Expanding your Orbit
In 1977, newcomer cameraman Garrett Brown wasn't happy with the state of handheld filming technique, particularly, the jerky motion that often occurred with action shots travelling over uneven terrain. He knew there had to be a better way than supporting a heavy 35mm motion picture camera while on the move. And as such, the Steadicam was born.
Making its debut in the film Bound for Glory, the Steadicam was an instant hit. Garrett, who ironically was also making his feature film debut, wasn't surprised. For several minutes, Garrett followed an actor from atop a crane, then stepped down and followed alongside him for one long shot that couldn't have been done with a tripod, a dolly, or anything else for that matter. Eventually, the Steadicam was used on movies like the Rocky series, The Shining and others. Garrett Brown and the Steadicam were a hit.
Proving that cameras no longer had to be tied to tripods, camera supports now come in all shapes and sizes. From the Steadicam JR, to the body crane, to Mike Figgis' steering wheel contraption the Fig Rig; affordable camera supports are helping film and video producers get the shots they need.
In the nearly 30 years since Brown invented the Steadicam, many have gone into business to compete with his design. This competition has created some really affordable and durable designs for getting that no-shake handheld tracking shot.
Tiffen, the company that now manufactures and distributes Brown's groundbreaking Steadicam design, recently announced at NAB the next generation -- the Steadicam Ultra2. Reengineering the design from the ground up, Tiffen has created a design that is truly plug and play with all its electronics turned solid state. Additionally, the Ultra2 G-70 support arm is lighter and stronger, giving it the ability to carry up to 70 pounds and have a more responsive feel for the camera operator. However, with a complete package costing more than $40,000, this is clearly for the big-time pro.
Glidecam's answer for the serious amateur is still the V20, which can stabilize cameras weighing from 15 to 30 pounds and complete systems cost less than $5,000. Varizoom is also in the game with its Aviator stabilizer system -- which can carry cameras north of 15 pounds with 38" of vertical travel on its dual-dynamic arm and 3-axis gimbal.
However, if one is on a shoestring, the Steady-Orb might be the answer. Developed by yet another Hollywood camera person with a better idea, the Steady-Orb is made of lightweight, hand machined aluminum and Teflon and was designed specifically with Mini DV camcorders in mind. Its two-position system allows for either a counter balance, or a secondary camera. The entire system includes a top camera mount plate, a two-piece supporting shaft that allows up to a 45-degree pitch adjustment, Teflon lubricated gimbal assembly, removable handle, balance plate, and a bottom camera mount bracket for vertical and horizontal shots. All at a weight of about 4 pounds plus the hard plastic carrying case.
Cranes have been around since the early days of cinema. They are great for lifting camera equipment, camera operators, and even directors to get that high overhead shot. Today's videographer may not need the girth lifting ability of its professional cousins, but there are several options out there to get that unique shot. GlideCam makes the Body Boom. Think of it as crane, meets Steadicam. The Body Boom rises from as low as 1 inch, to a towering 10 feet above the ground. With its built in motor driven pan and tilt mount, the system was designed for use with HD, DVCAM and Mini DV camcorders, meaning that it's ideal for just about any video budget.
Recently announced at NAB, the JonyJib Pro is for the serious crane shot. It has a maximum reach of 33 feet, or can nest to a compact 9 feet in length. Its design also means that the unused 4' sections of the crane arm also double as ballast when nested in place. A well thought out design.
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