Chris Poynton

which shows the scientific mapping of the "gaze locations" of a sample audience within the frame ... showing how the aesthetic tension is built and released in the shot. This is a fairly interesting contribution in the essay, which is a nice cross-over between dry film theory and the practical guts of camera operating that most are concerned with here. This would be a fascinating software tool to see applied to sample Steadicam shots, so that the finesse of the Steadicam masters could be laid out for the learners to see. e.g. how the attention can be pushed rythmically back and forward across the frame .. how the rule of thirds is used/subverted ... and how wide-screen is a whole other game. Just one nice example of pushing the audience attention "back and forward" that sticks in my mind was Charles Papert's "Scene of the Crime" shot from In The Valley of Elah ... see his description at: http://www.steadisho....cfm?shotID=289 Most of the time, I think ops and directors are subconsciously chasing images that sit comfortably in the "Rule of Thirds" catalog (because they work!!!) ... but I am wondering if there are maybe some favourite oddball Steadicam sequences out there that smash the rules of comfortable framing????? Maybe apart from the whacky and inexplicable dutch tilt from McConkey in Raising Cain (see 2:30)

Ten minute video essay "Steadicam progress – the career of Paul Thomas Anderson in five shots". Includes 5 key steadicam shots with animated floor plans and film theory analysis by Kevin B. Lee. Films: Hard Eight .. +... Boogie Nights (Op: Andy Shuttleworth) ... Magnolia (Op: Guy Norman Bee) ... Punch Drunk Love (Op: David Crone) ... There Will Be Blood (Op: Colin Anderson) Video originally posted with detailed blog entry British Film Institute website. Re-posted by third party on YouTube: http://www.youtube.com/watch?v=3GGI5mVH6pg

Another of Jerry's workshops appeared recently on YouTube, originally produced by "Award Winning Workshops". Not sure what year of production. Runs for 54 minutes --> http://youtu.be/5bc3MmNaxK8 By the way, great to see the link for the 2nd edition of the Steadicam Operator's Handbook from focal Press (in above post) which apparently has new sections on Tango and 3D. If anyone has comments on the new handbook (... or an official launch Jerry and Laurie???) it would certainly merit its own thread! As a side comment, I would love to see all the video examples in the handbooks somehow make it onto Steadishots.org ... maybe even in their own little index tab for easy reference by page. At the moment, many of the video examples in the books do not appear anywhere on the web, so remain elusive and intriguing.

Although lighting for steadicam does not get much coverage on this forum, I would like to ask general advice on planning a basic walk-and-talk two-shot in bright overhead sun (the unflattering harsh Aussie summer sun). I am thinking of something like an overhead horizontal 8x8" silk/diffusion frame mounted on poles at the sides, carried by 2 grips - as it is low/no budget. Maybe even something like a fold-up gazebo (market stall tent) that might even allow for scrimming on the side as well. Are there any photos or comments on standard practice for how this is usually tackled on large productions to provide some inspiration? It could get pretty crazy with multiple (large??) travelling scrims, reflectors, negative fill, sunguns, HMIs etc. With overhead scrims, I am guessing there are lots of standard pitfalls with the right size scrims, number of carrying points, keeping the corners clear in frame, minimising noise, dealing with wind, etc. ( P.S. Would love to see more discussion of lighting setups generally in this forum. Day exteriors is a good general start-off. Thanks in advance.)

I heartily encourage ops to ocassionally report back to the forum on any especially interesting or challenging shots they have recently executed ... especially those that challenge the outer limits of skill and subtlety. Maybe the discovery of some wonderful framing concept you latched on to? Or a great "zone" you got into mentally and emotionally while shooting? (Such reports from the front really keep us "sideline enthusiasts" and hobbyists fired up!) A great report back came from Charles Papert many moons ago on another forum which he titled "The Single Hardest move with a Steadicam". [i have flagged this one before, but it is a fantastic read for those who haven't come across it ... tilting, panning, arcing and dancing around Tommy Lee Jones in a hospital corridor with choreographed gurneys during "The Valley of Elah' (2007)]

Definitely looks like a phone call to Tiffen! Merlin 2 has been promoted as much more rugged than the original, so they would want to be aware of this issue. Keep us posted. There has been very little discussion re this new model on the forum so far. Has this issue been reported elsewhere on the web?

The Steadicam Handbook (p.213) notes that a Merlin might be included in the kit of a "well-equipped operator" for use in "scouting and designing shots". ... Is this actually borne out in practice as useful?? ( It is almost surreal to imagine a guy with a Merlin going back to first position and then swapping for Panavision! ). If mini-rigs are used by pros, would this mostly be for initial location recces ... or actually for "shot blocking" on a live set? With long choreographed shots, the director and key crew may demand to see a rough mock-up of the shot ahead of time? Or (to a much lesser extent) the operator may need to "get into the swing" of the shot on the day and play around with possible body positions/transitions through the lens?? Keen to hear of any examples where mini-rigs have actually been invaluable as a tool ... "hand-in-hand" with the big/mega rigs. [ My personal interest is in evolving the design of Merlin-style rigs for DSLRs and other niche use ].

A minor compilation of material about Larry McConkey's masterful work on 3D "Hugo" (2011) ... shot with the massive Arri Alexa/Pace twin cam rig which he describes as "the most satisfying job of my career" : 1) Behind the scenes footage from a GoPro camera mounted on top of the Alexa 3D rig during what is perhaps the film's signature long take steadicam shot ... including flying set walls and an actor on a motorised dolly (footage posted by Andrew Ansnick) 2) Recent press interview with Larry McConkey (Feb 2012 Film & Digital Times) regarding the 3D shoot including descriptions of the most challenging shots 3) Video interview with Larry McConkey which is possibly from 2008 era when he received SOC Mobile Camera Platform Operator Award (footage recently posted by Dave Frederick SOC) 4) with Chris Fawcett (i.e. his "Steadiseg" system) and Larry McConkey (footage posted by Chris Fawcett) 5) Web photos of the Arri Alexa/Pace 3D rig:

Any feedback from operators on the Merlin 2 ?? Below is quick summary of possible points of discussion. (Italics = Tiffen blurb.) Apart from generally more rugged and all-metal construction with the Merlin 2, Tiffen is now offering the option of a powered "Merlin Camera Controller". Their site says "Built into the handle of the Merlin, it can be retrofitted easily onto earlier Merlin models. Now you can start/stop recording plus control zoom and autofocus** (Note: double asterisk "** Controlled features dependent on camera model used.") -- Is there any feedback or spec sheet on how this Controller works (USB? other?) -- What current or future cameras will be compatible? (DSLR? 4K???) There is also mention that the "lens platform adjusts to various heights and angles to help support longer lenses and camera bodies" -- Does this mean it has some sort of limited tilt head? Below is quick round up of new features taken from Tiffen webpage ... Official Tiffen pricing $849 on Merlin 2 kit. But no word on price of Camera controller yet?? SOME WEB RESOURCES: Garrett video from NAB 2012 mentions that Tango/Merlin 2 use same heavy duty stage. MERLIN 2 PRICE LIST http://www.tiffen.com/userimages2/Steadicam/Merlin2%20List.pdf MERLIN 2 WEB PAGE http://www.tiffen.com/steadicam_merlin2.html >>>>>> MERLIN 2 FEATURES INCLUDE: --- The robust stage design features a rigid camera plate, multi-angle viewable level, and larger easily adjustable knobs for secure camera mounting and ease of use --- A secure gimbal lock allows for precise tuning --- The lens platform adjusts to various heights and angles to help support longer lenses and camera bodies --- The ergonomic handle affords a comfortable grip for hours without undue fatigue for either right- or left-handed users --- All parts are stainless steel, aluminum or brass for corrosion resistance --- Dovetail plate and gimbal are retrofittable with original Steadicam Merlin --- Top dovetail plate has been designed to clear battery doors on most DSLR cameras --- Secure metal interconnect to Merlin arm post --- Sleek new black and stainless steel styling

I was recently given a lumbar cushion which has a 240 volt 2-speed motor with rotating nodes like giant thumbs. It has freed up my back like nothing else!! (Similar to photo below) It is absolutely incredible to lie on, either as warm-up or warm-down, or even during the shooting day. It just rips into the deepest lumbar like a knife through butter. Can use on other parts of back, sciatic, neck, etc with caution! I thought the cushion was a piece of 1970's flotsam (mainly due to orange fabric covering!) but they are still out there. They are referred to as "kneading"-type lumbar shiatsu massage machines, and look to go for $60-100 retail although I could not find a ready source on ebay or amazon. Alternatively, there is the low tech lumbar roller which looks like a "knobbly dumbell" type which looks to retail for $30+. Does anyone use these type devices? I really hope they can bring some relief, as I now swear by mine. Alternatively again, as Sean Connery whispered into the ear of the health spa nurse in Never Say Never Again, "You know, there is a more beneficial therapy for a man's lower back" ... Cheers!

There are many great examples of "finished" steadicam shots on the web (e.g. steadishots.org) ... often with printed commentaries. However, can anyone recommend videos that show the full behind-the-scenes creative and technical process of an entire shot on a feature set? ** Ideally *** such fly-on-the-wall videos would show: initial shot discussion between director-DP-operator .... blocking with actors .... lighting issues/solutions .... focus/assistant issues .... and full commentary from Steadi op regarding fine points of framing, footwork and rig handling (over multiple takes!). If such videos are not available, could any of the Steadi masters put such a proposal forward on an upcoming shoot ... get a BTS crew with a couple of video cams and radio mics and Apple I-phones on the rig and it could serve as a really valuable 30-minute (PLUS!) "extra" on a feature DVD ... or a new workshop resource on the training circuit? Charles Papert gave a great text description of what he called "The Single Hardest Move with a Steadicam" from the film "In the Valley of Elah" (2007) on another forum: http://hbsboard.com/index.php/topic,2725.0.html This is the sort of intricate detail that many people would lap up if it was in video form!! Is there maybe something in the archives from the Ted Churchill era? Or DVD extras anyone can recommend?

Just found this new YouTube video from Pedro Guimaraes,SOC Ts-5 Lightweight from 3ality Technica used on Katy Perry 3D shoot: Pedro has further info on his blog: http://steadi3d.com/2012/02/katyperry3d/

The high quality of the above footage underlines for me that there has never really been a thorough "precision shootout" amongst the hand-held stabilisers to clearly map their respective operating strengths. Tiffen for instance (to my knowledge) does not publicise a Steadicam Merlin video that would show-case cross hair tests, whip pans, accelerations/de-acceleration, long lens, high-wind, running, radical in-shot tilts, etc ... the sort of standard workshop drills that would clearly reveal its limits. (Mind you, Tiffen is not alone! Few hand-held manufacturers dare to even begin working through this list publicly. Self-immolation is never pretty? ) As DSLR-size cameras swamp the shooting market, the need to map the "light rig" / "hand held" end of the stabiliser spectrum becomes much more relevant. Perhaps a cross-manufacturer drill shootout would be a large challenge for another thread ... or another forum altogether? (e.g. Charles King's "Home Built Stabilizer" site www.hbsboard.com ???) I am convinced there is a great deal more in operating precision that can be achieved with hand-held rigs and I would like to collaborate with anyone interested in designing a shootout test protocol or a "oner" competiton. [by way of disclosure, I am a stabiliser DIY-er who has previously done a workshop with full-sized Steadicam. No current professional affiliation. Currently focussed on prototyping a DIY Merlin-style geometry rig optimised for DSLR payloads to around 1.4kg/3 lb, ideally including ultralight cage, mattebox, on board lights, and servo controllers for zoom / variable ND]

Can you please explain the term "gyro caging"? Where in the video was this? Thanks.

Two trained dancers swirling, wearing Steadicam rigs, with live vision shown on six vertical screens. Steadicam highlights shown at This performance piece called ABACUS, created by Early Morning Opera, premiered in 2010 and according to YouTube description is to be included in Sundance Film Festival 2012. Looks like cameras were mounted conventionally, with vision cropped to vertical/portrait format. The artistic statement from the EarlyMorningOpera.com states that the six-screen display was a homage to Buckminster Fuller's fabled vision of a "Geoscope", which wikipedia describes as "a proposal by Buckminster Fuller in 1962 to create a 200-foot-diameter (61 m) globe, which would be covered in colored lights so that it could function as a large spherical display. It was envisioned that the Geoscope would be connected to computers which would allow it to display both historical and current data, and enable people to visualize large scale patterns around the globe."

Joel San Juan has posted an article and rig pictures for a shoot he did using a Sony F3 in portrait/vertical mode (with antlers) on his site: http://steadicamsg.weebly.com/2/post/2011/08/vertical-horizons.html Would love to see some of the footage from the 10 minute shot. By the way, can anyone point to other professional portrait/vertical steadicam shots posted on the web???