out from the camcorder will
work wonderfully.
The biggest problem associated with using the Steadicam to shoot
video is not the camera but the cables. Ideally, no cables should attach to the camera
unless they end somewhere on the camera or rig. One _very_ thin cable leading from the rig
will generally not interfere with the operator's work, although someone must work as a
cable puller to keep that cable out from under everyone's feet. Large cables, like power
cords and triax, can ruin a shot by negating the isolation of the Steadicam, making the
shots unsteady and even "seasick."
In all, however, the setup for a video camera on a Steadicam is
often both easier and quicker than with a film camera, since there is no need for an
additional video tap.
| |
What are the various models? How good is the JR?
What are the differences between the various models?
There are many different models; I will be discussing the most
recent and readily available.
The Master Series, the 3A, and many modified rigs can handle
cameras weighing up to 40 lbs.; in the field, this means that they can support cameras
such as Arri BL's and the Panaflex Platinum conversion very well, and Panavision Gold,
some 65mm and Imax cameras at the limits of their range. [Note: although a Steadicam can
handle cameras as heavy as the Gold, a lighter camera will usually allow the operator
longer and more frequent takes, with less downtime between takes].
The Master Series
This is the newest and most expensive model. It can fly 35mm
cameras up to the Panavision gold, and even some 65mm cameras.
- Features of the Steadicam Master Series:
- - Arm, vest, and gimbal strength to handle cameras weighing up to
40 lbs.
- - The smoothest Steadicam gimbal, exhibiting almost no friction.
- - Motorized balancing, allowing for on-the-fly balance trimming
- - The industry's brightest and largest screen
- - Inside-the-post wiring
- - Design for easier dynamic balance (helps prevent bottom from
swinging out during pans)
- - A significantly re-engineered articulated arm, for easier
booming, and the ability to stay at the height the operator booms to, rather than
returning to neutral.
- - "No-tools" adjustments of the vest, arm, and sled. The
other models [except the JR] require adjustments with hex- wrenches -- if they even offer
adjustments.
Price: around $44,000
Weight: [next update]
The Steadicam 3A
This has been the workhorse in the 35mm film industry for the last
several years.
- Features of the 3A:
- - Arm, vest, and gimbal strength to handle cameras weighing up to
40 lbs.
- - Bright, high-voltage green monochrome monitor and electronics
- - X - Y adjustments for the sled in addition to the camera,
simplifying balance fine-tuning
- - External cabling (not up the post)
Price: About $40,000
Weight: [Next Update]
The PRO
This is a sled (which does not come with an arm or vest) built by
Paddock (The PRO stands for Paddock Radical Options). It is not built by Cinema Products,
and so is not a "Steadicam".
- Features of the PRO:
- - Gimbal strength to handle cameras weighing up to 40 lbs. Usually
combined with the arm and vest from a Steadicam 3A.
- - A screen 2" larger (Diagonally) than the 3A's (rather
important when the 3a's screen is only 3 3/4" large)
- - Two batteries, so that changeover to 24v can be done with one
switch
- - Inside the post wiring
Price: $36,000 (sled only)
Weight: [next update]
Modified Steadicams
Old models of the Steadicam do not fade away. Since the first
Steadicam in production achieved the major goals of Steadicam design, no later design has
been as substantially different from the Model 1 as the Model 1 was different from
everything that came before.
This similarity between old models and new enables operators of
older rigs to keep up with advancements in technology and technique by modifying their
existing rigs.
- Features of modified rigs:
- - Operators intimately familiar with equipment
- - Functionality generally on par with recent models
- - Many modifications done by such companies as Paddock and Seitz,
known for engineering expertise.
Price: Varies
Weight: Varies
The Steadicam EFP
[Author's note: this is the rig the author owns, so this
description is not without the author's bias]
This is a lighter-weight rig for cameras weighing between 15 and
30 pounds. Though the EFP stands for "Electronic Field Production," the EFP can
fly film cameras (with video taps) within its weight range as easily as it flies video
cameras. The EFP's uncomplicated design, solid performance, and relative affordability (it
costs half of what a 3A costs) make it very popular with younger operators.
- Features of the EFP:
- - Wires run up the post
- - Lightweight arm, full range of motion
- - Factory LCD screens not as bright as many CRT screens; many
operators replace them
- - Nearly half the cost of larger rig
- - Electronics less complex than larger rigs
Price: $26,000
Weight: [Next update]
The Steadicam SK
This is a newer model, for cameras weighing as much as 17 lbs.
Cinema Products markets the SK as a rig for which one does not need a certification class;
however, the skills involved are little different from the larger rigs, and practice is
necessary.
This rig also has fewer vest adjustments for the differences
between operators. Some operators may find this fatiguing.
- Features of the SK:
- - Significantly lighter than any of the larger rigs
- - Designed for video
- - Articulated arm has more limited range of motion; only one of the
two "bones" can boom
- - Limited vest adjustments for operator
- - Iso-linear arm, which stays where it is boomed
- - Easy switch to low-mode
Price: $16,000
Weight: [next update]
Steadicam JR
(Generally pronounced J-R, not "Junior")
This is the Steadicam for cameras weighing four pounds or less,
although it flies slightly heavier cameras with careful modifications (it'll void you
warrantee!). It differs most from the full-size Steadicams in that it does not use an
articulating arm -- rather, it uses the more sophisticated but less predictable **Human
Arm**. A rough ASCII sketch of one appears below.
,-------.
--' \ --Camera
--_________|
=========
// o
Monitor-- || // [] --Gimbal/Handgrip
|| // []
\//
o
\\
\\
\\
\\
\\\\\---Batteries/Counterweight
\\\
-
- Notes on the JR:
- - "Pro-sumer" quality
- - It is a genuine Steadicam
- - Since it weighs far less than the larger rigs, it is more
flighty, and thus more susceptible to wind gusts
- - Comes with excellent instructional video, no need for classes
- - Often considered the most "fun" rig to fly
- - Can be attached directly to a tripod without taking off the
camera
How useful is the Steadicam JR?
The JR does provide similar camera isolation to the larger rigs.
It has a three-axis gimbal to reduce rotary jarring; it spreads the weight of the rig to
increase stability; however, instead of the Articulated Arm, the JR uses the more
sophisticated but less predictable Human Arm.
The net result can be shots that, with practice, have the
smoothness of a Steadicam shot.
However, there are many things to consider:
| - The Steadicam JR is considered "pro-sumer" equipment.
This means that it straddles the line between sturdy consumer gear and the least expensive
professional gear. It will not take the degree of pounding that more expensive
professional equipment can take; take particular care not to overstress the joints that
hang below the camera level. |
| - It can only handle cameras weighing about four pounds. Larger
cameras have been used, combined with carefully placed counterweights; however, such
changes can void your warrantee and quite possibly break the unit. You may wish to talk
with others who have already worked with such adjustments. |
| - It relies on the operator's arm. This increases the fatigue
factor; one would not want to fly the JR for an entire day. Realizing this, Cinema
Products designed the JR to sit solidly on the operator's shoulder when folded (the rig,
not the operator). This allows the operator to shoot in a more traditional manner, with
the added advantage of the external viewscreen. |
| - For the home/casual "family video" shooter, it allows
more participation by removing the camera from directly in front of the operator's face.
Even when not in flight, the camera can be held comfortably folded, with the view screen
visible even when held a few feet from the operator's eyes (This set-up also allows the
operator to shoot under-the arm, holding the camera like a shoebox, still viewing the
image -- instant kid-level shots). |
| - It requires as careful balancing as the big rigs; just because it
is smaller and less expensive does not mean that set-up is any less precise. However, some
operators attach a JR to only one camera throughout the JR's life (since the JR usually
costs less than the camera), so they need only occasionally trim it during shooting. Since
the JR is easy to shoulder and to mount to a tripod, some operators like to keep the JR
attached so they always have the advantages of an external screen. |
| - The JR, like all Steadicams, requires **practice** to produce
high-quality shots. There are no courses expressly for the JR; however, JR does come with
an excellent video describing its setup, practice, and operation.. |
| - The JR is smaller than the full-size rigs in both mass and
height. As the confusing descriptions above illustrate, both mass and height help to
increase the Steadicam's resistance to rotation and whole-camera movement. With the JR's
lesser resistance, the risk of overmanipulation is even larger than with the largest rigs.
The operator should manipulate the JR as little as possible during the shot. Fortunately,
the design of the gimbal only allows for two fingers for pan/roll/tilt control, thus
encouraging a light touch -- indeed, many new operators of the larger rigs benefit from
practicing the dainty touch needed on the JR. |
In summary, the JR delivers just about the highest bang-for-
the-buck in the video marketplace. A practiced videographer, particularly one already
skilled in videography, can shoot scenes similar in effect and "feel" to those
shot with the much larger, much more expensive rigs, at a fraction of the cost.
| |
What goes into becoming a Steadicam Operator?
Why are Steadicams so expensive?
Can I build a full-sized Steadicam?
I've combined these questions because the answers are very
similar. The primary factor that makes the construction of a Steadicam expensive is the
same factor that makes purchase of a Steadicam expensive: engineering.
The Steadicam design is constrained most by one thing: the human
body. All the weights, stresses, and forces must be within the comfort range of a human
operator in good health. This means that many solutions available to ground- or
vehicle-based rigs are just not applicable; to gain strength, for instance, you can't just
add material to increase cross-sections. To increase inertia, you can't just add mass.
Because of this, the biggest factor in determining the price of a rig is the weight of the
camera that it can handle.
Each element of the Steadicam has its own engineering challengers.
The post must not flex, even at its full length; otherwise, quick starts and stops would
be difficult to control. The camera mounting must be able to support the camera both
upright, and when reversed in low mode, while being adjustable in both front to back and
side to side directions to a fraction of a millimeter. The gimbal must be virtually
without friction, must still rotate 360 degrees on three axes, and must be able to
withstand the forces of a rig in motion. The vest should distribute the weight and the
forces of a rig in motion, must be sturdy enough to rigidly hold the arm in its socket,
and must be adjustable for a number of different body types.
The most sophisticated engineering, however, is reserved for the
Articulated Arm. This arm accounts for half of the cost of the rig. The arm must support
the weight of the rig and camera at the approximate mid-point of its vertical travel.
Under this tension, it is easy to move the arm and control the vertical position, because
pushing down requires the same force as pulling up. (Two models make this even more
challenging: the SK and the Master. With both models, the arm stays at the height the
operator leaves it. With other models, the operator needs to keep pushing down or pulling
up to hold the camera at any height other than neutral). To make the arm work, the
Steadicams use a combination of pulleys, cables, and titanium springs (no other material
is strong enough).
Eventually, the economics add up: the amount of personal time,
materials, and machine shop time will likely exceed the value of a Steadicam purchased
new. And, while a Steadicam is not inexpensive by any means, its resale value means that
the owner has a valuable, saleable asset. The resale value of a homemade camera
stabilizer, however, approaches zero (and may even go negative!) the closer the design is
to the Steadicam (or any other patented design).
What does it take to become a Steadicam operator?
Practice, man, practice.
Do I need to be big and strong to become a
Steadicam Op?
Not necessarily. Strength -- and especially endurance -- will
improve your performance as an operator; however, you don't need to be in the top 1%
physical condition to be an operator. What you will need are:
- - No back problems
- - all-around good physical shape
- - no problems with dizziness or disorientation
- - a camera operator's good eyesight.
- - A working knowledge of the film and/or video industries.
- You will likely benefit from having the following:
- - Experience as a Camera Operator
- - A thorough understanding of Newtonian physics
- - Skill with tools
- - Connections
Where can I take Steadicam courses?
There are several courses offered throughout the year.
- The Steadicam Operator's Association (1-800-CALL CAM) (e- mail
callcam@aol.com) holds classes twice a year, in spring and in fall. One can often find the
very best operators (ie.. Jerry Holway, Ted Churchill, and Garrett Brown) teaching and
stopping by. The SOA's next course is May 22nd through 26th (1995). It's near
Philadelphia, and it will be taught by Jerry Holway and Garrett Brown (yes, *the* Garrett
Brown). Only 16 places; as of mid-April, only 6 spaces left. Cost $1950, including room
and board. Call or e-mail for a fax of the application for. Working video & film
professionals only.
- Cinema Products Corp. (1-800-955-5025), the manufacturer of the
Steadicam, holds courses in California, as well as sponsoring the Maine Workshops courses
(below).
CP's next course is July 9th through 14th at Calimegos, CA USA
(near Malibu), and is scheduled to be taught by Bob Crone. Costs are $1595 30 days in
advance; $1800 within 30 days (union members always pay $1595). Room & Board is $685.
Contact Workshop Coordinator Gene Taylor at the number above.
- The International Film Workshops (207) 236-8581 (Rockport,
Maine, USA) holds courses typically in late summer and early fall. Again, the best
operators often teach, and also visit, this course.
The Workshops Steadicam courses for 1995 are scheduled for June
25th to July 1st and October 1st to 7th. Enrollment for each course is limited to 15.
Operators who bring their own rig (with a camera!) can get a tune-up by Cinema Products'
Technicians, as well as get a $350 rebate if they allow it to be used in the class.
Tuition is $1395; room and board ranges from $355 for a shared double "budget"
room to $625 for a single "standard" room.
- The Motion Picture Company (407) 560-3456, Orlando, FL holds a
Steadicam Certification course in Orlando, generally in late August or early September.
Watch this space for further details...
Are there any female operators?
Yes, there are several. Indeed, two of the very best "Living
Masters" are female. The primary concern for many beginning female operators, if they
are in good shape, is the proper fit of the operator's vest. Even the "Short
Vest" can be a little loose on some operators; on other operators, the chest may be
too tight. However, most operators who make a career out of the Steadicam and don't fit
the regular vest go ahead and get, or make, a custom vest, which pretty much solves any
size- or height-related problems they may have.
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What are some Good examples of Steadicam work?
The Steadicam has been in use since the mid-70's, with most of us
being introduced to it in what was supposed to be a little film: a sleeper about a boxer
in Philadelphia. The film was ~Rocky~, and the memorable Steadicam sequence followed
Sylvester Stallone as he charged in triumph up the Philadelphia Courthouse steps.
Since then, the Steadicam has been used in everything from music
videos to amusement park rides. However, the most readily available Steadicam footage can
be found in feature films. Two films that demonstrate well the Steadicam's abilities in
skilled hands are: ~The Shining~, Steadicam by Garret Brown, and ~The Fugitive~, Steadicam
by Steve St. John (Chicago) and Bob Ulland (North Carolina).
The Shining
Even though ~The Shining~ was shot during the infancy of Steadicam
technology, the Steadicam heavily influenced the production's feel, especially in
exploring the huge, ominous spaces of the Overlook Hotel.
Three Steadicam sequences stand out as the most memorable:
- Following the Big Wheel. Little Danny (Danny Lloyd) kills time
(not the last thing to get killed in the film) by riding his Big Wheel plastic tricycle
through the lobby and Hallways of the Overlook Hotel. The camera follows Danny, as he
rolls from the hardwood floor (very noisy) to carpeting (much quieter) back to hardwood.
The combined effect -- the low camera angle, the alternate roar and silence of the
tricycle's wheels, and the emptiness of the hotel -- all give a sense of something about
to happen, and then Little Danny rounds a corner and finds... someone.
- Jack (Jack Nicholson) and Wendy Torrence (Shelly Duvall) fight
on a grand staircase. The camera looks over Wendy's shoulder at Jack (in one of those
defining Jack Nicholson moments) as he follows her up the stairs.
- Danny running from Jack through the hedge maze. At the end of
the film, Jack has decided to kill his family. Danny tries to run away by going into the
hedge maze on the Overlook Hotel grounds. As Danny runs, the camera follows him. In other
shots, the camera leads Jack. In a few shots, the camera takes Jack's POV.
One thing common among these shots is that the camera shows the
floor or ground. With a dolly, looking ahead or behind would reveal the tracks, in
sequences like the Big Wheel, would have required an incredible length of track. To
illustrate the size and loneliness of the hotel, the camera often shoots from a great
distance, including most of the room -- including the floor! -- in every shot. Throughout
~The Shining~, the Overlook Hotel gets most of the frame.
The Fugitive
~The Fugitive~ is an excellent example of modern, non- intrusive
Steadicam technique. No scene stands out as a Steadicam shot; the Steadicam shots blend
smoothly with all of the tripod and dolly shots. Whether running through lobbies, walking
through apartments, or charging through ballrooms, the characters are usually lead by the
camera -- and that leading camera is the Steadicam. With the Steadicam, the actor can move
freely in line with the camera (so that the camera sees their faces) without stepping on
or over tracks. And the characters in this movie are almost always on the move.
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Where can I find Steadicam information on-line?
The Steadicam Folder; Film & Video newsgroups.
Probably the only Steadicam-specific on-line resource is the
Steadicam Folder on America On-line. To reach this folder, enter keyword
"Hollywood". Once in Hollywood On-line, choose "Movie Talk" (the icon
in the upper right with the microphone in it). This will take you to a movie-related
message area with several folders. Choose "Industry Talk/Below the Line." Within
that folder are two Steadicam Folders: "Steadicam" and "Steadicam II: The
Folder..." The "Steadicam" folder is full, but still contains useful
information; the "Steadicam II" folder is where any new messages are posted, and
where all of the most recent messages are.
Many working operators frequent the Steadicam Folder, including
some of the very best (inventor Garrett Brown has even been known to make an occasional
posting). This is probably the best source for getting in touch with an operator quickly.
Steadicam questions are also brought up and discussed in two
Usenet Newsgroups: rec.arts.movies.production
and rec.video.production.
Steadicam Operators On-line
If you have further questions, or would like to exchange mail with
a local operator, here is a list (by no means all- inclusive) of operators with e-mail
accounts:
John Beck
jbeck@unlinfo.unl.edu
Very modified Steadicam Model II
12 years of experience
Joe Broderick
biko@primenet.com
Los Angeles, CA
Camera Operator / Steadicam Specialist
Bill Brummond
RigFlyer@aol.com
11960 Moorpark St. #3
Studio City, CA 91604
800-358-9901
Jeffrey Clark
jcd4+@andrew.cmu.edu
Pittsburgh, PA
- Jeffrey is a student of Mechanical Engineering at Carnegie Mellon University. As part of
his Bachelor's Degree, he is building a Steadicam (and has been for the last several
years).
Eric Fletcher
Steadi Ric@aol.com
E.Fletcher@eworld.com
St. Louis MO (But not very often!!)
Jerry Jacob
SteadiJJ@aol.com
New Orleans and the Gulf South. Have been a Steadicam operator since 1977.
Alec Jarnagin
AlecCam@aol.com
P.O. Box 127
Concord, MA 01742
Russ McElhatton
LIZARDHILL@aol.com
Craig Peterschmidt
STEDYCM@aol.com
Los Gatos, CA
David Shaw
dms1070@hertz.njit.edu
New Jersey
Close to retirement (for a postgrad computer degree) --
Anyone interested in a used 3A package?
Eric Swanson
eswanson@iglou.com
steadicmop@aol.com
Florence, Kentucky, USA. Works throughout Midwest.
The author of this FAQ.
Owner/Operator of a Steadicam EFP
Charles Tinsley
steadiman@aol.com
Richmond, VA
Years experience : four
Gear: Steadicam EFP with Chrosziel green screen and Genio T wireless follow-focus. Also,
low-mode cage, Jerry Hill 16 SR low-mode bracket.
Reel available.
Getting Listed as a "Steadicam Operator On-line"
If you would like to be included in the list above, E-mail the
following to me at eswanson@iglou.com or, in
America On- line, e-mail "SteadicmOp":
Name
E-mail address
City or Location
Any notes or items of special interest.
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Glossary
**Articulated Arm** - this is the spring arm that supports
the weight of the camera on all of the Steadicams but the Steadicam JR. Its official name
is the "Double Hinged Exoskeletal Articulated Spring Support Arm." Yep.
**Center of Gravity** - The point at which an object's
weight is in balance in all directions, and from which an object can be manipulated with
the least additional motion. All models of the Steadicam gain stability by bringing the
Center of Gravity outside of the camera and placing it within easy manipulation of the
operator.
**Center of Mass** - For all Steadicam purposes, identical
to the **Center of Gravity**. Were one to operate a Steadicam the size of the Empire State
Building, or where one to operate one the surface of a white dwarf, the difference between
these points would be specific -- and you'd most likely void your warrantee.
**Don Juan** - an operating position where the operator
walks forward but the camera points backward. Excellent for viewing the faces of actors in
motion. As opposed to the **Missionary** (honest!) in which the lens points more or less
forward
**Gimbal** - This bearing system allows the Steadicam to
rotate freely in all three dimensions. Or, more precisely, to use its inertia to resist
rotation whenever rotational force travels through the **Articulated Arm**.
**Hard Mount** - When the socket for the Steadicam
**Articulated Arm** is bolted, glued, nailed, welded or otherwise securely fastened to
some sort of moving platform, ie.... The back of a minivan, a dolly, a wheelchair, a
pickup truck, a motorcycle, etc. This is recommended for vehicles with instantaneous
vertical travel no greater than one and a half feet -- that is, if the potholes are deeper
than a few inches, find another road. Compare to **Soft Mount**
**Low Mode** - Operating with the camera below the
**Gimbal** instead of the more common above. This is achieved by either 1) mounting the
camera from above using a specialty bracket, the handle, or the screw-holes into which the
handle attaches or 2) mounting the camera to the bottom of a _Low Mode Cage_ which is
mounted by its top to the Steadicam. This lowers the lens height to about knee height,
which is excellent for those dog's-eye, snake's eye, and little kid's-eye views. It is
also more tiring than standard operation, and does take additional time for the
changeover.
**Missionary** - an operating position where the camera
lens points more or less forward. As opposed to **Don Juan**
**Post** - The central, telescoping post, which separates
the camera from the battery and monitor, thus bringing the **Center of Gravity** out of
the camera and into the reach of the operator's hand, and spreading the mass of the rig so
that it is more resistant to rotation.
**Sled** - This is the electronics portion of the
Steadicam, on the opposite end of the **Post** from the camera. The Sled contains the
battery, the monitor, any support electronics for the monitor, and hook-ups for such
accessories as video transmitters, wireless remote focus receiver and mini video recorder.
Named "sled" because this portion of earlier Steadicam models had a toboggan- or
luge- like shape. The most recent models use a more modular system, for greater
flexibility, rather than the all-in-one design that gave the Sled its name.
**Soft Mount** - When the operator shoots from a vehicle,
dolly, or crane while flying the Steadicam from his or her vest, rather than a **Hard
Mount**. The operator can use his or her own body to additionally isolate the camera from
the movement of the vehicle. This setup allows the camera to do things that may be
possible in no other way by allowing the operator to leave the vehicle or crane during the
shot, thus separating the camera from the limitations imposed by the vehicle's size and
bulk. (You try driving a minivan up a grand stairway).
**Vest** - This is the portion of the Steadicam that
distributes the weight of the system to the operator's body. The **Articulated Arm** fits
into a socket just above the waist, which can be switched from the right side (for right-
handed operation) to the left (for left-handed operation)
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What I'm working on for future versions
History of the Steadicam
Steadicam resources outside the U.S.
Information about other systems, like Pogocam, Body-cam,
shaky-cam, Wescam, Skycam, and PanaGlide.
Thanks to...
Garrett Brown, the inventor of the Steadicam, who provided
valuable information without which this FAQ would not have been completed;
Jeffrey Clark, the engineering student whose experience
told me what it **really** takes to build a Steadicam for oneself;
Peter Abraham, Jerry Hall, Dan Kneece, Chuck Jackson, the
instructors who taught me the art and science of the Steadicam;
David Hall, a mechanical engineering grad student who
helped me with the physics terminology (and my own errors therein);
All of the operators who have posted in the Steadicam Folder on
America On-line, whose writing I have exploited shamelessly.
[This document is copyright(c) Eric Swanson, 1994. Quoted
portions retain their original copyrights]
