Thank you Tom!
Some very interesting and very helpful insight!
We will have both, dolly and steadicam, since there are some POV sequences that definitely need to be steadicam. We'll have many shot constructions like this: medium wide or wide shot, let's say of a door, pull back of let's say 6 feet, then a pan to reveal something. Or, no movement for the first half of the scene, let's say 20 seconds, and then follow the actor a few steps across the room and tilt to an attic-hatch in the ceiling. Blocking planned and rehearsed. So typically dolly work, but I'm thinking if it might have a more fitting 'feel' to it when performed with a steadicam.
One of the aesthetics that might fit the story is for instance that the steadicam, even when held totally still, always has some life to it. The audience may not see it, but most likely feel it.
What you say makes perfect sense though, so I guess whether it 'feels' right will very much depend on the operator.
I watched your reel (awesome!), the very last shot actually comes quite close to what I'm looking for (just the lenses will generally be wider on our film). On a dolly, once she and the mirror are framed, the image would have been still. Here, there's still a little motion to it. Just enough for the audience to not see but rather feel. As her character seems to struggle in this scene, the choice of steadicam adds a human touch which fits well (and very well executed by you, awesome!).
It would be helpful for me to see examples like this within the context of a movie or show, so if you or anyone can think of something, please let me know :)
P.S.: I like to plan things ahead very well (it's the only way to have creative freedom once shooting). Plus, having operated heavy gimbal sets myself in the past I know that the time is ticking once the gear is on, so I think operators won't have a terrible time on my set :)
