Steadicam: Techniques and Aesthetics by Serena Ferrara

By Serena Ferrara

During this exact examine, Serena Ferrara examines the progressive impression of the Steadicam on filmmaking.

The Steadicam has freed-up the digicam operator to persist with a film's stream, anywhere it really is taking place. Serena Ferrara explains the foundations wherein the Steadicam is operated and the effect it has on filmmaking, together with the consequences it will probably produce on display, on a film's narrative, on its viewers, and at the director's creativity.

additionally featured are interviews with motion picture pros, during which quite a few perspectives of the Steadicam are offered in an open dialogue. Interviewees include:

Garrett Brown
Giuseppe Rotunno
John Carpenter
Mario Orfini
Larry McConkey
Nicola Pecorini
Haskell Wexler
Ed DiGiulio
Vittorio Storaro
Caroline Goodall

Anyone focused on, or excited about, the method of filmmaking with locate this an enlightening and inspirational examine.

*Written through an skilled Steadicam user
*Features an interview with Garrett Brown, the inventor of the Steadicam
*Covers either artistic and functional problems with using Steadicam

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Additional resources for Steadicam: Techniques and Aesthetics

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We made the well known Art Museum steps shots with Ralf [Bode, the original Director of Photography who photographed the locations scenes in Philadelphia] running along beside me carrying two automobile batteries to jump start the Arri ... Shooting began again with Sly bashing sides of beef in a cold locker, and moved on to the LA Coliseum for the fight sequences. 16). In this 30 Steadicam: techniques and aesthetics movie, a young, shy, Jewish man, following the murder of his brother, finds himself involved with ex-Nazis who are selling diamonds in New York.

Ray tips the man at the entrance, they turn right, go down a series of hallways meeting various people ... they get to the kitchen, cross it going between plates and cooks, making a series of zigzags until they get to the dining room, the owner greets them and has the waiter bring them a table and put it right in front of the stage. Larry McConkey says: ‘What makes this such an effective shot is how appropriate it is for the story, and how the actors accommodate the limitations of the camera’. The director walked through the shot with the DP, Michael Ballhaus, and Larry following the actors: We followed them down steps, along the hallway, and into the kitchen, made a circle and back out into the hallway, and finally into the dining room.

By having the camera mounted on one end of the post and the monitor and batteries on the other, the Steadicam structure spreads the camera’s mass and increases its moment of inertia8 sufficiently to counteract the rapid and involuntary rotational movements transmitted to the camera. The operator can easily give the camera any rotational movements required, thanks to the positioning of the gimbal at the centre of gravity of the entire system. Camera isolation The Steadicam isolates the camera from all but the largest movements of the operator by means of the stabilizer arm and gimbal.

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