Inventing the Steadicam® Part 1: Code Name “Pole” by Garrett Brown excerpted from his forthcoming book PHOTOS AND ILLUSTRATIONS COURTESY OF GARRETT BROWN Garrett Brown on the set of Bound for Glory. 26 CAMERA OPERATOR: STEADICAM / GARRETT BROWN Introduction could inspect the thoroughbreds. Garrett Brown had been working on a prototype of what John said, “Do you have a version in 16mm?” would become the Steadicam®. He formed The Moving & I said, “Of course.” Talking Picture Company of Philadelphia, New York and It was July 14th. We had three weeks. Gradyville, with good friend Warren Paul as the company’s producer and sales rep in the New York office. I had already tried hanging my Eclair on the iron pole but it Garrett explains: “‘The Pole’ became our code name for the was heavy and much too flexible—the camera visibly whipped whole project. My first experimental version had been cobbled around as I walked. I met Warren in Manhattan the next day out of plumbing pipe and lead ingots, as a simple pole with a to go to Canal Street, home of New York’s remaining WWII weighted t-bar at the back. The camera was bolted to the front surplus stores, where bargain-lots of just about every human and I held it at the center-of-balance and ran around the artifact were still to be found. Warren had remembered seeing Pennsylvania backwoods, recording the results on an Akai 1⁄4˝ racks of rectangular aluminum box-beams in all sizes, thin- reel-to-reel video recorder.” walled and light, but immensely rigid. How the Pole became the Steadicam involved many changes We drove downtown and parked his old Volvo and within a and many people. These three excerpts from Garrett’s book half hour had bought several eight-foot lengths of rectangular chronicle some of the nail-biting events in the process. Note some one-inch by two-inch extrusion. We set a piece between the of the other comical names they used to conceal it! curb and the street, and Warren stood on it to prove that it was strong. Back in Gradyville, Carl Ewing helped me square off the ends and make an impressively stiff and shiny T-bar rig with a handle that could lock at the balance point between the camera in front and vertical section in back where our new Kenyon gyro replaced the weights. John Wilcox didn’t intend to record Robyn’s dialogue, so he wouldn’t care if my rig sang with the gyro’s high- pitched duet of beating tones. Carl also helped me mount the five-foot fiber optic bundle from Dr. Siegmund so its lens could peer through the eyepiece of my camera, and we attached the view- ing end to the headband. The result wasn’t miraculous. Because the 16mm image had to squeeze through an 8mm bundle, it was exceedingly dim and the real world was comparatively, painfully brilliant. Only if I squinted the other eye like Long John Silver, could the viewfinding eye see what I was shoot- ing! At the last minute, I cut a hole through one lens of a pair of dense sunglasses, threaded the Garrett with the “handheld crane” prototype. bundle through the opening, and committed my fortunes to that notoriously absent-minded From Chapter 8, “New York” guardian angel of inventors (and fools). It was clear to Warren and me that ordinary unconfident On August 8, 1972 I stood on my opening mark outside the mortals might not be good prospects for something as radical weighing room door, holding the handle of my newly built, as the Pole, but a month later we suddenly got a customer. complicated-looking rig, whose mysterious bulges—cardboard John Wilcox was a genuine hotshot. He was hired to direct a boxes draped with black velour—concealed the fact that under- segment for ABC’s Monday Night Sports Special about Robyn neath it was still a pole. The camera was in front, the disguised Smith, the celebrated and beautiful female jockey who would gyro sang its intriguing song in back, the black garter snake become Fred Astaire’s youthful bride. Wilcox had heard about viewer writhed up and through the hole in my shades. I felt my invention from his cameraman, Urs Ferrar, who owned an like the cyborg from a cheesy science fiction film, but Robyn equipment rental house in New York. Urs and John watched Smith was oblivious—she had in mind only the impending my little video demo and hired me on the spot. They had race and her fierce competition with the male jockeys. been scratching their heads over a sequence that was a perfect Wilcox called ‘roll camera’ and on ‘action’ the door flew opportunity for my mysterious rig. Wilcox wanted a single, open and Robyn came striding out, brilliant in her silks and long, uncut tracking shot preceding Robyn as she walked the walking fast. I backpedaled frantically, the miniature flickering 200 yard flagstone path from the ‘weighing room’ at the figure in my right eye looming into a head-and-shoulders shot Saratoga Springs racecourse to the paddock where the crowd as I lost my way through the over-bright monocular world in 28 CAMERA OPERATOR: STEADICAM / GARRETT BROWN my other eye. My assistant unhelpfully whispered “No!” as I backed up the wrong path, and Smith, ignoring me, contin- ued on her way to the paddock For 50 fran- tic yards, I carried her in an increasingly dis- tant profile twisting my head around to see how I might get back near her; finally lurch- ing across a flower bed, blindly lifting my legs like a stork as she entered the paddock. I held the ‘pole’ up as high as possible, shooting between the top two rails as she mounted her horse and jogging alongside as she circled the enclosure. There was only one take. John Wilcox was a veteran, not given to Early sketches and notes, some nearly indecipherable now, show the genesis of the “crane” version. conversational flour- ishes. He said, “Have we got any usable pieces? I said “Yes.” His gadget and mine shared one irritating characteristic—if I drove home in a cloud of exhaustion and unhappiness. The you tilt up a camera-on-a-stick, it also rises in the air—but still, protruding fiber bundle had jerked the eyepiece and caused where was it? Why wasn’t it being used and why hadn’t Howard the image to swim in and out of view, so I was quite unsure of become famous and rich? the results. Urs Ferrar had been kind, but the other cameramen I dragged out dozens of my sketches from the early days of gazed upon me as if I was from Mars. the Pole concept and spread them out on the floor and repeat- A couple of weeks later I called John and asked how the shot edly studied them over a long weekend retreat in a motel. had turned out. He laconically said ‘fine’ but I missed seeing it Some were bizarre—dawn’s earliest alpha-wave glimmers. on the air and didn’t have the nerve to ask for a videotape. Others might actually have worked, but were too weird to be Wilcox recently told me he used the entire shot from begin- carried onto a film set. ning to end in the broadcast; and his boss at the time, the late The most detailed and practical drawing of all showed a great Roone Arledge, pronounced it to be sensational!—the parallelogram arrangement of pipe—like a miniature hand- look, the ‘ballsy’ operating choices, the diverging and rejoining, held crane—that would preserve the stability of the pole but the changing sizes! keep the camera level when it boomed up and down! I never knew. Roone was a hero of mine and his reaction I distinctly recalled the euphoria that accompanied finishing would have helped my morale, but it was already clear that this drawing. I stared and stared at it and began to exult all even with the black cloth and phony lumps and bumps, no over again. [See illustration above.] It was complicated! It was simple T-bar was likely to stand the movie business on its ear. probably patentable! It would do the wonderful Pole-type My attorney, J Donald McCarthy, had given me a sheaf of inertial trick, but the lens could be at any height from floor to ‘Agreements-of-Secrecy,’ and I had awkwardly insisted that ceiling, booming smoothly up and down while I strolled John have his entire crew sign them, even though the object effortlessly along, with the quintessential ‘look’ on my face, itself remained hidden under black cloth, but I couldn’t con- peering through my new big fiber-optic bundle at the bright ceal the thing forever! Worst of all, Howard K Dearborn had and perfect image! come to light in my patent search, and his vaguely similar My weary present-day eye looks at this sketch and sees its (and equally primitive) contraption, circa 1960, would have obvious flaws. My too-eager 1972 eye was dazzled, shot rendered the simple Pole unpatentable. through with the same moonbeams that have lured inventors I specifically remember being puzzled, even alarmed, that on, ever since a hirsute ancestor tried holding the arrow and Howard Dearborn’s device had apparently not been successful. releasing the bow! I knew that this baby would be a success. I CAMERA OPERATOR: STEADICAM / GARRETT BROWN 29 30 CAMERA OPERATOR: STEADICAM / GARRETT BROWN knew that the Hand-held Crane would revolutionize the movies and get an Oscar, and I fell asleep at the table with my head resting on my wonderful drawing.