Who Invented the Steadicam?

For a typical Steadicam shot, a camera operator must follow a predetermined path, while simultaneously adjusting the camera and avoiding any obstacles. For a typical Steadicam shot, a camera operator must follow a predetermined path, while simultaneously adjusting the camera and avoiding any obstacles, all the while supporting more than 70 pounds (32 kilograms) of camera equipment. In a Steadicam, the articulated arm's gimbal grips the sled pole just above the center of gravity, in order to keep the camera from tilting in any direction on its own. The camera, monitor and battery have to be positioned just right so that the center of gravity falls near the gimbal. But in order to keep the camera sled absolutely level, the arm grips it with a free-moving gimbal. The arm and vest configuration works to isolate the camera from the body of the cameraman. Instead, Garrett Brown decided to take the existing components of the camera and spread them out.

And if you take videos with your smartphone, mostly likely they shake, rattle and roll. The Smoothee is a plastic stabilizer that hooks up to the iPhone. Apple got into the video-stabilization game by incorporating the technology on its iPhone 4S and iPhone5. In the next section, we'll see how Steadicam operators put all this technology to work to get remarkably smooth, hand-held shots. The Steadicam moves around the party focusing smoothly on various people. Most people who own a camcorder also own a stack of tapes with hours of shaky, jarring video footage. For the DIY crew, people also have been known to hack their own stabilization systems together, too. In the early 1970s, a commercial director and producer named Garrett Brown began working on alternative stabilizing systems to get around these limitations. The director plans the shot, but the Steadicam operator makes it happen. If you're really into cinematography and don't mind shelling out a few bucks, the Steadicam Zephyr may be what you're looking for. To film a simple conversation between two actors, an operator may try to replicate the even feel of a dolly shot, keeping the camera perfectly level and moving it slowly around the action. This artic᠎le has be en g en er᠎ated by GSA Conte᠎nt Gen er at᠎or Demov ersion.

For this sort of shot, the operator may walk backward through the scene, with the help of other crew members. Typically, the operator will walk ahead of the actors, shooting them from the front as they walk and talk. The camera will still record a lot of the motion from the camera operator's steps. Some Steadicams are reversible, so the cameraman can position the camera on the bottom and the other components on top. Many established Steadicam operators are members of the Steadicam Operators Association (SOA), founded in 1988 by Garrett Brown. In this article, we'll find out what a Steadicam is and see how it can eliminate shaking and rolling. In the diagram, you can see how these elements come together. Some cameras have a built-in adjustment mechanism to compensate for shaking motion, but it doesn't come close to the natural stabilization system in the human brain. You can see how this system works in the illustration. Since the end blocks are secured to the ends of the parallel bars, they'll remain in the same position as the arm swings up and down (as you can see in the diagram).

The lower bar in each arm segment is actually a hollow cylinder, with a large coiled spring inside. If you were to attach a light to one of the end blocks in this design, as in a swing-arm desk lamp, the light would continue to shine in the same direction as you moved the arm up and down. Just as with any parallelogram, the metal bars will remain parallel with each other (or nearly parallel) no matter how the arm is positioned. For these shots, and most any other, the director, the crew and the operator will all work together to figure out the best approach. The jolts and shakes of hand-held footage work well for certain scenes -- an unsettling chase in a horror movie (think "Evil Dead") or a bare-bones documentary, and some directors intentionally employ shaky cam, as "The Blair Witch Project" and "Cloverfield" did. Camera stabilizers have become mainstream and well within the budget of many amateur photographers. First used with regularity during telecasts of the short-lived XFL, the computer-controlled stabilized camera is suspended by cables above the field and allows viewers to see a game as if they were flying high over the field. The sled's own weight distribution keeps the camera balanced (as we'll see later).

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