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The Steadicam Effect

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The Steadicam Effect 1 ports ("fluid or gear heads") is but a minute part of Laying "the steadicam his task. As a demanding front-row spectator, he is concerned, above all, about making his visual and auditive attention even acuter and more responsive effect" to rest to every nuance of Comedy. The virtuosity of the cIassical operator can only take root in a field of by Jean-Marc Bringuier rigor. Now using a carried-and- stabilized system Camera operator such as Steadicam implies a thorough and frustrating re-Iearning of gestures, shooting postures and ways of monitoring the shot. But it anaglide and Steadicam1 are tools a film- knew how to float his relentless Eye, through the does also entail, as a dreadful consolation, that maker may use to stabilize some of his scenery and around his preys, blending actors, film novices quickly reach a point where they can start views of the world. They are expected to technicians and machines in a subtle and turning junk into tinsel, with a vengeance. This free the creators'minds of several of the oppressive harmony. AlI the rest is nothing but sprightly regression towards gaudiness swifly old constraints of the traditional and silly ironware .. P sweeps away all previous subtleties. The disease subtle Art of dealing with the logistics of moving (whose only known therapy seems to be years of a film camera. Despite the looks of entranced Tinsel virtuosity zombies often displayed by their users, and hard training) strikes especially hard in the ranks various mythical tales spread by both devotees and These two floating instruments still seem to he of those who have poor graphic culture and little detractors, Steadicam and Panaglide are not part a hot issue, particularly in France. Their mere love of the Seventh Art. Its most insidious symptom seems to lie in the anaesthesia of any of the supernatural. When used correctly, they presence on a set sparks off, now and then, end- should merge smoothly to the already abundant less Gallic polemics, and tears of despair can visual coherence. One suddenly catches the illusion of being capable of lasciviously doing range of devices aimed at gliding a camera in spa- occasionally he shed as a result of sorne of their everything by oneself, while soaring in a nirvana ce. The proof of the pudding is in the eating. The uses. They happen to he double-edged : when only valid use of film equipment, however correcly mastered, they can deliver very delicate of smugness, from which you feel you might even look down on poor old Newton. sophisticated or exciting, is to help tell a story or visual arabesques, with the install a visual atmosphere. It does require grace of a feather. But they individuals to struggle with it. l'm not just hin- can also abduct the meaning of ting at the sweat dripping from the operator's face the shot, inflate egos and lead (nor at the production manager's pallor ... ) for the operator astray for many Cinema will always he a team sport. It was cer- years. tainly not the dollies2 used by Hitchcock which Every serious camera will created the well-known suspense, through some operator agree that fine- hidden secret of their technology, but indeed the tuning his manual adaption to the traditional camera sup- inimitable style of this Aristocrat of Vision. He 1- American stabilizing systems (using a purely mechanical articulated arm) enabling to carry the camera with a harness or to mount it onto any vehicle. The former is the Panavision version of the 1atter, which is manufactured by "Cinema Products". 2 – Four-wheeled mobile platform which is pushed on tracks or on a fiat and smooth ground and which incorporates a hydropneumatic raising coIumn. 2 1 personally remember my ecstasy when 1 started To top it off, stabilization is not only achieved by counterweight, they cling onto the tube like foetuses filming discussions around a table in "low mode" springs and pulleys in the mechanical arm, but also to their cord. Onscreen it ends up with a killing riot , (camera suspended from an inverted Steadicam). 1 hinges on a pendular-type configuration. It implies of pitching and rolling at any start or stop and when took a childish delight in hedge- hopping over dishes two masses (camera itself on top and the electronic cornering to boot and snorkeling above table-cloths. I indulged in black at the bottom, or the reverse in low mode) set at The spartan quality of the electronic image showy dips and rises of the camera, or in both ends of a tube, on which the isolating gimbal is (picked up at the reflex finder system and sent to the sophisticated translations of the lens around set. Most of the operating takes place along this tube, steadicam small B and W monitor) makes a syncretic insignificant foreground objects. Deep down, I was near the point of balance. The art of steadicaming screen vision necessary. Watching the frame is after flashy "effects". Everything seemed great consists in snubbing Gravity in the most detached obviously less convenient than through an optical companed to the frustrations of the past : no more Zen-like manner, allowing a minimum of bottom- viewfinder. A precise recce of fields and camera kneeling down, camera hand-held in a disastrously heaviness. unergonomic posture, eaten up by the impossibility of sliding the lens sideways or bringing it to a decent low angle shot. It was at last possible to wolf down chunks of visual opulence while shooting from life. 1 felt in a roving mood, like a dolly going on a spree after having slipped away from its tracks. I even had bouts of egocentric fever, so much so I hegan to believe naively that 1 would always make do on my own, without the help of any grip. "Snubbing" Gravity The original pitfall of this instrument para- doxically seems to lie in the exuberant wealth of camera movements offered to a single camera person -Three-hundred-and-sixty degrees in both tilt and pan, Controlling the residual inertia requires a delicate moves is more than ever a must, in order to ruthlessly -fifty centimeters of optical booming range fingertip touch, while the unoccupied hand firmly hunt down any mikes, treacherous shadows, flares, (increasable by merely bending the legs, or when places the stabilizing arm where it is desired in space. reflections, continuity traps, and whatever else tends stepping onto anything), -a lavish combination of When correcly arranged, the whole structure in to fill the nightmares of any self-respecting camera translations and variable off-settings around the body levitation is generally disconcerting, especially at the person. It is worthwhile recalling that the steadicam (which makes it possible to pivot on any axis, and beginning. It becomes hypersensitive to any weight operator doesn't form one body with his camera notably at the nodal point of the lens, thus enabling shift at camera level. Sorne even necessitate the use which may, for instance, shoot backwards and at the operator to coil around obstacles, or to jib over of special magazines in which the two kilos of the knee-height. This obliges the eye to sweep around, sideways while tracking in tight quarters). To crown 35mm film roll can flow on a vertical path. constanyy on the look-out for precise navigational it all, these flourishes can he modulated ad infinitum Just to avoid permanent tinkering with weight landmarks, both for oneself and for the lens. wherever and however the operator may he moving, distribution (even adding a mere filter requires quick Concentration must really be global, for fear of without fear of vibrations. This is quite sufficient to fine-tuning), sorne people feel better regressing to the stumbling over (and upon) every conceivable reason make many a head spin and to arouse many an itch. good old reassuring certainties found in crude to bungle a shot. ballasting. To try and get some grip on the excessive It can easily he gathered that having a thorough and almost intuitive command of every usable lens is an absolute necessity. One has to interiorize them and get an instinctive feeling for their specific renderings of perspective and speed and for their different temperaments regarding strobing effects or optical distortions. Those among camera people, whose only effort to make out the language of optics is normally a matter of flabbily tuming a zoom ring (from the coziest working position) are bound to get a few sur- prises, (in particular the adjustment of head- room) if they suddenly discover they have a crush on this tough appliance. Il does give a lot... but forgives nothing. A rigorous dance The suppIe mobilization of the entire body (with more finesse than dumb muscle), allied to a keen knack for anticipating the actor's moves (and 3 readjusting on the sly when he failed to hit his magazine, stated that one should first he a decent are entangled in marks) are the requisites of a "dance" which can camera operator, prior to tackling these intricate intricate choreogra- achieve a deadly precision and an incredible techniques. On the other hand, I take the liberty to phies, desperately repeatability, through ascetic refinement. It seems to be less peremptory in regard to the absolute contra- exchanging glances as me that this feline and unobtrusive approach is the indication (out of melaphysical incompati-bility ?) they try to shape up 3 heart of one of the greatest assets of this tool over he prescribes between Steadicam and " empty fields, their ballet. t classical techniques, (although I must confess l'm very slow shots without any actor onscreen, implying The artistich qua- still enraptured by dollies and gear heads...) The obvious vertical and horizontal references." Every one lity of the ephotogra- phy of a movie, toge- steadicam can really breathe with the actors while remembers, among other instances of consummate y ther with the came- keeping a very close relationship with sets and utilizations, the end shots of Scorsese's" After props, especially in cramped quarters.
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