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by Laurie Hayball, Jerry Holway
The Steadicam® Operator's Handbook, 2nd Edition
Cover
Halftitle
Title
Copyright
Contents
Foreword
Preface to the second edition
Introduction
Cut. Print. Great.
How to begin
Section One the steadicam® and its parts
Wearing the Steadicam®
Basic physics
Getting to know the rig
Basic Steadicam® terms
Building the rig
Four balancing acts
Static balance
Dynamic balance
Section Two getting started
Putting on the Steadicam®
Moving with the rig
The right touch
Starting and stopping
The camera’s path
Making the switch
Variations on the line dance
Memorizing the shot
Section Three beyond the basics
Low mode
Navigation
Keeping the camera level
Steadicam® posture
General health and operating
Women and Steadicam®
Are you ready?
My big break by Dan Kneece
Section Four steadicam® and filmmaking
Basic shot design
Take after take by Janice Arthur
Your role as storyteller
Point of view
Moving composition
Strong camera moves
Section Five movement techniques
Would you care to dance?
Moving through space
Floating the camera
No second takes by Peter Abraham
Put the rig on the other side
Negotiating tight spaces
Running with a rig
Section Six framing techniques
More on operating
Framing corrections
Precise framing techniques
Lock offs
Whip pans
Longer lenses
Zoom lenses
Pass-bys
Telling the story
Section Seven Getting to work
Accessories
Focus pulling
Preparing for a shoot
Communication
Using grips wisely
Section Eight extending the range of movement
Inventing the wheel
Configuring the rig
Flying with a motorized stage
Inertial augmentation and balance
Gyros
Vertical control
Arm posts
Section Nine extending the range of options
Steadicam® and vehicles
To ride or not to ride?
Hard mount or soft mount
Safety, speed, communication
Types of vehicles
Endurance a test of mind and body by Brant Fagan
Vehicles to avoid
This is just a little part of the Turkish helicopter story by Jakob Bonfils
Interesting vehicles we like
Section Ten the business side of steadicam®
Buying a Steadicam®
Negotiating your deal
Advertising
Insurance
Section Eleven unique environments and requirements: special skills, gear, and accessories
Weather alerts
Survivor no. 1 by Scott Lakey
Documentaries and industrials
Capturing reality by Chris Fawcett
Video and Steadicam
Steadicam® and live TV by Lars Riis
Heavy cameras
Unintended consequences
Lightweight rigs
Steadicam® light by Garrett Brown
Lightweight Steadicam®
Garrett’s big night out
DSLR cameras and Steadicam®
Section Twelve new directions
Sometimes I dream in Tango™
Steadicam® in 3D
Section Thirteen experienced operator
The right attitude
Additional concerns
How do we 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 McConkey
Camera Darwinism
and Action!
Conclusion
How was it?
Acknowledgments
DVD References
Websites
Index
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Prev
Previous Chapter
Copyright
Next
Next Chapter
The Steadicam® Operator’s Handbook
Foreword
Preface to the second edition
Introduction
Cut. Print. Great.
How to begin
Section One
the steadicam
®
and its parts
Wearing the Steadicam®
Basic physics
Getting to know the rig
Basic Steadicam® terms
Building the rig
Four balancing acts
Static balance
Dynamic balance
Section Two
getting started
Putting on the Steadicam®
Moving with the rig
The right touch
Starting and stopping
The camera’s path
Making the switch
Variations on the line dance
Memorizing the shot
Section Three
beyond the basics
Low mode
Navigation
Keeping the camera level
Steadicam® posture
General health and operating
Women and Steadicam®
Are you ready?
My big break by Dan Kneece
Section Four
steadicam® and filmmaking
Basic shot design
Take after take by Janice Arthur
Your role as storyteller
Point of view
Moving composition
Strong camera moves
Section Five
movement techniques
Would you care to dance?
Moving through space
Floating the camera
No second takes by Peter Abraham
Put the rig on the other side
Negotiating tight spaces
Running with a rig
Section Six
framing techniques
More on operating
Framing corrections
Precise framing techniques
Lock offs
Whip pans
Longer lenses
Zoom lenses
Pass-bys
Telling the story
Section Seven
Getting to work
Accessories
Focus pulling
Preparing for a shoot
Communication
Using grips wisely
Section Eight
extending the range of movement
Inventing the wheel
Configuring the rig
Flying with a motorized stage
Inertial augmentation and balance
Gyros
Vertical control
Arm posts
Section Nine
extending the range of options
Steadicam
®
and vehicles
To ride or not to ride?
Hard mount or soft mount
Safety, speed, communication
Types of vehicles
Endurance a test of mind and body by Brant Fagan
Vehicles to avoid
This is just a little part of the Turkish helicopter story by Jakob Bonfils
Interesting vehicles we like
Section Ten
the business side of steadicam
®
Buying a Steadicam
®
Negotiating your deal
Advertising
Insurance
Section Eleven
unique environments and requirements: special skills, gear, and accessories
Weather alerts
Survivor no. 1 by Scott Lakey
Documentaries and industrials
Capturing reality by Chris Fawcett
Video and Steadicam
Steadicam
®
and live TV by Lars Riis
Heavy cameras
Unintended consequences
Lightweight rigs
Steadicam
®
light by Garrett Brown
Lightweight Steadicam
®
Garrett’s big night out
DSLR cameras and Steadicam
®
Section Twelve
new directions
Sometimes I dream in Tango™
Steadicam
®
in 3D
Section Thirteen
experienced operator
The right attitude
Additional concerns
How do we 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 McConkey
Camera Darwinism
and Action!
Conclusion
How was it?
Acknowledgments
DVD References
Websites
Index
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