Examples where a steadicam is used to replace a dolly (for typical dolly moves)?

[Michael Raab]

Hello everyone,

 

I thought this might be a good place to ask for help. I am searching for movies where they partly or repeatedly use the steadicam to replace a dolly w camera head? So not the usual use of longer, freely tracking shots but rather mimicking the precise, tight and planned movements of a dolly w. head.

There is a one minute long shot in ‚The White Ribbon‘ by Michael Haneke at minute 50 that shows what I’m looking for, but I can’t link it and struggle to find other examples.

Some background: I am from Germany and in the early planning for an indie feature film. There will be many (slow) push ins/pull backs combined with pans and tilts before or after the move. I am currently looking into the steadicam to replace the dolly for these typical dolly moves. A theme of the film is intuition, and the steadicam (with it’s more intuitive framing and not being as clinical) might fit better.

I’d be grateful for examples of movies or single scenes and sequences with such a use of the steadicam to get an idea how well it might work.

 

P.S.: as it is physically demanding for the operator, where do you set the limit for steadicam work/wearing the rig per day (considering a 5 week shoot with a 3kg camera setup)? How much time do you like to have between longer shots/sequences?

Best, Michael

Edited September 5, 2022 by Michael Raab

[Tom Wills]

This is a question I find very interesting! I’ve really tried to build my career on my Steadicam work blending seamlessly into a film or show, and my work being visually indistinguishable from dolly or crane work. (And on good days, I even go so far as to achieve this goal!) 

 

I would say that a professional, seasoned Steadicam operator should be able to perform shots that are elegant, simple, and are small movements, rather than just big tracking shots. And I agree that the Steadicam is often a very elegant way of executing simple shots, often much more efficiently than other methods. However, the big caution here is that doing small movements and slow moves is often the hardest thing for a Steadicam operator to do. So, how well the Steadicam can execute dolly-like movements will depend entirely upon the skill level of your operator. A newbie operator can often pull off a walk and talk on a reasonably wide lens, but pulling off delicate closeups on an 85 will often be nigh impossible. And different operators will have different skill sets that may play in here. For instance, I am the type of operator who loves gentle, elegant work, but I’m not a fan of running or stunt-y work, and I know many operators who are the opposite. This is something you should be screening for as you interview operators, and it may cost you quite a bit to get an operator of the appropriate skill level. 

 

I will also say this, having been on indie films where they did cut the dolly budget upon having me on - I would under no circumstances think of replacing a dolly with a Steadicam. Doing locked off still work on a Steadicam is not only painful physically, it can be infuriating. Every moment the operator is in the rig is stress being put on their joints and muscles, and you’re decreasing their performance for the rest of the day, when you really might need them to be in top form. The way a Steadicam tilts and pans also isn’t always conducive to how a shot needs to move. The dolly is such a fundamental tool that I can’t imagine not using one at all, unless the film is specifically choreographed with that in mind. Even on a very Steadicam heavy film, being able to do a lockoff, a very long lens shot, or even a wide establishing shot is dolly work, and being able to easily adjust the camera position and height on a dolly (instead of going to a tripod) saves an incredible amount of time on set. I also would let your operator have input on which camera platforms you are looking to use per shot. A good operator who is invested in your aesthetic will understand when you will gain something from using the Steadicam, and when the look will be identical or worse on Steadicam, and you will want to use a dolly instead. In an ideal world, the tool should be chosen to serve the shot, rather than an edict before production. 

 

Now as for stamina, I would expect that your camera will be far heavier than 3 Kg once fully loaded! The cameras I’m used to using are in the 25-30 lb range, and even a small camera like a Komodo or similar will end up being at least 15 pounds with wireless video, lens control, and other accessories.  With that in mind, I would expect that an experienced operator should be able to work without issue for a normal day of shooting, assuming you’re doing reasonable amounts of takes (no 10+ take monsters) and normal amounts of setups with breaks for lighting, rehearsals, etc... Working 14+ hour days or extreme heat or other things may necessitate more breaks or cooldown periods between shots. It also helps a lot to have a dolly grip or AC prepared at the end of the shot to take the rig from the operator and bring it back to their stand or to the start of the shot, so energy isn’t being wasted when the camera isn’t rolling. That kind of small touch often can add to more stamina and more energy towards the end of the day. 

 

I hope this helps, and I wish you the best of luck with your film!

Edited September 7, 2022 by Tom Wills

[Michael Raab]

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  :)

Edited September 7, 2022 by Michael Raab