{"id":280,"date":"2008-07-18T14:38:34","date_gmt":"2008-07-18T22:38:34","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=280"},"modified":"2008-07-18T14:38:34","modified_gmt":"2008-07-18T22:38:34","slug":"stead-as-she-goes","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/stead-as-she-goes\/","title":{"rendered":"The Steadicam \u2013 \u201cThe biggest thing since Technicolor\u201d"},"content":{"rendered":"

\"\"<\/a><\/p>\n

If we could listen in on the thoughts of most every cameraperson, we\u2019d often hear, \u201cThere has to be a better way to do this.\u201d Some people stop there. Others make half an attempt to create something and give up when something similar is in the airwaves\u2014or, worse, a \u2018trained engineer\u2019 who says, \u201cit can\u2019t be done.\u201d Others slog on to moderate success. Then there are a very few who go all the way. None, however, have had an impact the way Folk-singer\/Volkswagen salesman\/radio pitchman\/award-winning radio commercial creator Garrett Brown, who as The Washington Post once wrote, created \u201cThe Biggest Thing Since Technicolor.\u201d<\/p>\n

<\/p>\n

Once upon a time there was a cameraman\/director\/editor that made films for programs like Sesame Street and commercials for various clients out of an old barn\/studio in Gradyville, Pennsylvania. Since he\u2019d learned filmmaking by reading books from the Philadelphia library (circa 1940), he thought he needed dollies and big lights and such. \u201cI was obsessed with having a mike boom, the kind that could crank in and out,\u201d laughs Brown. \u201cWhen an old-time Philly filmmaker went bankrupt, I got a truckload of his stuff, which was all obsolete.\u201d<\/p>\n

The tools gave him a chance to create. And move. Sort of. \u201cTo get the results of a camera move that went from here to there that looked really good on screen, you had to put your little pin-head camera on a 600-pound contraption and lay rails for it,\u201d he says. \u201cMy floor creaked on the studio, and it was not quite level\u2014you constantly had to be leveling this thing while you drove it. It was a nightmare.\u201d<\/p>\n

That nightmare got Brown thinking that there must be a better way. With partner and good friend Warren Paul (as producer and sales rep in the New York office), The Moving & Talking Picture Company of Philadelphia, New York and Gradyville was into the invention business.<\/p>\n

Enter the \u2018Pole.\u2019 A few lengths of plumbing pipe and lead ingots became a simple pole with weighted t-bar at the back. Brown bolted the camera to the front and he held it at the center-of-balance and ran around the Pennsylvania backwoods, recording the results on an Akai 1\/4-inch reel-to-reel.<\/p>\n

The question became: Would it work on a real shoot? If they could ever get one!<\/p>\n

The answer came in the form of a call from hotshot director John Wilcox, who\u2019d heard about the \u2018Pole\u2019 and thought it might work for a segment of ABC\u2019s Monday Night Sports Special about jockey Robyn Smith (Fred Astaire\u2019s future bride). Wilcox wanted a single, long, uncut tracking shot preceding Ms. Smith as she walked the 200-yard path from the \u2018weighting room\u2019 at Saratoga Springs to the paddock. Cameraman Urs Ferrar had heard about the \u2018contraption\u2019 and once they viewed Brown\u2019s demo, both were sold. The problem was that it had to be 16mm.<\/p>\n

\u201cWe had three weeks to make it work in 16mm,\u201d Brown recalls. \u201cI had already tried hanging my \u00c9clair on the iron pole but it was heavy and much too flexible\u2014the camera visibly whipped around as I walked.\u201d A fast trip to Manhattan\u2019s Canal Street, home of New York\u2019s remaining WWII surplus stores, a stock of eight-foot lengths of rectangular one-inch by two-inch extrusion from aluminum box-beams and a race back to Gradyville for more R&D. A Kenyo gyro replaced the weights. The fiber-optic bundle was mounted so that the lens could peer through the eyepiece. The viewing end was attached to a headband.<\/p>\n

\u201cBecause the 16mm image had to squeeze through an 8mm bundle, it was exceedingly dim and the real world was comparatively, painfully brilliant,\u201d Brown recalls. \u201cOnly if I squinted the other eye like Long John Silver, could the view-finding eye see what I was shooting. At the last minute, I cut a hole through one lens of a pair of dense sunglasses, threaded the bundle through the opening, and committed my fortunes to that notoriously absent-minded guardian angel of inventors (and fools).\u201d<\/p>\n

On August 8th, 1972, Garrett Brown stood on his opening mark outside the weighing room door, \u201cholding the handle of my newly built, complicated-looking rig, whose mysterious, bulges\u2014cardboard boxes draped with black velour\u2014concealed the fact that underneath it was still a \u2018pole.\u2019 The camera was in front, the disguised gyro sang its intriguing song in back, the black garter snake viewer writhed up and through the hole in my shades.<\/p>\n

\u201cI felt like the Cyborg from a cheesy science fiction film,\u201d he recalls. The director called \u2018roll camera\u2019 and \u2018action.\u2019 Brown backpedaled frantically, the miniature flickering figure in his right eye looming into a head-and-shoulders shot. He lost his way through the over-bright monocular world in his other eye. His assistant whispered \u201cNo!\u201d as he backed up the wrong path. He carried her increasingly distant profile, \u201ctwisting my head around to see how I might get back near her, finally lurching across a flower bed, blindly lifting my legs like a stork as she entered the paddock! I held the \u2018pole\u2019 up as high as possible, shooting between the top two rails as she mounted her horse and jogged alongside as she circled the enclosure.\u201d
\n\"\"
\nBrown didn\u2019t know until recently what had been used. All he knew is the \u2018Pole\u2019 had survived the test\u2014only to be knocked out of the park, when he discovered Howard K. Dearborn\u2019s patent of a similar contraption, circa 1960.<\/p>\n

Now, a normal person would probably hang his (or her) head and give up at this point. Not the young inventor. He dug through his inventors notes and an early detailed and practical drawing of a parallelogram arrangement of pipe\u2014like a miniature handheld crane\u2014that would preserve the stability of the pole but keep the camera level when it boomed up and down seemed to be his answer. \u201cIt was complicated,\u201d says Brown, \u201cand was probably patentable. It would do the wonderful Pole-type inertial trick, but the lens could be at any height from floor to ceiling, booming smoothly up and down while I strolled effortlessly along, with the quintessential \u2018look\u2019 on my face, peering through my new big fiber-optic bundle at the bright and perfect image.\u201d<\/p>\n

Again, Brown called on his co-conspirators and the new version of the \u2018Pole\u2019 was drilled, milled, blocked and welded. \u201cWe called it the Cine-Turkey and it was still non-functional when we were offered a 16mm job in Hartford, Connecticut.\u201d<\/p>\n

Connecticut Natural Gas wanted a visual tour of the Nature Valley Arts Center, which occupied a long, narrow converted mill. The idea was to show local painters, potters, printmaker, weavers and metal-smiths working away, flanked by a multitude of windows that would have let ordinary heat escape. \u201cI offered the \u2018Brown Walking Boom\u2019 as we now called it, to \u2018fly\u2019 the lens, without dollies or rails, over, around and through the work areas of the artists, in a single, long, uncut two-minute shot.\u201d<\/p>\n

Boom up and down? Pan and tilt? \u201cWas I nuts?\u201d he says. That didn\u2019t stop him. Friends, family, and anyone they could cajole into working redid the new \u2018Pole.\u2019 Races were run along the New Jersey Turnpike for parts and participants. Clandestine meetings with \u2018metal workers\u2019 and a lot of gulping, but by 8 a.m. the day of the shoot, the \u2018contraption\u2019 was ready. The commercial was a hit!<\/p>\n

The Moving & Talking Picture Company of Philadelphia and New York (they finally dropped Gradyville) continued to refine, retool, add to and take away from the \u2018Moving & Talking System\u2019 as they shot commercials (with clients good-naturedly signing non-disclosure agreements before the \u2018tool\u2019 was trotted out).<\/p>\n

Brown watched operator after operator stumble along with, what he called, \u201cA thing that was manifestly, painfully, absurd.\u201d It was working well for commercials, but would motion picture companies pick up on the monstrosity?<\/p>\n

A lot of head scratching. And, on a hot August weekend he tried every moving shot he could think of, including strolling with his three-year-old son Jonathan down the back wagon road of the farm, wearing himself out chasing their dog, and bicycling around the driveway with Jonathan peering at him over the back wheel from his little seat. On Sunday his wife (then girlfriend) Ellen raced through dockside alleys and under dark approaches to the Benjamin Franklin Bridge and, \u201cfinally, impulsively, down the broad, then-unremarkable, steps of the Philadelphia Art Museum.\u201d<\/p>\n

He cut the best of what he had together and took the leap to Hollywood. Skipping all the politics and prevarications (this is Hollywood, no one has to elaborate), Brown met with two movers and shakers\u2014Robert Gottschalk, founder of Panavision, and Edmund DiGiulio, president of Cinema Products Corporation.<\/p>\n

Okay, so it didn\u2019t happen over-night. He checked himself into a motel for a weeklong marathon of thinking-with-no-distractions, making improvement after improvement. After a two-year delay, Brown and Cinema Products worked together to create more than a prototype.<\/p>\n

Meanwhile, a \u2018real job\u2019 had surfaced. In 1975, \u201cHaskell Wexler had persuaded [director] Hal Ashby to try an extravagant, time-consuming, expensive mega-shot with complete reliance on our contraption,\u201d Brown recalls. \u201cWe had only one throated magazine. I had never been on a feature set until I arrived in Stockton, CA for Bound for Glory. I entered the location to see 900 extras. And, I\u2019d never seen a Chapman Titan Crane in person, prior to being put up on the platform 30 feet in the air, hands shaking violently, with Don Thorin, the regular operator, who said, \u2018Look, that\u2019s funny, the camera isn\u2019t shaking!\u2019<\/p>\n

\u201cI got two rehearsals, and we broke for lunch, during which I had a beer and Don calmed me down a bit. Then we made just three four-minute takes. As the crane boomed down beside David Carradine, I got off and \u2018walked\u2019 with him across the huge camp and most of the way back, dodging kids and crowds and tent-ropes and vehicles. In the end, I was numb with fatigue and nerves, and the whole crew flowed away to resume the regular work without a backward glance. It was two nights later that I finally saw our amazing shot and received a standing ovation from the large crowd in the screening room.\u201d<\/p>\n

And Garrett Brown is still receiving standing ovations. Not long after Bound for Glory, Brown got a page from director John Avildson, who had seen the demo. He loved the Art Museum shot and wanted to use it in Rocky.<\/p>\n

\"\"
\nSince then, Garrett Brown has trained over a thousand Steadicam operators. And every director in the business has come to rely on the \u2018Pole\u2019 to bring his or her vision to the screen.<\/p>\n

\u201cIn the early days, the Steadicam operator was treated like he had his own little bag of voodoo,\u201d recalls Dan Kneece, SOC. \u201cPeople didn\u2019t really know what to do with it, so it was treated like a specialty camera. Things that should have been done on the dolly were done on the Steadicam and things that should have been done on the Steadicam were done on the dolly. \u201cThese days, you still find some misconceptions out there but for the most part, productions have become very sophisticated in their use of Steadicam,\u201d Kneece adds, affirming The Washington Post\u2019s statement (and The Motion Picture Academy for honoring Brown\u2019s determination with the 1978 Award for Merit for the Steadicam invention). Operator after operator can recall how they have been challenged to make an incredible move, and could do it because of Garrett Brown\u2019s Steadicam.<\/p>\n

\u201cFor me, it was doing an overhead Steadicam shot on a moving crane in Road to Perdition,\u201d says Scott Sakamoto, SOC. \u201cDollying backward, looking straight down and then jibbing down to ground level, stepping off and walking into a room locking onto a mirror reflection. All this done, with the set wall and ceiling dropping into place, coordinating the dolly move with the grips, and the actor (Tom Hanks) for hitting mark and swinging the mirrored door in the precise position.\u201d<\/p>\n

\u201cOn Pool Hall Prophets, I had a low-angle tight close-up of a pool table break that had a whip tilt up and lock onto a moving actress who scanned a room for someone,\u201d recalls operator Dave Frederick, SOC. \u201cIt motivated the Steadicam to pan off to see who she was searching for. A waiter took the frame in a cross back to her while I stepped onto a Giraffe crane.<\/p>\n

\u201cThe actress, Rosalyn Sanchez, started up a flight of stairs, which motivated the crane to dolly and crane up to meet her at the top of the landing on the mezzanine level over-looking the pool hall. A swing-away banister flew out, the crane alighted o the second floor level, I stepped off the crane, moved around her for an over-the-shoulder to see what she was looking at. She then stepped back and I followed her into a room where she met the man she was looking for, Freddie Prinze Jr. I tracked with them through a wall to a window and spied on them through Venetian blinds.<\/p>\n

\u201cThat was supposed to be the end,\u201d he adds. \u201cThey instead started to kiss, for several minutes, and the director kept the shot rolling. I was in an awkward position and had extended out the camera on the arm for a better composition, experiencing the full weight of the rig in my lower back. The magazine, thankfully, ran out and a cut was called. That was a tough one because of the blinds, and steady lock off hold after the gymnastics of the crane move.\u201d<\/p>\n

\u201cThere is a sequence in Seven where I had to lead the actors down several flights of stairs with landings in between, then pass through a very narrow doorway into a parking garage,\u201d recalls operator David Emmerichs, SOC. \u201cA shot like that is challenging enough but what made this one really difficult was the director\u2019s insistence that the shot look like it had been done with a motion control camera. He wanted it perfect. I practiced backing down those steps for two hours, with the dolly grip, while they shot another scene. By the time they got to the stairwell shot, I could race backwards down those steps without thinking about it. I could concentrate on the framing. It\u2019s still one of the best shots I\u2019ve ever done though it looks deceptively simple.\u201d<\/p>\n

\"\"<\/p>\n

Thanks to Garrett Brown, a lot of shots can look deceptively simple. Fortunately, he didn\u2019t stop his inventive soul with the Steadicam. Today, he holds over 50 patents worldwide for camera devices, which include the new Steadicam Merlin, a miniature version for camcorders, Skycam, the robot camera that flies on wires over sporting events, and Mobycam, Divecam, Flycam and much more. Not to mention that he\u2019s been honored for his incredible shots\u2014from films like Bound for Glory and his record 25-minute continuous shot as he captured the live opera broadcast of La Traviata from Paris.<\/p>\n

Thank you, Garrett Brown, for making one of the biggest technical contributions to the art of movie making!<\/p>\n

By Pauline Rogers<\/em><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

If we could listen in on the thoughts of most every cameraperson, we\u2019d often hear, \u201cThere has to be a better way to do this.\u201d Some people stop there. Others make half an attempt to create something and give up when something similar is in the airwaves\u2014or, worse, a \u2018trained engineer\u2019 who says, \u201cit can\u2019t be done.\u201d Others slog on to moderate success. Then there are a very few who go all the way. None, however, have had an impact […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-280","post","type-post","status-publish","format-standard","hentry","category-specials"],"acf":[],"yoast_head":"\nThe Steadicam \u2013 \u201cThe biggest thing since Technicolor\u201d - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/stead-as-she-goes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Steadicam \u2013 \u201cThe biggest thing since Technicolor\u201d - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"If we could listen in on the thoughts of most every cameraperson, we\u2019d often hear, \u201cThere has to be a better way to do this.\u201d Some people stop there. 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