Index

Abuse of Steadicam, 82, 127–128, 138

Accessories:

necessary, follow focus device, 54–55

optional:

antlers (inertial augmentation system), 56

gyroscopes, 56

Actors, and Steadicam, 156–157

Advertising applications, 56

Aerial camera shots, 8

After Hours, ending scenes, 91

All Quiet on the Western Front, documentary style, 89

The American Presidency, continuous shooting, 60

An American Werewolf in London, smooth movement, 75

Analysis of movies, The Shining, 162–170

Antlers (inertial augmentation system), 56

Arm, see Stabilizer support arm

Balancing the rig, 34

Beginnings of movies, 90–91

Birdy:

fast motion, 24

and subjective vision, 71

Bitter Moon, at sea, 25

The Bonfire of the Vanities:

Long sequences, 23, 81

opening scenes, 91

real time analysis, 88

uninterrupted views, 74

Boom camera movement, 8

Booming (up and down movement), 21

Bound for Glory, early Steadicam usage, 26–28, 56

Brown, Garrett:

filming:

The American Presidency, 60

basketball, 58

Bound for Glory, 26–28, 56

Little House on the Prairie, 57

Marathon Man, 29–30

Radio City Music Hall, 59

Rocky, 28–29

Simon and Garfunkel concert, 58

The Shining, 30–32

interview:

background and films worked on, 105–106

Steadicam characteristics, 102–103

on Steadicam usage and applications, 103–105 ‘

Brown stabilizer’, 14

Buddycam device, 53, 54

Bugsy, and real time shooting, 87

Camera, hand held, 6, 114, 118–119, 151

Camera car, 6, 8

Camera movement:

angular – pan, tilt and roll, 7–8, 21

early dollies for, 4

and early sound problems, 4–5

free movements, 9

function of, 8–10

for ‘gaze of character’, 9, 79–80

and the hand-held camera, 6, 114, 118–119, 151

historical overview, 3–7

Camera movement (cont.)

motivated movements, 9

Spatial – boom, tracking, camera car, aerial, crane, dolly, zoom, 8

see also Cranes; Dollies; Hand held cameras

Carlito’s Way:

continuous sequences, 81

and real time analysis, 88

Carpenter, John interview:

background and films, 115

on Steadicam usefulness and use, 111–115

Casino, and illustrative gaze, 80

Casualties of War:

point of view shot, 24

rough terrain, 22

Centre of gravity, near gimbal, 18–19

Chase scenes, 22, 74

Cinema Products, 52–53, 140–141

‘Cinema verité, 6, 89

Cinematographic space, 82–86

Cliffhanger, set problems, 24

Clothing:

comfort required, 41

reflection awareness, 41

The Conformist, instability emphasis, 73

Continuous shots/sequences, 22–23, 39–41, 138–139, 151

Coup de torchon:

linking shots, 25

and real time analysis, 88

Steadicam and tension, 80–81

steadicam as witness to action, 77

CP-35 Steadicam, 15–18

Cranes, 5

camera shots with, 8

Louma type, 7

The Crow, linking shots, 25

DiGiulio, Ed (founder Cinema Products) interview:

achievements in cinema/TV innovation, 145

evolution of Steadicam, 141–142

Panaglide as competition, 142–143

on Steadicam usage, 143–145

working with Garrett Brown, 140–141

Diner, opening scenes, 91

Documentaries, Steadicam in, 89

Doggycam device, 54

Dollies:

camera shots with, 8

crab dolly, 5–6

early film making methods, 4–5

‘railroad dolly’, 5

Don Juan position, 20–21, 34

Dracula (Bram Stoker), fast motion, 24

The Duellists, instability emphasis, 73

DV model, 50–51

Dynamic balance, 34

Early Steadicam usage, 26–32

Ends of movies, 90–91

ER, usage with, 59

Evil Dead II, low level shots, 24

Evolution, 43–51

Expanded camera concept, 12

Fast motion and flight, 24

Filmography, 171–173

A Fistful of Dollars, character condition emphasis, 73

Flight and fast motion, 24

Flyman (Steadicam with crane), 53, 54

Focus:

follow focus device, 55

maintaining, 39

Framing, 3

Giuseppe Rotunno on, 109–110

Frankenstein, remakes of, 89–90

‘Free cinema’, 6

Fried Green Tomatoes at the Whistle Stop Café, reactions, 25

The Fugitive, chase scenes, 22, 74

Gardies, A., on space in movies, 82–83

Garfield adapter, 37

‘Gaze of character’ camera movement, 9, 79–80

Glidecam (Steadicam clone), 52, 54

Good Fellas long take in, 40

Goodall, Caroline interview:

background, and films and TV activities, 156

Steadicam and actors, 155–156

Gyro camera stabilization, 7, 56

Halloween, Steadicam effect in, 111–112

Hand held cameras, 6, 114, 118–119, 151

High-mode/low mode, 20, 74

low mode problems, 35–36

mechanical arrangement, 33

Horizontal pan, see Pan shots

Illustrative gaze, 80

Inertial augmentation system (Antlers), 56

Invention of Steadicam:

expanded camera principle, 12

first concepts/trials, 11–15

gimbal application, 12

monitor separation, 13

spring loaded arm idea, 12

see also Brown, Garrett; DiGiulio, Ed

Jaws, and subjective vision, 71

The Jazz Singer, and early sound techniques, 5

JR model, 48–49,

La Mort en direct, fleamarket race, 23, 74, 82

La Roue, and subjective vision, 71

Legal Eagles, opening scenes, 91

Lighting, 136

early film awareness, 4

in frame, 39

Steadicam difficulties, 105, 107

for The Shining, 30–31

Limitations on use:

mounts that crash, 43

static long focal length shots, 43

violent action, 43

Little House on the Prairie, Steadicam in TV, 57

Long focal length shots, avoidance of, 43

Long shots/sequences, 22–23, 39–41, 138–139, 151

Louma crane, 7

Low level shots, 24

in The Shining, 31

Low mode, see High-mode/low mode

McConkey, Larry:

interview:

shots, 122–123

point of view shots, 120–121

specialisms and films worked on, 124

Steadicam usage, 121–124

on long takes, 39–41

The Maltese Falcon, character condition emphasis, 73

Mamba:

and the analysis of space, 86

snake’s point of view, 24, 74

Steadicam difficulties, 116–117

Marathon Man:

early Steadicam usage, 29–30, 76–77

set problems, 24

Mart, Jeff, Steadicam in news and documentaries, 89

Master Series, 50–51, 53

Mini model, 50–51

Miracle worker, 57

Missionary position, 20–21, 34

Models, see Steadicam models Moment of inertia, maximised, 19

Monitors:

advantages over viewfinders, 149–150

better picture composition with, 70

for steadicam, 13, 18, 130

Mounted Steadicam:

Garfield adapter, 37

hard mounting safety, 38

hard-mount limitations, 36

soft mounting safety, 37

wheelchair mount, 37

Movement:

Giuseppe Rotunno on, 107

and point of view shots, 70, 72–75

and tension, 70, 72

Movement isolation, body to camera, 19

Movie analysis, The Shining, 162–170

Murnau’s Last Laugh, and subjective vision, 71

Musical events, 57, 58

Narrative view/gaze, 69, 79–80

Steadicam for, 113–114

News, steadicam in, 89

‘Nouvelle vague’, 6, 89

Objective use, vehicle mounted, 21

Objective vision, 71

Orfini, Mario interview, background and films of, 119–120

Orfini, Mario, interview:

continuous shots, 119

hand-held cameras, 118–119

Steadicam usage, 115–119

Paddock, George, and Pro equipment, 53

Pan shots, 7, 21

Panaglide (Steadicam clone), 52, 54

Pecorini, Nicola, interview:

background and films, 133–134

on monitors, 130

on Steadicam abuse, 127–128

on Steadicam for TV, 127–128, 133

on Steadicam usage, 124–133

Physical training, 42

Pogocam device, 54

Points of view shots, 69–71, 104, 117, 120, 154

quality of movement in, 72–75

Potential of steadicam, 19–21

Preparing and programming shoots, 38–39

Pro equipment, 53

Pro device, 54

Promio, Eugene, 3

Prototype, features of, 46–47

Raising Cain, long/continuous sequences, 22–23, 81

Ransom, and subjective vision, 71

Remakes and the Steadicam, 89–90

The Return of the Jedi, fast motion, 24

Rickshaw device, 54

Rocky:

early Steadicam usage, 28–29, 76

linking shots, 25

Roll shots, 8, 21

Rotunno, Giuseppe interview:

background and films, 110–111

on camera movement, 107

on framing, 109–110

lighting with Steadicam, 107

on Steadicam usage, 107–110

Rough ground applications and usage, 22

Runaway, fast motion, 24

Safety while shooting:

danger anticipation, 42

hard mounting safety, 38

soft mounting, 37

Saving Private Ryan, instability emphasis, 73

The Sheltering Sky:

chase scenes, 22, 74

documentary style, 89

The Shining:

and the analysis of space, 84–86

early Steadicam usage, 30–32, 77

and ‘gaze of character’ technique, 9, 80–82

lighting for, 30–31

low shots, 24, 74

and real time analysis, 88

Steadicam usage analysis, 162–170

Shooting, preparing and programming, 38–39

60 minutes, Steadicam on TV, 57

SK models, 48–49, 50–51

Skyman (aerial Steadicam), 53, 54

Slavecam device, 53, 54

Snake Eyes:

character emphasis, 73

long sequences, 23

opening scenes, 91

and real time shooting, 87

Snap zoom, 8

Sound, early film problems, 4–5

Space, see Cinematographic space Sports events, 57, 58

Stabilizer support arm, 16

adjustment procedure, 34

evolvement, 45

Steadicam:

abuse of in films, 127–128, 138

abuse of in TV, 82

advantages of, 7, 105

arm adjustment, 34

balancing, 34

basic principles, 18–19, 102

Brown, Garrett interview, 102–106

and cinematographic space, 82–86

development of, 140–141

Don Juan position, 34

dynamic balance, 34

early usage, 26–32

evolution, 43–51

expressive capabilities, 76

first generation, 15–16

handling difficulties, 130

height control need, 73–74

missionary position, 34

movement posibilities, 20–21

as a narrative voice, 80–82

potential of, 19–21

preparing and programming shoots, 38–39

and real time, 86–89

and remakes, 89–90

roll axis control, 73

shot versatility, 21–26

static balance, 34

straight path need, 73–74

structural evolution, 75–79

structure, 16–18

the switch, 34

trim, 34

using procedures, 33, 34

Steadicam (cont.)

vest adjustment, 34

walking correctly, 34

see also High-mode/low mode;

Invention of Steadicam;

Limitations on use;

Mounted Steadicam;

Stabilizer support arm;

Vest

Steadicam effect, 62–63

Steadicam models:

CP-35 model, 15–18

DV model, 50–51

features by model, 46–51

JR, features, 48–49

Master Series, features, 50–51, 53

Mini, features, 50–51

model 35, features, 46

model III, features, 48–49

model III A, features, 48–49

prototype, features, 46–47

Provid 2, features, 48–49

Provid, features, 48–49

SK, features, 48–49

SK2, features, 50–51

Ultra, features, 50–51

Universal model I, features, 46–47

Universal model II, features, 46–47

weights of, 52

and years of development, 44

Steadicam Operators Association (SOA), 53

Storaro, Vittorio interview:

background and films, 154–155

on continuous filming, 151

on monitor usage, 149–150

on point of view shots, 154

on Steadicam usage, 145–149, 152–154

Strange Days:

effect/story construction linked, 92

point of view shot, 24

obbers flight, 23

The Strawberry Statement, instability emphasis, 73

Studios, early filmaking, 3–4

Subjective vision/shots, 10, 71–72

vehicle mounted, 21

Telescoping support post, model

CP-35, 18 Television applications, 57–60, 104

abuse of Steadicam, 82

Tension and movement, 70, 72

The Thing, remakes of, 90

Tilt shots, 8, 21

Time and the Steadicam, 86–89

Tracking camera movement, 8

Trim adjustment, 34

Tripods, early filming with, 4

TV, see Television The Twilight Zone, unsteadiness creation, 26

2001 Space Odyssey, good story and effects, 74

Ultra model, 50–51

Universal model, 46–47

Unsteadiness effect creation, 26

The Untouchables:

and the analysis of space, 84

and ‘gaze of character’ technique, 9

point of view shots, 24, 72

Vehicle use, objective and subjective, 21

Vertical tilt, see Tilt shots

Vest, camera operator’s:

adjustment procedure, 34

early model of, 13

model III, 16

Viewfinders, 45

and monitors, 149–150

Violent action limitations, 43

Walking, Steadicam requirements for, 34

The Water Cities, Steadicam with dance, 59–60

Weights of Steadicams, 52

Wexler, Haskell, interview:

background and films, 139

continuous shots, 138–139

hand-held shooting, 136, 137

lighting with Steadicam, 136

Steadicam abuse, 138

Steadicam for documentaries, 130

Steadicam usage, 134–139

Wheelchair mount, 37

Whip pan shots, 8, 21

Wolfen, wolf’s point of view, 24

Workshop, Steadicam:

balance acquisition, 61–62

scope, 61

Zoom lens:

1953 introduction of, 6

camera shots with, 8