To ride or not to ride?
Steadicam versatility
The Steadicam can ride an array of devices wheeled and otherwise, not simply the typical camera car or crane. Use your imagination — sled, tram, sailboat, hot air balloon.
Also, because the connect point of the arm to the operator's vest is a socket block, a socket block can be mounted on a vehicle to facilitate a camera position or speed that cannot be achieved while the operator is wearing the rig. The Steadicam floats on the arm, the vehicle carries the weight, and the operator is free to concentrate on framing.
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. Tell the story better. Increase the adrenaline in the audience. But speed is not the only reason to get on a vehicle with the Steadicam. Pushing the camera toward something that is moving toward it speeds up the movement, as does pulling away as the subject recedes into the distance. Simply tracking alongside something moving, without letting the space between you “breathe,” can be visually dull.
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: From 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 him? No wait, the director wants you to lead him down the road.
When you 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.
Some factors to consider:
Will riding improve the shot?
This question must be answered in 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. What if the director wants the shot to start high in the air and then float down to track with a dog at its eye level?
The shot could involve running an entire city block. You should be able to do this and get a good shot, but will you be able to repeat it take after take? Is this a three or four take movie, or is it typical to do a shot fifteen or twenty times? What if you scout the path of the shot and discover the sidewalk pavement is riddled with uneven cracks? Pan of your concentration would be diverted as you try to avoid tripping and falling. Often, riding will give you more control and result in a better shot.
Is it going to be safe?
Is the right vehicle available? Do you need a car, an ATV, or simply a western dolly?
Can 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 you ride it?
Is there enough time to rig and rehearse?
You don't warn to bog down the production unless using the vehicle is the only way or will 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 will aid you, 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?
Riding on a vehicle, you no longer are the sole pilot, flying the camera. Timing is critical. Hiding 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. More rehearsal is required. You must establish good communication with the vehicle operator, and make sure everyone understands the cues involved.