INTRO:

In the film world, we play with a lot of fancy tools, interesting gear, and sophisticated gadgets. Many of these devices we take for granted and often don’t even think about their inception or how they came about. And yet, most of it we can’t seem to live without. Of all the equipment at our disposal, this one piece of gear, aside from the camera itself, revolutionized the game…

It's heralded as the “Steadicam”. Consider this blog a crash course on the subject.

Walk with me.

Random thought: If Moses from the Bible, was a filmmaker, I’d bet he’d be a Steadicam operator…because the Steadicam sled can be liken to his staff, in how it transforms and transcends movements—🤔 , I digress. Ok, now back to business me. Pardon, me.

WHO IS THIS BLOG FOR?

• Aspiring Steadicam Operators.
• Aspiring Camera Assistants.
• New Filmmakers. - Cinephiles or Film Enthusiasts
• Gear Heads
• Steadicam Aficionados (Who want to correct any potential fallacies stated in this blog. Please get at me if I done you guys’ a disservice, email below)

WHAT IS A STEADICAM?

A Steadicam is an essential tool in the film/TV industry, used to stabilize film or digital cameras. Its primary function is to mitigate camera shake, achieved by allowing the operator to balance the camera on a pole-like apparatus known as a sled or post

The Steadicam looks like a beefed-up monopod, which can be enhanced with electric gimbal motors and various camera-support accessories. Its design facilitates seamless integration for the operator, allowing them to become "one with the camera."

who invented THE steadicam?

The Steadicam was invented by Garrett Brown in 1974 and was first used in movies on Hal Ashby’s Bound of Glory in 1975. The USPTO did a great spotlight on Garret Brown, you can watch it below.

How it revolutionized the film game.

 As filmmakers, we rely on an array of tools to ensure that the camera remains steady while filming our shots. We commonly refer to these tools as "camera support." Some examples are the tripod, aka “sticks”, a dolly, a slider, a hi-hat, and a crane, to name a few. We often verbalize the gear to indicate the type of camera movement one seeks to achieve. Exhibit A:

 

 

Dolly Shot: A dolly shot involves placing the camera on a device known as a "dolly" – a wheelchair-like contraption designed for filmmaking. This setup delivers smooth camera movement, but it can be cumbersome in tight spaces and is impractical for navigating stairs. A commonly used dolly on major film sets is the Fisher Dolly.

Crane Shot: A crane shot involves mounting the camera on a big piece of equipment that elevates it in the air, providing stabilization over considerable distances. Picture it like a giraffe holding the camera in its mouth, but you have control over the giraffe's neck to move the camera as you wish. This equipment is sizable, with a large footprint, making it better suited for outdoor locations, vast spaces, or expansive film studios comparable in size to Costco or a large warehouse.

 

Handheld Shot: Going handheld is when the camera is directly carried by the operator, either in their hand or on their shoulder. This technique imparts a distinctive and sometimes shaky visual effect, contributing a raw and immediate feel to the footage. While it offers spontaneity and a unique aesthetic, it comes with challenges – historically, the weight of larger cameras could strain the operator, and achieving consistent stability could be a struggle. As a result, handheld shots are carefully chosen for specific scenes rather than being the primary mode of filming throughout a production.

Now to the point of revolution…

Before the Steadicam, by and large, these options were virtually the only options for camera support or camera movement at the time. Insert Steadicam, and now a whole new foundation is laid.

When you have a camera in, what we say ,“Steadi mode” the movement resembles handheld shooting but without the undesirable jittery motion in the frame. Through Steadicam, you get the benefits of handheld, dolly track, and a jib arm or crane all in one, while maintaining a small footprint.

These days, there’s hardly any major moving picture that shoot without the use of a Steadicam. Picture a walk-and-talk scene, such as two lovers conversing out on a date night while strolling down the block. Since the Steadicam was created, this action in a film, is now almost exclusively synonymous with Steadicam.

Popular Steadicam Shots/Sequences:

Some of your favorite scenes from your favorite movies are a direct result of Steadicam usage. Think iconic films like "The Shining,"—the scenes where little Danny is in the maze with his mom or when little Danny is riding around the halls of The Overlook Hotel in his little big wheel. Those were all Steadicam shots.

 

When Sylvester Stallone ran up the Philly Museum steps in "Rocky", that was Steadi.

 

 

When Ray Liotta snuck in through the back and walked through the restaurant’s kitchen in "Goodfellas”, that was also Steadi. All of these great and iconic sequences brought to you by great Steadicam operation.

 

Fun Fact:

Stanley Kubrick reached out to Garrett Brown after seeing a demo of Brown sporting the Steadicam prototype. Brown sent his demos to the four corners of the world, and it had filmmakers buzzing about, rightfully so. Kubrick’s inquiry about certain Steadi configurations is what led Brown to create “Low Mode” and ultimately hire him as the Steadicam operator for his film, the Shining. (End of fact)

The director of the movie “Rocky,” John G. Avildsen, was said to be struggling to figure out how he was going to shoot some scenes of the movie. Once he saw Garrett’s demo, he got all the inspiration he needed to formulate his legendary montage which ends with Rocky running up the steps. Brown is from Philadelphia, and in one of his Steadicam prototype demos, Brown is trailing his wife who’s running up the steps at the Philadelphia Museum. Which allegedly inspired Avildsen to use Rocky running up the steps in the movie.

THE ONER:

Fast forward to 2018, the Steadicam allows for creative brilliance like shown in Mike Flanagan’s “Haunting of Hill House,” where they pull off a 17 minute one take aka “Oner.” Such choreography and camera movement wouldn’t have been possible without a Steadicam. (Take a look below)

 

 

A oner is one of my personal favorite filmmaking techniques. It’s difficult to pull off, but with the invention of Steadicam, it makes such feats a little less hard.

Oner: a long take or one uninterrupted camera shot.

Another great oner is Thomas Taugher, Steadicam Operator of the BuffNerds in Hold’em. Check out the BTS here.

 

 

End of Part 1

Fundamentally it can be seen that this tool is nothing short of legendary. In part 1, we've introduced Steadicam, and gave you a snapshot of how it revolutionized camera stability. From its invention by Garrett Brown to its widespread use in iconic movie scenes, Steadicam has become indispensable in the industry. Part 2 we’ll delve into the anatomy of Steadicam and the path to becoming a working Steadicam operator. For Part 2 click here.

For other glimpses into the evolution of camera support and its creative applications take a look at this video below. We are truly living in the golden era of filmmaking. Yeaa buddy.