Fresh Steadicam Op Footage

[jay kilroy]

Maybe you missunderstood me Jay,  off course if the director wants a flat horizon, it should be painlessly delivered. The ability to keep a horizon flat is so elementary to steadicam it should be taken for absolute granted.

 

I have been in situations however when delivering a flat horizon on the first couple of takes has not gotten me the smile from the director I like. He has come out with some garble (as they do) and ive taken a much more unconstrained approach, without keeping horizons, letting them subtly rotate over freely (smoothly, without that corrected look) with the dynamic of the shot and this has gotten me the smile I desire. Admitadly this is subtle rather than overt scenary horizons, but nevertheless.

 

All I can say really is I like to practise my handheld as well in real shoot situations and remember that a steadicam is not just a dolly, it can do much much more not just in movement.

 

And its an art! If you prefer it to look one way offer it up and forget the rules of good and bad steadicam...... but master good steadicam first, I feel I will always be learning. And sure I might be wrong now and completely disagree with myself in a few years.

 

What I hate the most, absolutely hate is when they "go dutch" on regular television. Anything over 20 degrees, anything with no shot dynamic to "explain it" , anything where they hold the camera at an angle just to "add funky ness" to the shot.... I hate it! But hey, maybe if I had been working for mtv in the mid eighties and had been part of that culture, I would have been dutch boy! and loved it.....

 

Why is it called "going dutch" anyway?

<{POST_SNAPBACK}>

 

Thomas I am sorry that was not directed to you at all. It was in response to Leigh. Please don't think I meant it for you, sorry for the confusion.

 

jay

[KinoKamera]

Hello guys,

 

Thanks for the overwhelming response -- I did not expect that much. Well, that being said:

 

I'm relatively fresh, less than a year, and young (26). As a DP I loevd moving shots and dollies, and a friend of mine, an older DP and A Steadi Op, had one and a half rig, so I decided to give it a shot and eventually end up with my own rig.

 

Several projects down the line, I have mixed feelings. I love steadicam, but people (both producers and directors) often think of it as a mere replcement for a dolly -- which it certainly is not.

 

First few shots on my reel I choreographed, and I also DPed the project. I like them a lot. Eventhough the space was ridicoulusly tight, good timing and choreography ahs made it look much more -- well, bigger. Actors pulling the camera, making it go up and down, camera looking at the guy on the bookshelf, then cactors puhing camera -- I think here steadicam made the scene with few people in a little room look like lot more people in a lot bigger room.

 

As per horizons, sometimes I concentrate on flat horizons, at other times I concetrate on the action and try to go with my gutteral instinct. That usually yields more interesting footage.

 

If you need to reference my footage it is here: www.kinokamera.com/steadicam.html

 

Again thanks for all the feedback.

:blink:

[Thomas English]

Hello guys,

 

Thanks for the overwhelming response -- I did not expect that much. Well, that being said:

 

I'm relatively fresh, less than a year, and young (26). As a DP I loevd moving shots and dollies, and a friend of mine, an older DP and A Steadi Op, had one and a half rig, so I decided to give it a shot and eventually end up with my own rig.

 

Several projects down the line, I have mixed feelings. I love steadicam, but people (both producers and directors) often think of it as a mere replcement for a dolly -- which it certainly is not.

 

First few shots on my reel I choreographed, and I also DPed the project. I like them a lot. Eventhough the space was ridicoulusly tight, good timing and choreography ahs made it look much more -- well, bigger. Actors pulling the camera, making it go up and down, camera looking at the guy on the bookshelf, then cactors puhing camera -- I think here steadicam made the scene with few people in a little room look like lot more people in a lot bigger room.

 

As per horizons, sometimes I concentrate on flat horizons, at other times I concetrate on the action and try to go with my gutteral instinct. That usually yields more interesting footage.

 

If you need to reference my footage it is here: www.kinokamera.com/steadicam.html

 

Again thanks for all the feedback.

:blink:

<{POST_SNAPBACK}>

[Thomas English]

Yo Jay, No worries at all! ,

 

Kino camera, some of your work is great! keep it up! some day you ll be amounst the masters and black belts ( i think ive got my green belt now.... )

 

thomas

[Christopher T. Paul- SOC]

Hey George,

 

I am also a relatively "new" steadicam operator, (also in NY), and while the occasional roll in horizon or change in headroom did stick out a bit, (and it is worth noting that loosening your grip on the rig should alleviate that), I must say that all of your other skills came through the reel as well. You can tell that you have had editing experience. You use all of the skills you mentioned, and it comes through in the end product- that's your edge. There are plenty of technically proficient ops out there- so it's nice to see that you bring something else to the table- good for you.

 

All in all I'd say it was quite impressive for a year's work- good for you getting to this point at 26 years old, (I'm forty!).

 

Two critical points that I haven't yet seen mentioned yet:

1) The length of the reel- I felt that it was a bit long and could use some overall tightening, (my humble opinion since you opened the door), and,

2) You should boost your rate above the $900.00 you mentioned to keep from driving it down all around.

 

Best of luck-

 

Chris

 

PS

 

Nice that no one responded to the venomous attack that snuck into this thread!

[KinoKamera]

Thanks guys,

 

George

 

www.kinokamera.com/steadicam.html