Steadicam History

The steadicam was conceived and developed by American, Garrett Brown in the early 1970’s. The original concept was for a device that could smooth hand-held action shots travelling over rough ground, but by the first time it appeared on a feature film in 1975 it’s full potential was only just beginning to be realised.

The steadicam made it’s feature film debut on the movie ‘Bound for Glory’. Garrett, also making his feature film debut, descended 30 feet on a Titan camera crane into a crowded camp site and stepped off the crane to track with David Carradine as he passed through the crowd and compose a 4 minute long shot. Soon after the steadicam was used on ‘Rocky’, ‘Marathon Man’ and then ‘The Shining’ when Stanley Kubrick pushed it’s boundaries and revealed the enormous potential of Garrett Brown’s invention. (Low mode configuration was first used on this film).

In 1977 Cinema Products introduced the Universal Model I Steadicam which was soon superceded by the Model II which with a rotatable monitor allowed low mode configuration. In 1978 Garrett and Cinema Products recieved an Oscar for technical achievement of the steadicam.
In 1983 the Model III was introduced and this remained the “state of the art” for some years. Many operators began custom modifying their rigs to improve performance and in 1992 George Paddock introduced the PRO sled (Paddock Radical Options).

In 1994 Cinema Products released the Master Series Steadicams, a range of four models to suit film or television use. Improvements included the iso-elastic arm, adjustable dynamic balance, an improved monitor and on the high end versions a motorised top stage which allowed balance adjustment mid shot. These were to be the last steadicams models to be sold by Cinema Products who went into recievership. The steadicam products division was taken over by Tiffen and the Ultra was soon on the market with 6’ telescoping centre post, improved electronics and improved build quality.

By the late 1990s and early 2000s many new manfacturers where introducing a variety of rigs to suit all levels of film making and budgets.

Steadicam Components
	The steadicam is made made up of three essential parts: The Sled The sled is, to keep things very basic, a post (normally telescopic) with a battery, electronics and monitor at one end and a stage on which to mount the camera on at the other. On the post is gimbal that can be adjusted to lock in any position along the post’s length. The gimbal is also the point where the sled attachs to the arm.
	The Arm The arm connects the sled to the vest allowing it to float alongside the operator. It is composed of two sections each with three springs and functions in a similar manner to the human arm. When operating from a vehicle the arm can be “hard” mounted direct to the vehicle.
	The Vest The vest is worn by the operator and adjusted the give a firm fit and distribute the weight of the rig evenly.

How the Steadicam Works

The steadicam sled allows the centre of gravity of the camera to be moved from deep within the camera to a point along the post. The gimbal when adjusted to a position slightly above this point allows the sled to remain in a vertical position and the operator to control the pan and tilt from the centre of gravity, just below the gimbal. This is the ideal position to hold and control any object, all gravitational forces being completely neutralised.
Extending the centre post creates more inertia when panning and tilting, like a tight rope walker with a balance pole, greater precision and control and is ideal for slow moves and more control. Less inertia is more desirable for rapid movement though so operators will minimise the length of the post and weight of the camera for running and rapid action moves.
The arm acts like the suspension in a car, isolating the up and down walking or running motion of the operator from the camera and when trimmed well to fly as effortlessly as possible alongside them.
The vest is designed to distribute the load evenly over the operators torso with adjustments to neutralize the arm's tendency to want fall away from it's preferred operating position.
The operator can travel with the camera pointing the same direction they are facing, moving forwards, backwards or sideways (this is the preferred configuration for most operators and is known as the "missionary position"). Alternatively they can lead the action with camera pointed behind (known as "Don Juan") which is preferred for running and travelling upstairs. The operator can also stand or sit on a dolly as grips navigate them around the set, this allows the operator to concentrate more on the actual composition of the shot.

Steadicam Is Good For

Travelling unrestricted over uneven terrain and moving the camera in confined spaces.

Long sequence shots that travel a distance impractical with a dolly, especially when the camera needs to be free to move around the subject.

Working with children or animals whose movement may be unpredictable.

POV shots eg. a dog, a snake or person running through a forest.

Extremely low tracking shots.

The steadicam can also be used to on tracking vehicles to isolate vehicle movement from the camera, provided the vehicle motion is not too violent. It can be ‘hard’ mounted by attaching the arm directly to the vehicle or ‘soft’ mounted with operator riding with it attached to his vest. ‘Soft’ mounting allows the potential for the operator to board or dismount from the vehicle during the shot (a common technique used with cranes). If the camera is to remain on the vehicle for the whole shot it is normally desirable and safer to ‘hard ‘ mount the rig.

When time and budget are a concern. Consider this, once the rig is assembled and balanced it is set for the day, instantly ready for any shot especially if there is a ‘B’ camera dedicated to the steadicam. In the time the dolly and tracks can be set a steadicam can be rolling and with an experienced operator produce comparible results. Do this a few times a day and weigh up the cost of the whole crew’s time waiting for a dolly to be set up against the cost of the steadicam and operator.

Steadicam Is Not Good For

Long duration lock off shots with longer focal length lenses.

Ultra viiolent and jerky movements. The steadicam is designed to eliminate this and therefore recreating them effectively can be difficult.

Mounting on unstable vehicles, such as bicycles, skis, horses and there’s definately better stabilizers designed for helicopters. Vehicles shouldn’t ‘bounce’ further than the vertical travel capabilities of the steadicam arm.

Quick pans or tilts with a hard lock offs are difficult to achieve.

Most steadicam operators are up for a challenge, wise ones will advise when a shot is better attainable another way.

Frequently Asked Questions

Is that thing heavy? / How heavy is that?
This is the first and most asked question I and probably every steadicam operator gets. Normally the complete rig weighs around round 25kgs - 40kgs (55lbs - 85lbs) depending on the camera configuration.

Do I need to be fit and strong?
It’s more about balance and co-ordination. Being fit helps especially for endurance, you’ll have days when it’s all steadicam (and you’ll have others where it’s only one shot). It's not for someone who already has back problems though.

Where can I learn?
The Steadicam Operator’s Association website lists many courses globally. The International Film Workshops at Rockport, Maine run regular courses and in Australia, Melbourne University runs a course as part of their Filmaking Summer School each January. A course is definately the way to start. You’ll benefit from learning from experts and leave the course with all the knowledge and techniques to practice.

How long does it take to learn?
After a week long course you’ll have all the knowledge and enthusiasm you need. Now you’ll need to practice and practice and then practice some more.

What’s the best thing about steadicam operating?
Being pushed to the limits of physical and mental ability to achieve a shot and getting it, the satisfaction of putting it all together.

Are there any female operators?
Of course, and some really good ones too.

Films featuring notable Steadicam operating
	Title	Steadicam Operator	Comment
	Bound for Glory	Garrett Brown	1st use of steadicam on feature film
	The Shining	Garrett Brown	Extensive steadicam use, first lowmode
	Bonfire of the Vanities	Larry McConkey	Almost 5 minute opening shot
	Carlito's Way	Larry McConkey	Chase scene in railway station
	Goodfellas	Larry McConkey
	Much Ado About Nothing	Andy Shuttleworth	Closing scene
	Titanic	Jimmy Muro
	Bullworth	Garrett & Jonathon Brown
	Born On the 4th July	Toby Phillips
	Kill Bill	Larry McConkey
	Russian Ark	Tillman Buttner	One shot 90 minute film

Steadicam History

Steadicam Components

The Arm The arm connects the sled to the vest allowing it to float alongside the operator. It is composed of two sections each with three springs and functions in a similar manner to the human arm. When operating from a vehicle the arm can be “hard” mounted direct to the vehicle.

The Vest The vest is worn by the operator and adjusted the give a firm fit and distribute the weight of the rig evenly.

How the Steadicam Works

Steadicam Is Good For

Steadicam Is Not Good For

Frequently Asked Questions

Films featuring notable Steadicam operating

Title

Steadicam Operator

Comment

The Arm
The arm connects the sled to the vest allowing it to float alongside the operator. It is composed of two sections each with three springs and functions in a similar manner to the human arm. When operating from a vehicle the arm can be “hard” mounted direct to the vehicle.

The Vest
The vest is worn by the operator and adjusted the give a firm fit and distribute the weight of the rig evenly.