1 00:00:00,320 --> 00:00:04,080 Speaker 1: Hi, everybody. Chuck here with another intro for our summer 2 00:00:04,240 --> 00:00:07,920 Speaker 1: movie playlist. Right now, you're about to listen to how 3 00:00:07,920 --> 00:00:10,719 Speaker 1: Steadycam Works. This one goes all the way back to 4 00:00:10,840 --> 00:00:13,840 Speaker 1: June twenty sixteen. But this was a pretty good one, everybody, 5 00:00:13,840 --> 00:00:18,040 Speaker 1: because a steadycam is one of movies great inventions, quite honestly, 6 00:00:19,000 --> 00:00:21,240 Speaker 1: first used in some of the early movies like Rocky 7 00:00:21,320 --> 00:00:23,720 Speaker 1: and the Shining. We're gonna talk about how it was made, 8 00:00:23,760 --> 00:00:27,080 Speaker 1: how it works, and how it works best. So check 9 00:00:27,120 --> 00:00:31,800 Speaker 1: it out right now. Welcome to Stuff you should know 10 00:00:32,400 --> 00:00:39,159 Speaker 1: from HowStuffWorks dot com. 11 00:00:39,800 --> 00:00:42,440 Speaker 2: Hey, and welcome to the podcast. I'm Josh Clark. There's 12 00:00:42,520 --> 00:00:46,360 Speaker 2: Charles w Chuck Bryant. Jerry's over there. Chuck's wearing a hat, 13 00:00:47,000 --> 00:00:47,960 Speaker 2: so it's stubby you should know. 14 00:00:48,360 --> 00:00:53,760 Speaker 3: Yeah, he's still still pretty sad. Yeah, are you really sure? 15 00:00:53,920 --> 00:00:54,080 Speaker 2: Oh? 16 00:00:54,920 --> 00:00:57,680 Speaker 1: All right, Pete, you know what I'm getting The Josh 17 00:00:57,760 --> 00:01:00,000 Speaker 1: is referencing my last chance garage hat that I've talked 18 00:01:00,120 --> 00:01:03,840 Speaker 1: way too much about. I'm getting the patch remade as 19 00:01:03,840 --> 00:01:06,920 Speaker 1: we speak. WHOA, I actually found one an eBay that 20 00:01:07,000 --> 00:01:10,280 Speaker 1: had been sold three months ago, and he's all a 21 00:01:10,280 --> 00:01:11,080 Speaker 1: big conspiracy? 22 00:01:11,680 --> 00:01:12,240 Speaker 2: Is that right? 23 00:01:12,440 --> 00:01:13,080 Speaker 1: Now? 24 00:01:13,400 --> 00:01:14,200 Speaker 2: Okay? 25 00:01:14,240 --> 00:01:15,640 Speaker 1: But I found a picture of the patch that I 26 00:01:15,720 --> 00:01:19,200 Speaker 1: sent to a patch maker who like can digitally reproduce 27 00:01:19,280 --> 00:01:19,679 Speaker 1: this thing. 28 00:01:19,760 --> 00:01:20,320 Speaker 2: Nice man. 29 00:01:20,680 --> 00:01:22,920 Speaker 1: Well then I got to find in the right hat it's. 30 00:01:22,720 --> 00:01:25,080 Speaker 2: Coming back home. Well that's step one. That's a big 31 00:01:25,120 --> 00:01:25,640 Speaker 2: step one. 32 00:01:25,760 --> 00:01:27,520 Speaker 1: Yeah, I'm getting a few patches and a few hats 33 00:01:27,560 --> 00:01:27,880 Speaker 1: this time. 34 00:01:28,000 --> 00:01:30,240 Speaker 2: I think that's a good idea. Yeah, you can name 35 00:01:30,280 --> 00:01:31,040 Speaker 2: them one through eight. 36 00:01:31,200 --> 00:01:31,640 Speaker 1: That's right. 37 00:01:33,640 --> 00:01:38,039 Speaker 2: Let's see, Chuck, you worked in the film industry previously. 38 00:01:38,319 --> 00:01:39,679 Speaker 1: Yeah, so did you technically? 39 00:01:40,400 --> 00:01:44,360 Speaker 2: Yeah, you did more than I did by far. You 40 00:01:44,680 --> 00:01:47,400 Speaker 2: worked it in front of and behind the camera. 41 00:01:47,200 --> 00:01:47,600 Speaker 1: That's right. 42 00:01:48,520 --> 00:01:50,440 Speaker 2: Did you ever work with a steady cam at all? 43 00:01:50,600 --> 00:01:51,160 Speaker 1: Yeah? 44 00:01:51,200 --> 00:01:53,320 Speaker 2: So, like you've seen these things up close? 45 00:01:53,480 --> 00:01:53,720 Speaker 1: Yep. 46 00:01:54,240 --> 00:01:56,840 Speaker 2: I don't recall Scott or anybody using one. 47 00:01:57,280 --> 00:01:58,600 Speaker 1: We did not have one on our show. 48 00:01:58,640 --> 00:02:01,640 Speaker 2: Okay, they're expensive, Okay, but I mean there is some 49 00:02:01,640 --> 00:02:04,640 Speaker 2: pretty good equipment on set. It seemed like sure, but 50 00:02:04,680 --> 00:02:06,640 Speaker 2: there was no steady cam, right, Nope, Because I was 51 00:02:06,680 --> 00:02:09,399 Speaker 2: trying to recall and I could not, for the life 52 00:02:09,400 --> 00:02:11,960 Speaker 2: of me remember a moment when there was an awesome 53 00:02:12,360 --> 00:02:16,560 Speaker 2: like extendo arm camera with like all of the components 54 00:02:16,600 --> 00:02:18,680 Speaker 2: exploded out into different parts of a poll. 55 00:02:18,560 --> 00:02:20,040 Speaker 1: That didn't happen because he would have walked in and 56 00:02:20,080 --> 00:02:23,200 Speaker 1: said what's that right, and everyone would have laughed, and 57 00:02:23,200 --> 00:02:24,960 Speaker 1: you would have been like, why does everyone make fun 58 00:02:24,960 --> 00:02:26,480 Speaker 1: of me? Would have all this stuff? 59 00:02:26,520 --> 00:02:28,600 Speaker 2: Oh uh. 60 00:02:28,840 --> 00:02:31,080 Speaker 1: Now, we never use one on our TV show for 61 00:02:31,120 --> 00:02:33,800 Speaker 1: Science Channel because, like I said, it's pricey to rent. 62 00:02:34,760 --> 00:02:36,560 Speaker 1: And this is a bit of a giveaway, but a 63 00:02:36,600 --> 00:02:42,040 Speaker 1: person steady cam operator comes with the package, right, with 64 00:02:42,080 --> 00:02:45,360 Speaker 1: all the equipment. It's a lot of times their own, 65 00:02:45,639 --> 00:02:48,720 Speaker 1: and it's you know, it's pricey, yeah, to pay for 66 00:02:48,760 --> 00:02:52,200 Speaker 1: that lady or that dude, right, But. 67 00:02:52,400 --> 00:02:56,000 Speaker 2: The reason it is price is because it's it has 68 00:02:56,040 --> 00:02:59,680 Speaker 2: a really good effect. Yeah, and the person who's doing 69 00:02:59,720 --> 00:03:01,360 Speaker 2: it really knows what they're doing. 70 00:03:01,680 --> 00:03:02,160 Speaker 1: Yeah. 71 00:03:02,200 --> 00:03:05,280 Speaker 2: I don't know, but just from researching this, it seemed 72 00:03:05,280 --> 00:03:09,440 Speaker 2: like they were probably the most skilled trades person on 73 00:03:09,600 --> 00:03:11,480 Speaker 2: the set at any given time when they were on 74 00:03:11,520 --> 00:03:12,600 Speaker 2: the set. Is that right? 75 00:03:12,680 --> 00:03:14,840 Speaker 1: Well, I think it's just a matter of what skill. 76 00:03:15,760 --> 00:03:16,840 Speaker 1: It's just a different skill. 77 00:03:17,040 --> 00:03:19,480 Speaker 2: Are they like the highest echelon of camera operators? 78 00:03:19,639 --> 00:03:22,160 Speaker 1: No, it's just different Okay, like a top niner. 79 00:03:22,200 --> 00:03:24,119 Speaker 2: Niche Yeah, okay, I got it there. 80 00:03:24,240 --> 00:03:27,040 Speaker 1: But but you don't just wade into steady cam and 81 00:03:27,680 --> 00:03:29,600 Speaker 1: start getting work the next day. It does take a 82 00:03:29,600 --> 00:03:32,360 Speaker 1: lot of work to master. But like a good dolly, 83 00:03:32,440 --> 00:03:36,760 Speaker 1: grip is just as skilled, right, it just pushing that 84 00:03:36,800 --> 00:03:38,600 Speaker 1: thing around, But that takes a. 85 00:03:38,680 --> 00:03:41,320 Speaker 2: Very non herky jerky Well it's not. 86 00:03:41,280 --> 00:03:44,200 Speaker 1: Gonna be herky jerky anyway, but just to hit the marks, right, 87 00:03:44,280 --> 00:03:46,120 Speaker 1: and oh I see yeah, I mean all that stuff 88 00:03:46,160 --> 00:03:47,240 Speaker 1: takes a great amount of skill. 89 00:03:47,440 --> 00:03:49,800 Speaker 2: Well, let's talk about this because Steadycam, you know, when 90 00:03:49,800 --> 00:03:52,880 Speaker 2: I came of age, was already invented. It was it 91 00:03:52,920 --> 00:03:55,840 Speaker 2: was basically became commercially available the year I was born. 92 00:03:56,080 --> 00:03:59,280 Speaker 2: So I don't really know a world prior to Steady Camp. 93 00:03:59,400 --> 00:04:01,640 Speaker 2: I've never seen a movie that came out before nineteen 94 00:04:01,680 --> 00:04:02,600 Speaker 2: seventy six. 95 00:04:02,600 --> 00:04:06,960 Speaker 3: Funny, and I'm just used to it, right, Yeah, But 96 00:04:06,960 --> 00:04:09,640 Speaker 3: it's it's it's interesting to look back and see that 97 00:04:09,640 --> 00:04:12,240 Speaker 3: there there actually is a point in time where this 98 00:04:12,280 --> 00:04:15,480 Speaker 3: one dude who was actually kind of an outsider of 99 00:04:15,520 --> 00:04:20,880 Speaker 3: the movie business basically changed it permanently forever for sure. 100 00:04:21,080 --> 00:04:25,240 Speaker 1: Yeah. His name was Garrett Brown. Is Garrett Brown. 101 00:04:25,720 --> 00:04:26,920 Speaker 2: Yeah he's still around right. 102 00:04:26,839 --> 00:04:30,599 Speaker 1: Yeah, And he he was working for well, he was 103 00:04:30,640 --> 00:04:34,760 Speaker 1: working in TV commercials on Sesame Street, in Philadelphia. Yeah, 104 00:04:35,040 --> 00:04:40,159 Speaker 1: and he got a little frustrated, as camera people do 105 00:04:41,080 --> 00:04:45,400 Speaker 1: pre steady cam with not being able to accomplish certain shots. 106 00:04:45,880 --> 00:04:50,599 Speaker 2: Yeah, there's supposedly there were thirty impossible shots that just 107 00:04:50,640 --> 00:04:54,240 Speaker 2: based on the equipment of the day, you just couldn't 108 00:04:54,279 --> 00:04:55,200 Speaker 2: do right. 109 00:04:55,440 --> 00:04:55,800 Speaker 1: Yeah. 110 00:04:56,000 --> 00:04:57,440 Speaker 2: Well, and a lot of it had to do with 111 00:04:57,480 --> 00:05:01,040 Speaker 2: like rough terrain. Sure, staircases were big one. Yeah, and 112 00:05:01,080 --> 00:05:03,040 Speaker 2: the recent these shots were impossible. It's not like you 113 00:05:03,040 --> 00:05:05,359 Speaker 2: couldn't lug a camera around up and down the stairs, 114 00:05:05,560 --> 00:05:08,200 Speaker 2: but the movement that the camera recorded would be so 115 00:05:08,360 --> 00:05:11,240 Speaker 2: jarring that it would render the film like that that 116 00:05:11,480 --> 00:05:12,600 Speaker 2: it would be unusable. 117 00:05:13,120 --> 00:05:16,000 Speaker 1: Yeah, and this was in the day before I mean 118 00:05:16,040 --> 00:05:19,320 Speaker 1: there were shaky cam shots and like Cassavettis and all 119 00:05:19,360 --> 00:05:22,520 Speaker 1: these early indie filmmakers did a lot of like avant 120 00:05:22,560 --> 00:05:25,200 Speaker 1: garde handheld stuff. But it was known as avant garde 121 00:05:25,320 --> 00:05:28,360 Speaker 1: right cause it looked different and people were used to 122 00:05:28,480 --> 00:05:31,440 Speaker 1: kind of smoother looking things in mainstream movies at the time. 123 00:05:31,520 --> 00:05:34,719 Speaker 2: Yeah, it had like a real frenetic energy to it. 124 00:05:34,760 --> 00:05:36,839 Speaker 1: Yeah, which you see all the time now. It's like 125 00:05:36,880 --> 00:05:37,920 Speaker 1: a bona fide thing. 126 00:05:38,279 --> 00:05:41,279 Speaker 2: But it wasn't just like picking up the movements of 127 00:05:41,360 --> 00:05:44,840 Speaker 2: the camera. It was like telegraphing them as far as 128 00:05:44,839 --> 00:05:47,359 Speaker 2: the human brain's concerned, because we take it for granted, 129 00:05:47,520 --> 00:05:51,600 Speaker 2: but we have in our own brains a pretty complex system. 130 00:05:51,720 --> 00:05:51,920 Speaker 1: Yeah. 131 00:05:51,960 --> 00:05:55,919 Speaker 2: That involves the inner ear coordinating with the movement of 132 00:05:55,960 --> 00:06:00,479 Speaker 2: the retina so that it offsets the movement and the 133 00:06:00,520 --> 00:06:04,679 Speaker 2: motion and the jarring impact of like just walking. 134 00:06:04,880 --> 00:06:05,240 Speaker 1: Yeah. 135 00:06:05,279 --> 00:06:07,440 Speaker 2: Like if we didn't have that, we wouldn't be able 136 00:06:07,440 --> 00:06:09,360 Speaker 2: to focus on anything while we were moving around. 137 00:06:09,560 --> 00:06:12,400 Speaker 1: Yeah, people wouldn't jog. They would get sick and vomit 138 00:06:12,440 --> 00:06:13,080 Speaker 1: every time they. 139 00:06:13,040 --> 00:06:15,400 Speaker 2: Jog, exactly right, And you certainly wouldn't be able to 140 00:06:15,560 --> 00:06:18,080 Speaker 2: read US Magazine while you were jogging or something like that. 141 00:06:18,279 --> 00:06:21,640 Speaker 2: The fact that you can, Yeah, it really is. It 142 00:06:21,680 --> 00:06:26,159 Speaker 2: really shows how incredibly complex and well developed the system is. Right, Yes, 143 00:06:26,480 --> 00:06:31,480 Speaker 2: that's what the steady cam that Garrett Brown created sought 144 00:06:31,560 --> 00:06:34,080 Speaker 2: to recreate and he did it. He nailed it, like 145 00:06:34,080 --> 00:06:35,039 Speaker 2: on the first time out. 146 00:06:35,080 --> 00:06:39,440 Speaker 1: Basically, Yeah, because we mentioned a dolli. That is, people 147 00:06:39,440 --> 00:06:42,640 Speaker 1: that know film know this stuff is like pretty rudimentary information, 148 00:06:42,760 --> 00:06:44,800 Speaker 1: But a lot of people don't know what a dolli is. 149 00:06:44,839 --> 00:06:47,040 Speaker 1: And they see the word dolly grip in the movie. 150 00:06:47,200 --> 00:06:50,040 Speaker 1: They just think it sounds funny. But the DOLLI is 151 00:06:50,080 --> 00:06:51,960 Speaker 1: how you typically would get a smooth shot. It's just 152 00:06:52,000 --> 00:06:57,359 Speaker 1: a big, super super heavy sled with wheels right that 153 00:06:57,480 --> 00:06:59,760 Speaker 1: the camera sits on and the camera operator sits on. 154 00:07:00,320 --> 00:07:02,719 Speaker 1: And it's either on a very smooth floor, it's on 155 00:07:02,760 --> 00:07:05,880 Speaker 1: a piece of track like a little railroad car, and 156 00:07:05,960 --> 00:07:07,920 Speaker 1: it pushes along and that's how you get those nice 157 00:07:07,920 --> 00:07:08,600 Speaker 1: smooth shots. 158 00:07:09,279 --> 00:07:11,360 Speaker 2: So that's a dolly. The problem with the dolly is 159 00:07:11,360 --> 00:07:15,080 Speaker 2: is you can't really lay that track over a rocky 160 00:07:15,200 --> 00:07:18,000 Speaker 2: terrain if you're filming on Mars or something like that. 161 00:07:18,160 --> 00:07:20,520 Speaker 1: No, and like you said, you can't push it up 162 00:07:20,520 --> 00:07:23,120 Speaker 1: and downstairs. It just had its limitations. 163 00:07:22,640 --> 00:07:25,160 Speaker 2: Right, it did. So Garrett Brown said, I'm sick of 164 00:07:25,200 --> 00:07:28,240 Speaker 2: these limitations. I'm so tired of being limited by dolly 165 00:07:28,440 --> 00:07:32,240 Speaker 2: stupid dollies. I'm going to invent something better. And so 166 00:07:32,400 --> 00:07:37,160 Speaker 2: he tinkered around with his what was called the Brown 167 00:07:37,360 --> 00:07:41,880 Speaker 2: Stabilizer at first, Yeah, he later renamed the steady Cam. Yeah, 168 00:07:41,920 --> 00:07:45,200 Speaker 2: and to show off, like at first he was just 169 00:07:45,280 --> 00:07:47,640 Speaker 2: using him in commercials, and he was like, this is 170 00:07:47,840 --> 00:07:50,400 Speaker 2: way bigger than just commercials. Yeah, I'm going to make 171 00:07:50,600 --> 00:07:53,720 Speaker 2: a sizzle reel, and he made a sizzle reel of 172 00:07:53,760 --> 00:07:57,680 Speaker 2: the thirty impossible shots that you just couldn't do before, 173 00:07:57,760 --> 00:07:59,440 Speaker 2: and he did it with the steady cam, but he 174 00:07:59,480 --> 00:08:00,960 Speaker 2: didn't show how it was done. 175 00:08:01,360 --> 00:08:04,560 Speaker 1: Yeah, and you can. He was able to save ten 176 00:08:04,600 --> 00:08:08,080 Speaker 1: of those shots and digitize them, and a couple of 177 00:08:08,160 --> 00:08:11,560 Speaker 1: years ago he finally released online ten of those so 178 00:08:11,600 --> 00:08:13,800 Speaker 1: you can actually go see this original reel. Yeah, it's 179 00:08:13,840 --> 00:08:14,960 Speaker 1: pretty cool. 180 00:08:15,160 --> 00:08:17,440 Speaker 2: His wife and his best friend like just doing stuff, 181 00:08:17,480 --> 00:08:19,840 Speaker 2: while just doing stuff, like, you know, like one of 182 00:08:19,880 --> 00:08:23,720 Speaker 2: them was swimming. You can't run alongside somebody swimming, apparently 183 00:08:23,880 --> 00:08:26,240 Speaker 2: was an impossible shot. I'm not quite sure why. 184 00:08:26,320 --> 00:08:28,840 Speaker 1: Well, you just couldn't run alongside someone doing anything. 185 00:08:29,480 --> 00:08:31,480 Speaker 2: Oh, okay, that's what it was, even with a dolly. 186 00:08:33,480 --> 00:08:35,280 Speaker 1: Well, no, you could have. You could have laid dolly 187 00:08:35,360 --> 00:08:37,200 Speaker 1: track down the link of a swimming pool. 188 00:08:36,960 --> 00:08:38,800 Speaker 2: Shirt, right, That's why I didn't understand that one was 189 00:08:38,840 --> 00:08:42,160 Speaker 2: an impossible shot. But to show off, he goes question 190 00:08:42,280 --> 00:08:47,720 Speaker 2: he goes around a slide just to kind of show. 191 00:08:47,559 --> 00:08:50,000 Speaker 1: Maybe maybe that was the impossibility of it. 192 00:08:50,080 --> 00:08:51,839 Speaker 2: But then his buddy gets out of the pool and 193 00:08:51,880 --> 00:08:54,800 Speaker 2: like walking like he pivots around him, and I'm sure 194 00:08:55,600 --> 00:08:58,280 Speaker 2: when he put this reel together and he sent it out. 195 00:08:58,360 --> 00:09:02,359 Speaker 2: The directors are like, this is magic sorcery. 196 00:09:02,840 --> 00:09:05,160 Speaker 1: Well, it was mind blowing, and some people say it 197 00:09:05,240 --> 00:09:09,080 Speaker 1: was the first viral video because it was shared around 198 00:09:09,120 --> 00:09:13,520 Speaker 1: Hollywood literally in a matter of days. Everybody in Hollywood 199 00:09:13,720 --> 00:09:16,440 Speaker 1: was saying what in the world, Like you said, what 200 00:09:16,559 --> 00:09:17,360 Speaker 1: is this sorcery? 201 00:09:17,640 --> 00:09:17,880 Speaker 2: Right? 202 00:09:17,960 --> 00:09:19,839 Speaker 1: This Garrett Brown has bestowed upon us. 203 00:09:19,920 --> 00:09:22,520 Speaker 2: Yeah, it was a bit of a mic drop as 204 00:09:22,520 --> 00:09:23,720 Speaker 2: far as that reel goes. 205 00:09:23,800 --> 00:09:28,200 Speaker 1: And Stanley Kubrick being Stanley Kubrick sent a message to 206 00:09:28,280 --> 00:09:31,520 Speaker 1: Garrett Brown that said, if you are really concerned about 207 00:09:31,559 --> 00:09:34,959 Speaker 1: protecting its design before you fully patent it, I suggest 208 00:09:35,000 --> 00:09:37,120 Speaker 1: you delete the two occasions on the reel where the 209 00:09:37,120 --> 00:09:40,000 Speaker 1: shadow on the ground gives a skilled counter intelligence photo 210 00:09:40,000 --> 00:09:43,160 Speaker 1: interpreter a fairly clear representation of a man holding a 211 00:09:43,160 --> 00:09:45,280 Speaker 1: pole with one hand, with something or other at the 212 00:09:45,280 --> 00:09:47,280 Speaker 1: bottom of the pole, which appears to be slowly moving. 213 00:09:48,160 --> 00:09:51,679 Speaker 1: All of that is Stanley Kubrickian for, Hey, there's a 214 00:09:51,720 --> 00:09:56,120 Speaker 1: shadow in one of your shots of the steady camop. 215 00:09:56,200 --> 00:09:59,000 Speaker 2: Yeah, which was pretty cool of him to do. Sure, 216 00:09:59,120 --> 00:10:01,240 Speaker 2: because I'm sure there were plenty of people in Hollywood 217 00:10:01,240 --> 00:10:03,079 Speaker 2: who would have been like Okay, I think I kind 218 00:10:03,080 --> 00:10:05,679 Speaker 2: of get the idea of what this was, because there 219 00:10:05,760 --> 00:10:09,920 Speaker 2: was no suggestion whatsoever of what what Garrett Brown had 220 00:10:10,000 --> 00:10:12,360 Speaker 2: used to get these shots except in those shadows. So 221 00:10:12,600 --> 00:10:16,040 Speaker 2: he went eat and went and immediately cut those, yeah, 222 00:10:16,080 --> 00:10:18,720 Speaker 2: those I think fourteen seconds out of his reel and 223 00:10:18,720 --> 00:10:20,280 Speaker 2: then released the second edition. 224 00:10:20,360 --> 00:10:22,560 Speaker 1: And it looked pretty good. I mean, it's it's rough 225 00:10:22,600 --> 00:10:26,080 Speaker 1: compared to today's standard, sure, but the time it was 226 00:10:26,160 --> 00:10:27,959 Speaker 1: it was like unbelievable, right. 227 00:10:27,880 --> 00:10:32,240 Speaker 2: It changed everything? Oh yeah. And one of the shots 228 00:10:32,280 --> 00:10:36,400 Speaker 2: that he got was his wife Ellen. He said, dear, 229 00:10:36,440 --> 00:10:39,320 Speaker 2: why don't you put on your most seventies bell bottoms 230 00:10:39,320 --> 00:10:42,280 Speaker 2: you can find? And I'm going to run up behind 231 00:10:42,280 --> 00:10:44,840 Speaker 2: you as you run up the steps to the Philadelphia 232 00:10:44,920 --> 00:10:47,520 Speaker 2: Museum of Art, and maybe when you get to the top, 233 00:10:47,600 --> 00:10:51,360 Speaker 2: you can raise your hands in triumph and I will 234 00:10:51,440 --> 00:10:55,360 Speaker 2: spin around you. And if that shot sounds familiar, it 235 00:10:55,480 --> 00:10:59,880 Speaker 2: actually attracted a guy, a director named John what is 236 00:11:00,120 --> 00:11:00,840 Speaker 2: the Avilson? 237 00:11:01,000 --> 00:11:03,800 Speaker 1: Yeah, John G. Avelson, who said I. 238 00:11:03,720 --> 00:11:05,640 Speaker 2: Like this, I'm going to use it in this little 239 00:11:05,679 --> 00:11:07,160 Speaker 2: film I'm directing called Rocky. 240 00:11:07,400 --> 00:11:08,040 Speaker 1: Yeah. 241 00:11:08,080 --> 00:11:10,760 Speaker 2: And I didn't get whether or not this was the case, 242 00:11:10,800 --> 00:11:16,280 Speaker 2: but did they did? They locate Rocky in Philadelphia because 243 00:11:16,320 --> 00:11:19,760 Speaker 2: of those steps. No, because he said, how did you 244 00:11:19,800 --> 00:11:21,880 Speaker 2: do that? And where are those steps? 245 00:11:22,679 --> 00:11:26,280 Speaker 1: I don't think so, man, because I wondered that too, like, like, 246 00:11:26,400 --> 00:11:28,240 Speaker 1: did he not have a scene written where Rocky just 247 00:11:28,320 --> 00:11:30,760 Speaker 1: runs up those steps? Right? I mean Stallone wrote it. 248 00:11:32,120 --> 00:11:33,680 Speaker 1: I think they just have to ask him. 249 00:11:34,040 --> 00:11:40,839 Speaker 2: Okay, hey, Sly, I was wondering if that was pretty good. 250 00:11:41,280 --> 00:11:43,800 Speaker 1: I answered in that little moment. Someone will have to 251 00:11:43,800 --> 00:11:48,960 Speaker 1: interpret that. Great movie though. Man, I rewatched that Rocky. Yeah, 252 00:11:49,000 --> 00:11:53,120 Speaker 1: like this year, from beginning to end, just phenomenal movie. 253 00:11:53,720 --> 00:11:55,600 Speaker 1: I'm trying to get Emily to watch it. 254 00:11:55,640 --> 00:11:58,680 Speaker 2: Has she never seen the original? No, it's its own 255 00:11:58,760 --> 00:12:01,439 Speaker 2: thing for sure, Like it's it's much like the sequel. 256 00:12:01,679 --> 00:12:03,720 Speaker 1: No, really, it's a love story for the most part. 257 00:12:03,720 --> 00:12:07,120 Speaker 2: It's a love story and like the triumph of the 258 00:12:07,120 --> 00:12:07,680 Speaker 2: Little Guy. 259 00:12:07,840 --> 00:12:10,800 Speaker 1: Yeah story for sure, Yeah, featuring boxing. 260 00:12:10,520 --> 00:12:13,920 Speaker 2: Right, that's exactly right. Yeah, But two and three and 261 00:12:14,520 --> 00:12:17,200 Speaker 2: on onward, it's like a totally different thing. 262 00:12:17,440 --> 00:12:18,520 Speaker 1: Yeah, but those are good too. 263 00:12:18,600 --> 00:12:20,720 Speaker 2: Yeah. They said, let's take your story, take out the 264 00:12:20,720 --> 00:12:22,679 Speaker 2: heart and insert cocaine instead. 265 00:12:23,840 --> 00:12:28,120 Speaker 1: Insert mister t I don't get the cocaine reference. 266 00:12:28,360 --> 00:12:31,280 Speaker 2: Oh, it's just the eighties in Hollywood got hands on sure, 267 00:12:31,400 --> 00:12:32,400 Speaker 2: you know what I mean, I gotcha. 268 00:12:33,280 --> 00:12:36,120 Speaker 1: Uh yeah, that's a good question, though I wonder about 269 00:12:36,160 --> 00:12:39,319 Speaker 1: that if he surely they didn't remake it for Philadelphia 270 00:12:39,360 --> 00:12:39,920 Speaker 1: just for that. 271 00:12:40,080 --> 00:12:44,120 Speaker 2: Well, But the point is is Garrett Brown created on 272 00:12:44,160 --> 00:12:48,680 Speaker 2: this sizzle reel the one of the most iconic shots 273 00:12:48,720 --> 00:12:51,720 Speaker 2: in filmmaking history, for sure, and he sent that reel 274 00:12:51,760 --> 00:12:55,240 Speaker 2: out and within that year, I believe nineteen seventy six, 275 00:12:56,040 --> 00:12:59,720 Speaker 2: three Major Motion Pictures hired him to operate his steady 276 00:12:59,720 --> 00:13:03,840 Speaker 2: camp for it. There was Rocky Yep, there was what 277 00:13:03,960 --> 00:13:05,840 Speaker 2: was the one about Woody Guthrie. 278 00:13:05,440 --> 00:13:08,320 Speaker 1: Bound for Glory? Yeah, I think that one came out first, 279 00:13:08,960 --> 00:13:11,840 Speaker 1: So that was the first actual like h and that 280 00:13:11,920 --> 00:13:15,280 Speaker 1: one the steady came up was Garrett Brown, I think 281 00:13:15,320 --> 00:13:17,040 Speaker 1: for all these because he was the only guy that 282 00:13:17,120 --> 00:13:18,600 Speaker 1: knew how. He got a lot of work early on. 283 00:13:18,720 --> 00:13:20,440 Speaker 2: Yeah, and I think the operation, I think the patent 284 00:13:20,480 --> 00:13:22,760 Speaker 2: was still pending until nineteen seventy seven, so I'm sure 285 00:13:22,800 --> 00:13:25,080 Speaker 2: he don't play the thing out of everybody closed your 286 00:13:25,120 --> 00:13:26,040 Speaker 2: eyes while I shoot this. 287 00:13:26,600 --> 00:13:29,840 Speaker 1: But on Bound for Glory, he was on a crane 288 00:13:29,880 --> 00:13:34,440 Speaker 1: even that lowered down, stepped off the crane. So people 289 00:13:34,480 --> 00:13:37,000 Speaker 1: had seen crane shots, but then for the crane to 290 00:13:37,080 --> 00:13:38,839 Speaker 1: go down, down, down, and then all of a sudden 291 00:13:38,880 --> 00:13:40,679 Speaker 1: start following this guy. Everyone was like, what. 292 00:13:40,720 --> 00:13:42,840 Speaker 2: In the world, right, there would have been a cut, Yeah, 293 00:13:42,880 --> 00:13:45,720 Speaker 2: after the crane stopped, and then before you know, they 294 00:13:45,760 --> 00:13:47,400 Speaker 2: would have cut and he would have gotten a position 295 00:13:47,440 --> 00:13:49,920 Speaker 2: and then started up again. This is one smooth shot. 296 00:13:50,000 --> 00:13:51,480 Speaker 1: One smooth shot, yeah, and then. 297 00:13:51,400 --> 00:13:54,280 Speaker 2: The other one was Marathon Man. So right out of 298 00:13:54,280 --> 00:13:56,640 Speaker 2: the blue, this guy who was a commercial director and 299 00:13:56,720 --> 00:14:01,400 Speaker 2: made short films for Same Street, changed filmmaking single handedly. 300 00:14:01,520 --> 00:14:04,600 Speaker 1: Yeah, and won an Academy Award nineteen seventy eight for 301 00:14:04,720 --> 00:14:11,320 Speaker 1: Technical Achievement. I got that patent in seventy seven. And well, 302 00:14:11,320 --> 00:14:12,800 Speaker 1: that's it. That's the history of the steadycam. 303 00:14:13,160 --> 00:14:14,880 Speaker 2: That's it. Everybody, good night. 304 00:14:15,840 --> 00:14:18,000 Speaker 1: But we're gonna should we take a break and tell 305 00:14:18,040 --> 00:14:19,040 Speaker 1: everyone how this thing works. 306 00:14:19,200 --> 00:14:38,080 Speaker 2: Let's do it man, all right, Chuck, So the Steadi Camp. 307 00:14:38,120 --> 00:14:41,040 Speaker 2: Do you remember when we did our episode on breathalyzers. 308 00:14:41,640 --> 00:14:43,480 Speaker 1: Oh boy, that was a long time ago, and we. 309 00:14:43,440 --> 00:14:45,560 Speaker 2: Found out that the breathalyzer is one of the most 310 00:14:45,560 --> 00:14:46,920 Speaker 2: complicated machines. 311 00:14:47,560 --> 00:14:50,840 Speaker 1: Yeah, on the planet. I kind of hated that one. 312 00:14:50,640 --> 00:14:54,560 Speaker 2: Like there were crystals involved somehow I hated that one too, 313 00:14:54,680 --> 00:14:59,000 Speaker 2: dark crystals. This is a bit like that, like if 314 00:14:59,040 --> 00:15:02,080 Speaker 2: you really dive in the steadycams. Like this article on 315 00:15:02,160 --> 00:15:07,480 Speaker 2: how stuff works, does it's labyrinthine talk about the dark crystal? Yeah, 316 00:15:07,520 --> 00:15:08,920 Speaker 2: we're talking labyrinth instead. 317 00:15:09,000 --> 00:15:12,600 Speaker 1: Yeah. But we're gonna simplify it because you don't need 318 00:15:12,640 --> 00:15:14,640 Speaker 1: to break this thing apart and look at every component 319 00:15:14,760 --> 00:15:15,680 Speaker 1: like this article does. 320 00:15:16,040 --> 00:15:17,840 Speaker 2: I mean, it really gets involved. 321 00:15:18,240 --> 00:15:19,760 Speaker 1: What you should do is look at a picture of 322 00:15:19,800 --> 00:15:22,880 Speaker 1: someone operating one. Yeah, and just because when you look 323 00:15:22,920 --> 00:15:25,880 Speaker 1: at it, you go, it all makes a lot more sense. 324 00:15:25,680 --> 00:15:28,560 Speaker 2: Right, And there's really just three main parts to the 325 00:15:28,600 --> 00:15:31,560 Speaker 2: whole thing. There's a vest, there's an arm that's attached 326 00:15:31,560 --> 00:15:33,080 Speaker 2: to the vest, and then the other end of the 327 00:15:33,240 --> 00:15:36,200 Speaker 2: arm is attached to what's called the sled, yeah, which 328 00:15:36,240 --> 00:15:39,720 Speaker 2: is what the camera and its components are mounted on. Right. 329 00:15:39,920 --> 00:15:43,680 Speaker 1: Yeah, And that arm, I mean just picture yourself wearing 330 00:15:43,720 --> 00:15:49,320 Speaker 1: a like a baby Bjorn baby carrier, except for instead 331 00:15:49,360 --> 00:15:53,160 Speaker 1: of the baby at your sternum, there's a mechanical arm 332 00:15:53,200 --> 00:15:53,960 Speaker 1: coming out. 333 00:15:53,760 --> 00:15:54,880 Speaker 2: Like a spring arm lamp. 334 00:15:55,560 --> 00:15:57,960 Speaker 1: Yeah, like accordion arm or a spring arm lamp. 335 00:15:58,040 --> 00:15:59,720 Speaker 2: Right, and it's virtually the same thing. 336 00:16:00,080 --> 00:16:01,920 Speaker 1: Well, yeah, and you guess who made one of these 337 00:16:03,200 --> 00:16:06,560 Speaker 1: by himself before they started making them for at home people. 338 00:16:06,760 --> 00:16:07,520 Speaker 2: Who? Casey? 339 00:16:07,680 --> 00:16:09,720 Speaker 1: No, who my brother of course? Oh? 340 00:16:09,760 --> 00:16:10,480 Speaker 2: Did he really? Yeah? 341 00:16:10,560 --> 00:16:12,080 Speaker 1: Yeah, my brother made one of these in like the 342 00:16:12,120 --> 00:16:12,920 Speaker 1: early nineties. 343 00:16:12,960 --> 00:16:13,640 Speaker 2: Did he really? 344 00:16:13,720 --> 00:16:16,840 Speaker 1: Out of door hinges and rubber bands and springs? 345 00:16:16,880 --> 00:16:19,120 Speaker 2: Does he still have it? Is it in the Smithsonian? 346 00:16:19,240 --> 00:16:22,600 Speaker 1: I don't know, it's in the Scotsonian, nice, which is 347 00:16:22,640 --> 00:16:25,000 Speaker 1: where all his early mentions. 348 00:16:24,400 --> 00:16:25,680 Speaker 2: With all his pinball machines. 349 00:16:25,800 --> 00:16:27,880 Speaker 1: Yeah, but he made one. He basically did the same thing. 350 00:16:27,960 --> 00:16:30,800 Speaker 1: He looked at it and looked at these uh swing 351 00:16:30,920 --> 00:16:33,880 Speaker 1: arm lamps and accordion arm lamps, and it's like, well, 352 00:16:33,920 --> 00:16:35,760 Speaker 1: it's the same thing. I'll just make a version of that. 353 00:16:35,840 --> 00:16:37,920 Speaker 2: It is, and it worked pretty good. It's virtually the 354 00:16:37,960 --> 00:16:38,360 Speaker 2: same thing. 355 00:16:38,480 --> 00:16:38,760 Speaker 1: Yeah. 356 00:16:38,800 --> 00:16:41,360 Speaker 2: So the whole point of a steady cam is that 357 00:16:41,480 --> 00:16:45,080 Speaker 2: it basically simulates or the arm at least simulates a 358 00:16:45,200 --> 00:16:48,840 Speaker 2: human arm right to where it can move around very easily. Yeah, 359 00:16:48,920 --> 00:16:52,000 Speaker 2: And it redistributes the weight of the camera, which can 360 00:16:52,000 --> 00:16:54,520 Speaker 2: be up to like seventy pounds I imagine probably more. 361 00:16:54,720 --> 00:16:56,920 Speaker 1: Yeah, the whole unit is pretty heavy, and it's not 362 00:16:57,040 --> 00:16:59,280 Speaker 1: easy to operate, but it hold a wear you out. 363 00:16:59,320 --> 00:17:01,800 Speaker 2: It holds it flessly, and it holds it in place. 364 00:17:01,960 --> 00:17:04,760 Speaker 2: This arm does and it does it by using springs. 365 00:17:05,240 --> 00:17:07,520 Speaker 2: And you can adjust the tension of the springs by 366 00:17:07,600 --> 00:17:10,320 Speaker 2: using a cable and pulley system. Yes, so that it 367 00:17:10,440 --> 00:17:13,600 Speaker 2: offsets the balance of the camera and holds it in 368 00:17:13,720 --> 00:17:17,359 Speaker 2: space in front of the camera operator basically so that 369 00:17:17,400 --> 00:17:20,200 Speaker 2: they can move it effortlessly up down to the side. 370 00:17:21,080 --> 00:17:23,200 Speaker 2: You can put the camera on top of the sled 371 00:17:24,320 --> 00:17:26,280 Speaker 2: so that you get high shots. You can switch it 372 00:17:26,320 --> 00:17:27,760 Speaker 2: so it goes on the bottom so you can get 373 00:17:27,760 --> 00:17:28,720 Speaker 2: low angle shots. 374 00:17:28,880 --> 00:17:31,280 Speaker 1: Yeah. The traditional it's called high mode and low mode. 375 00:17:31,320 --> 00:17:34,399 Speaker 1: And high mode is it doesn't mean it's high. It 376 00:17:34,480 --> 00:17:37,040 Speaker 1: just means it's on the top of the unit. And 377 00:17:37,080 --> 00:17:38,960 Speaker 1: then low mode is when it's on the bottom. So 378 00:17:39,000 --> 00:17:42,240 Speaker 1: if you wanted to film a mouse running across the floor, 379 00:17:42,280 --> 00:17:43,800 Speaker 1: you would put it in low mode, right, if you 380 00:17:43,800 --> 00:17:45,440 Speaker 1: want to film a human, you'd put it in high mode. 381 00:17:45,520 --> 00:17:49,520 Speaker 2: Yeah, And the camera itself is broken out into pieces, 382 00:17:49,520 --> 00:17:52,600 Speaker 2: which is kind of an ingenious trick that I guess 383 00:17:52,640 --> 00:17:55,800 Speaker 2: Garrett Brown came up with himself. I think he did. 384 00:17:56,840 --> 00:18:00,760 Speaker 2: And this is the third part the camera sled right. 385 00:18:01,119 --> 00:18:03,680 Speaker 1: Yes, the slid is what holds all the equipment. 386 00:18:03,359 --> 00:18:06,720 Speaker 2: Right, And it's basically a pole with a little bit 387 00:18:06,840 --> 00:18:10,359 Speaker 2: at the top called the stage, and that's where the 388 00:18:10,359 --> 00:18:12,399 Speaker 2: camera goes, or it could be at the bottom wherever 389 00:18:12,440 --> 00:18:15,600 Speaker 2: the camera is. The camera's mounted to the stage. Yes, 390 00:18:15,760 --> 00:18:19,119 Speaker 2: then you get the pole itself and then the I 391 00:18:19,119 --> 00:18:24,240 Speaker 2: guess the arm is connected to the pole by a gibble. 392 00:18:24,320 --> 00:18:24,880 Speaker 1: A gimbal. 393 00:18:24,960 --> 00:18:27,960 Speaker 2: A gimbal, that's right. And that's like an old technology. 394 00:18:28,000 --> 00:18:33,919 Speaker 2: It's basically something that uses basically a gyroscopic action to 395 00:18:33,960 --> 00:18:37,320 Speaker 2: take the movement of whatever is seeking to move, whatever 396 00:18:37,359 --> 00:18:39,520 Speaker 2: you want to hold still and getting rid of it. 397 00:18:39,960 --> 00:18:42,000 Speaker 2: Like everything around it moves except for the thing that 398 00:18:42,040 --> 00:18:42,920 Speaker 2: you want to hold still. 399 00:18:43,000 --> 00:18:43,840 Speaker 1: Yeah, it's pretty neat. 400 00:18:44,040 --> 00:18:46,640 Speaker 2: It's super neat. And that's just the one arm that's 401 00:18:46,680 --> 00:18:49,440 Speaker 2: connected to the pole. Yes, So you can see how 402 00:18:49,480 --> 00:18:52,080 Speaker 2: complicated this thing is. That this guy sat back and 403 00:18:52,560 --> 00:18:55,199 Speaker 2: I think in a hotel room somewhere he put it together. 404 00:18:55,880 --> 00:18:58,720 Speaker 2: Garrett Brown, the first one. There's just the ingenuity it 405 00:18:58,760 --> 00:19:03,280 Speaker 2: took to put this together. It's pretty pretty in depth 406 00:19:03,320 --> 00:19:04,480 Speaker 2: as far as inventions go. 407 00:19:04,800 --> 00:19:07,480 Speaker 1: Yeah, and there's a little science to it. There's something 408 00:19:07,520 --> 00:19:11,040 Speaker 1: called moment of inertia. It's basically how much that camera 409 00:19:11,280 --> 00:19:14,240 Speaker 1: is resistant to rotation. So if you want the camera 410 00:19:14,280 --> 00:19:16,720 Speaker 1: to be still, you want to increase that resistance to 411 00:19:16,720 --> 00:19:19,639 Speaker 1: the rotation. And this is determined by a couple of 412 00:19:19,680 --> 00:19:22,800 Speaker 1: different things. How much mass there is to the object, 413 00:19:23,119 --> 00:19:26,520 Speaker 1: and how far that mass is from its own axis 414 00:19:26,520 --> 00:19:29,479 Speaker 1: of rotation. So by spreading the camera out, he basically 415 00:19:29,560 --> 00:19:32,119 Speaker 1: took the little cameras come with a monitor now so 416 00:19:32,160 --> 00:19:34,600 Speaker 1: you can see what's going on, and a big heavy battery. 417 00:19:34,960 --> 00:19:37,080 Speaker 1: He took the monitor off of the camera. He took 418 00:19:37,119 --> 00:19:40,280 Speaker 1: the battery off of the camera and redistributed that up 419 00:19:40,320 --> 00:19:43,520 Speaker 1: and down the pole. So what he ended up doing 420 00:19:43,600 --> 00:19:47,840 Speaker 1: was spreading out that mass, which takes away the center 421 00:19:47,920 --> 00:19:49,800 Speaker 1: of gravity from the camera itself. 422 00:19:49,920 --> 00:19:51,919 Speaker 2: Yeah, because like with a regular camera where all the 423 00:19:51,920 --> 00:19:54,680 Speaker 2: components are in one single unit, that center of gravity's 424 00:19:54,680 --> 00:19:57,679 Speaker 2: inside the camera. Yeah, so it's easy to rotate. But 425 00:19:58,000 --> 00:20:02,000 Speaker 2: since he exploded it out into various components, he made 426 00:20:02,000 --> 00:20:05,760 Speaker 2: that center of gravity land somewhere on the pole, right, 427 00:20:05,840 --> 00:20:08,399 Speaker 2: and the gimbal attaches to the pole just above the 428 00:20:08,400 --> 00:20:11,520 Speaker 2: center of gravity, so that the camera operator holds the 429 00:20:11,560 --> 00:20:14,920 Speaker 2: pole and manipulates the camera at the center of gravity, 430 00:20:15,080 --> 00:20:18,399 Speaker 2: which makes it very easy to balance keep balance. 431 00:20:18,480 --> 00:20:20,359 Speaker 1: Yeah, And they do a good job in this article. 432 00:20:20,400 --> 00:20:23,200 Speaker 1: If you'd like, just take a broomstick and you find 433 00:20:23,200 --> 00:20:25,240 Speaker 1: that center of gravity with your finger. You can hold 434 00:20:25,280 --> 00:20:27,520 Speaker 1: it with your finger and lift it up and down. 435 00:20:27,440 --> 00:20:30,080 Speaker 2: Right and it just it's balance on your finger because 436 00:20:30,080 --> 00:20:31,439 Speaker 2: you're hitting that center of balance. 437 00:20:31,440 --> 00:20:34,440 Speaker 1: That's right, it's the same principle. Yeah. And in fact, 438 00:20:34,480 --> 00:20:38,760 Speaker 1: if you took if you took that same broomstick and 439 00:20:38,800 --> 00:20:40,560 Speaker 1: cut it off and you just had three feet of 440 00:20:40,560 --> 00:20:45,159 Speaker 1: broomstick and just took your SLR camera and screwed that 441 00:20:45,200 --> 00:20:48,560 Speaker 1: broomstick into the bottom of your camera instead of a tripod, 442 00:20:49,400 --> 00:20:52,000 Speaker 1: that would function. You could walk around with that and 443 00:20:52,040 --> 00:20:53,959 Speaker 1: it would be steadier than if you just had it 444 00:20:53,960 --> 00:20:54,480 Speaker 1: in your hand. 445 00:20:55,400 --> 00:20:57,639 Speaker 2: I could see that because of the change of the 446 00:20:57,640 --> 00:20:58,320 Speaker 2: center of gravity. 447 00:20:58,400 --> 00:20:59,920 Speaker 1: Change of the center of gravity, and if you put 448 00:21:00,040 --> 00:21:02,119 Speaker 1: little counterweight at the bottom, that would make it even 449 00:21:02,280 --> 00:21:04,840 Speaker 1: more steady. Yeah, And that's the whole concept of the 450 00:21:04,880 --> 00:21:08,399 Speaker 1: steady cam sled. Then attach that to an arm, that 451 00:21:09,240 --> 00:21:12,000 Speaker 1: accordion arm, and you're cooking with gas. 452 00:21:12,080 --> 00:21:13,920 Speaker 2: Yeah, Because you were saying like, if you walk around 453 00:21:13,960 --> 00:21:16,879 Speaker 2: with just the pole holding or the broomstick cut off 454 00:21:16,880 --> 00:21:21,040 Speaker 2: broomstick and you're holding it just with your hand. Yeah, 455 00:21:21,080 --> 00:21:23,840 Speaker 2: it's steady. The point of the arm is it's taking 456 00:21:23,880 --> 00:21:26,720 Speaker 2: your hand out of the equation and replacing it with 457 00:21:26,800 --> 00:21:30,560 Speaker 2: something that can isolate movement even more. Yeah, so that 458 00:21:30,720 --> 00:21:33,919 Speaker 2: your movement of you walking just gets lost within the 459 00:21:34,080 --> 00:21:36,200 Speaker 2: arm before it ever gets to the camera and could 460 00:21:36,320 --> 00:21:36,760 Speaker 2: shake it. 461 00:21:37,160 --> 00:21:39,040 Speaker 1: Yeah, like if you did it with a broomstick. Your 462 00:21:39,119 --> 00:21:41,200 Speaker 1: arm is the same thing as a steady cam orm right, 463 00:21:41,200 --> 00:21:42,000 Speaker 1: except it's better. 464 00:21:42,280 --> 00:21:43,680 Speaker 2: The steady cam arms. 465 00:21:43,720 --> 00:21:46,119 Speaker 1: Is better than your human arm, right, yes, exactly. 466 00:21:46,680 --> 00:21:47,600 Speaker 2: Pretty neat stuff. 467 00:21:47,640 --> 00:21:48,479 Speaker 1: It is neat stuff. 468 00:21:49,480 --> 00:21:51,720 Speaker 2: And I think that's it for the science man. We 469 00:21:51,800 --> 00:21:52,720 Speaker 2: made it through it. 470 00:21:53,000 --> 00:21:55,720 Speaker 1: Yeah, I mean it's all got to be very precisely balanced. 471 00:21:56,359 --> 00:21:58,520 Speaker 1: You don't just throw the stuff on the pole, willy 472 00:21:58,600 --> 00:21:59,240 Speaker 1: nilly no. 473 00:21:59,359 --> 00:22:01,440 Speaker 2: And they point out that the balance of the camera 474 00:22:01,480 --> 00:22:04,880 Speaker 2: can actually change during filming, Yeah, just from the film 475 00:22:04,920 --> 00:22:07,120 Speaker 2: moving from one end of the camera to the other 476 00:22:07,240 --> 00:22:08,480 Speaker 2: as it records. 477 00:22:08,680 --> 00:22:10,480 Speaker 1: Well, yeah, in the old days when they use film, 478 00:22:10,560 --> 00:22:14,480 Speaker 1: for sure. Nowadays it's just that digital card. Yeah, well 479 00:22:14,560 --> 00:22:15,000 Speaker 1: not always. 480 00:22:15,040 --> 00:22:17,440 Speaker 2: Quentin Tarantino's camera operators have to deal. 481 00:22:17,280 --> 00:22:19,159 Speaker 1: With this, Yeah, and if you've ever been on a 482 00:22:19,240 --> 00:22:21,480 Speaker 1: job with a steady caam, there are a lot of uh, 483 00:22:21,880 --> 00:22:23,960 Speaker 1: there's a lot of breaks where I mean you can 484 00:22:24,000 --> 00:22:26,639 Speaker 1: adjust him on the fly more now, but I remember 485 00:22:26,680 --> 00:22:28,520 Speaker 1: there just being a lot of breaks with a steadycam. 486 00:22:29,040 --> 00:22:32,119 Speaker 1: Up would say hold on, you know, I need five minutes, 487 00:22:32,119 --> 00:22:34,199 Speaker 1: and they go over and they have a little stand 488 00:22:34,280 --> 00:22:36,639 Speaker 1: that they put it on to take because you know, 489 00:22:36,800 --> 00:22:38,800 Speaker 1: it takes the weight off to a certain degree, but 490 00:22:39,119 --> 00:22:41,119 Speaker 1: it's still a lot of weight to be carrying on 491 00:22:41,280 --> 00:22:42,680 Speaker 1: a vest on your chest. 492 00:22:42,760 --> 00:22:46,600 Speaker 2: Yeah, and running and moving and doing all sorts of stuff. 493 00:22:46,800 --> 00:22:48,240 Speaker 1: Yeah, it's it's a tough gig. 494 00:22:48,359 --> 00:22:50,719 Speaker 2: Like there's a pretty amazing video. Did you watch it 495 00:22:50,760 --> 00:22:54,320 Speaker 2: of that Eurovision shot? No, there's a guy from I 496 00:22:54,320 --> 00:22:58,840 Speaker 2: think Baylarus singing and they showed they showed him. He's 497 00:22:58,880 --> 00:23:02,280 Speaker 2: like they they showed the shot and then they showed 498 00:23:02,760 --> 00:23:06,520 Speaker 2: what somebody filming the shot being done and the guy 499 00:23:06,560 --> 00:23:09,240 Speaker 2: with the SETI cam wearing the vest rides down the 500 00:23:09,320 --> 00:23:11,840 Speaker 2: aisle on a segue. 501 00:23:12,200 --> 00:23:12,800 Speaker 1: Is that what he's on? 502 00:23:12,960 --> 00:23:16,600 Speaker 2: Yeah, hops off, runs up this ramp and then starts 503 00:23:16,800 --> 00:23:20,359 Speaker 2: circling around the guy who's singing, And it's a pretty 504 00:23:20,400 --> 00:23:23,240 Speaker 2: amazing thing. It's a great shot, but then when you 505 00:23:23,240 --> 00:23:26,239 Speaker 2: see how it's done, Yeah, wow, that guy deserved a 506 00:23:26,400 --> 00:23:27,200 Speaker 2: standing ovation. 507 00:23:27,440 --> 00:23:29,879 Speaker 1: It would have been more impressive had it not like 508 00:23:29,920 --> 00:23:32,680 Speaker 1: the subject matter have been more interested in the video 509 00:23:32,760 --> 00:23:35,000 Speaker 1: quality but better pretty bad, Like if it was a 510 00:23:35,040 --> 00:23:37,639 Speaker 1: Scorsese movie, you'd be like, wow, sure, but it was 511 00:23:37,640 --> 00:23:40,199 Speaker 1: this you know, kind of corny. Well, I mean it 512 00:23:40,200 --> 00:23:41,960 Speaker 1: looked like an American idol or something. 513 00:23:41,760 --> 00:23:45,280 Speaker 2: It was, but it was American idol. If you took 514 00:23:45,880 --> 00:23:48,200 Speaker 2: American idol at its peak and then spread it out 515 00:23:48,280 --> 00:23:53,560 Speaker 2: over Eurasia and like it was popular over that that 516 00:23:53,800 --> 00:23:56,439 Speaker 2: large of a population, that's what Eurovision is. 517 00:23:57,200 --> 00:23:57,640 Speaker 1: That's right. 518 00:23:58,600 --> 00:24:00,439 Speaker 2: So you want to talk about some of the shots 519 00:24:00,480 --> 00:24:02,280 Speaker 2: when we come back after a break. 520 00:24:02,160 --> 00:24:16,320 Speaker 4: Please, Okay, all. 521 00:24:16,280 --> 00:24:19,880 Speaker 2: Right, so Chuck. In addition to that Rocky shot and 522 00:24:19,920 --> 00:24:23,360 Speaker 2: that Eurovision shot, there are some other very famous shots, 523 00:24:24,000 --> 00:24:25,760 Speaker 2: classic shots of all time. 524 00:24:26,960 --> 00:24:28,160 Speaker 1: Yeah, that had to. 525 00:24:28,080 --> 00:24:30,240 Speaker 2: Do with steady cam. They couldn't have been done without 526 00:24:30,320 --> 00:24:30,960 Speaker 2: steady cam. 527 00:24:31,080 --> 00:24:33,680 Speaker 1: Well, the Shining is the first one that pops into 528 00:24:33,720 --> 00:24:37,360 Speaker 1: most people's minds because, like we said, Kubrick was a 529 00:24:37,400 --> 00:24:41,960 Speaker 1: big fan of this invention and immediately started talks with 530 00:24:42,000 --> 00:24:45,200 Speaker 1: Garrett Brown on how to help him out with this movie, 531 00:24:45,280 --> 00:24:49,159 Speaker 1: The Shining, that he was making, and apparently they kind 532 00:24:49,200 --> 00:24:52,360 Speaker 1: of battled one another quite a bit on the set 533 00:24:52,400 --> 00:24:54,920 Speaker 1: of The Shining, and Garrett Brown later admitted he said 534 00:24:54,920 --> 00:24:57,080 Speaker 1: a lot of that was probably what do you call it, 535 00:24:57,160 --> 00:25:00,200 Speaker 1: like inventor's pride or something kind of getting in the 536 00:25:00,240 --> 00:25:04,760 Speaker 1: way of this like brilliant all tour. So Kubrick already 537 00:25:04,760 --> 00:25:06,480 Speaker 1: had his own ideas on how to best use this 538 00:25:06,520 --> 00:25:09,639 Speaker 1: thing that this other guy invented. And you know, the 539 00:25:09,640 --> 00:25:14,720 Speaker 1: Shinings classic example, those tricycle shots, the famous maze chase 540 00:25:14,720 --> 00:25:19,159 Speaker 1: at the end YEP, very iconic in motion picture history. 541 00:25:19,280 --> 00:25:23,080 Speaker 2: Yeah, and I mean the the how did they do? 542 00:25:23,119 --> 00:25:25,560 Speaker 2: You know how they did that shot behind Danny on 543 00:25:25,640 --> 00:25:26,440 Speaker 2: his little big wheel. 544 00:25:27,520 --> 00:25:29,240 Speaker 1: They probably just went into low mode and. 545 00:25:30,040 --> 00:25:31,840 Speaker 2: Like walked behind him or yeah, ran down the hall 546 00:25:31,880 --> 00:25:33,600 Speaker 2: after him. That's really impressive. 547 00:25:33,760 --> 00:25:34,800 Speaker 1: Yeah, So The. 548 00:25:34,880 --> 00:25:37,960 Speaker 2: Shining's a big one. Sure, Rocky's a big one. Goodfellows 549 00:25:38,080 --> 00:25:42,760 Speaker 2: is another classic example too, classic where Rayleioda and Lorraine 550 00:25:42,760 --> 00:25:45,439 Speaker 2: Brocco are going into the Copa Cabana, but they go 551 00:25:45,520 --> 00:25:48,439 Speaker 2: through the back yeah, and they're followed like throughout like 552 00:25:48,480 --> 00:25:51,360 Speaker 2: the backstairs into the kitchen and then they finally come 553 00:25:51,359 --> 00:25:55,320 Speaker 2: out into their table and it's like one uninterrupted, like 554 00:25:55,440 --> 00:25:56,919 Speaker 2: five minute shot or something. 555 00:25:57,520 --> 00:25:59,919 Speaker 1: It's amazing, and it's I think when you see the 556 00:26:00,160 --> 00:26:04,160 Speaker 1: you're you might see it and not be a discerning 557 00:26:04,160 --> 00:26:06,959 Speaker 1: film viewer and just say well that I didn't notice anything, 558 00:26:07,320 --> 00:26:10,880 Speaker 1: which is probably good, or you might be a fan 559 00:26:10,920 --> 00:26:12,720 Speaker 1: in steady cam and just say, man, that was amazing. 560 00:26:13,680 --> 00:26:15,399 Speaker 1: Then you have to step back and look at lighting 561 00:26:15,480 --> 00:26:18,600 Speaker 1: and realize that how incredibly hard it is to light 562 00:26:18,680 --> 00:26:21,480 Speaker 1: a shot like that that takes place over I don't 563 00:26:21,720 --> 00:26:23,240 Speaker 1: know how many hundreds of feet. 564 00:26:23,880 --> 00:26:25,600 Speaker 2: But without seeing the lights in the shot. 565 00:26:25,920 --> 00:26:28,960 Speaker 1: Well that or just consistent lighting and having it look good. 566 00:26:29,000 --> 00:26:30,840 Speaker 1: I mean that's just usually you light for like a 567 00:26:30,920 --> 00:26:34,320 Speaker 1: room or something, or a hallway, but to light all 568 00:26:34,359 --> 00:26:38,040 Speaker 1: those different rooms and hallways and just incredibly I can't 569 00:26:38,080 --> 00:26:40,200 Speaker 1: imagine how long it took to set that shot. 570 00:26:40,440 --> 00:26:41,960 Speaker 2: You know, they were like, wait, what do you want 571 00:26:42,000 --> 00:26:42,199 Speaker 2: to do? 572 00:26:42,440 --> 00:26:45,600 Speaker 1: Yeah, it'll be great, don worry about it, stay with me. 573 00:26:47,720 --> 00:26:51,280 Speaker 1: You know, he's making another gangster movie. 574 00:26:51,640 --> 00:26:52,480 Speaker 2: No I didn't know that. 575 00:26:52,880 --> 00:26:57,000 Speaker 1: Yeah, and it may be like the some folks are saying, 576 00:26:57,040 --> 00:27:00,000 Speaker 1: it's like, you know, his last big gangster movie. Yeah, 577 00:27:00,040 --> 00:27:03,080 Speaker 1: but it's got de Niro again. Okay, he hadn't worked 578 00:27:03,080 --> 00:27:07,000 Speaker 1: with him in a long time. Paccino and Joe pesci 579 00:27:07,119 --> 00:27:08,200 Speaker 1: Is coming out of retirement. 580 00:27:08,480 --> 00:27:10,440 Speaker 2: I didn't even know he was retired. I just thought 581 00:27:10,440 --> 00:27:12,840 Speaker 2: he wasn't doing stuff anymo. Man, he retired, I didn't 582 00:27:12,880 --> 00:27:13,119 Speaker 2: know that. 583 00:27:13,440 --> 00:27:17,600 Speaker 1: Yeah, so's he's got the three heavyweights and supposedly Harveycattail. 584 00:27:17,640 --> 00:27:19,240 Speaker 1: Of course you got to throw him in there. Sure, 585 00:27:19,560 --> 00:27:21,719 Speaker 1: but I'm just like giddy thinking about this. 586 00:27:21,920 --> 00:27:25,560 Speaker 2: Yeah, I'm glad he is because his last one was departed, right. 587 00:27:26,280 --> 00:27:30,440 Speaker 1: No, he's made movies since then, like Wolf of Wall Streets, Yeah, 588 00:27:30,440 --> 00:27:32,320 Speaker 1: which I thought was great. I know you didn't love it. 589 00:27:33,880 --> 00:27:34,679 Speaker 1: I thought it was awesome. 590 00:27:34,720 --> 00:27:37,480 Speaker 2: I thought everything. But what Jack Nicholson did was was 591 00:27:37,520 --> 00:27:38,000 Speaker 2: pretty good. 592 00:27:38,080 --> 00:27:39,880 Speaker 1: Yeah, like his performance. 593 00:27:39,480 --> 00:27:40,200 Speaker 2: No, I really didn't. 594 00:27:41,440 --> 00:27:45,960 Speaker 1: Well, sorry Jack, He'll forgive that, all right, because you 595 00:27:46,040 --> 00:27:47,440 Speaker 1: like him as an actor, right, Yeah? 596 00:27:47,440 --> 00:27:51,320 Speaker 2: Okay, uh, who's a git? Come on. 597 00:27:53,640 --> 00:27:59,120 Speaker 1: Return of the Jedi nineteen eighty three, the famous speeder 598 00:27:59,680 --> 00:28:01,320 Speaker 1: bike chase scene. 599 00:28:01,960 --> 00:28:03,320 Speaker 2: And find the indoor. 600 00:28:03,640 --> 00:28:07,720 Speaker 1: Yeah, California's Redwood National Park doubled his indoor and that 601 00:28:07,880 --> 00:28:11,640 Speaker 1: was Garrett Brown walking and they sped it up. 602 00:28:12,240 --> 00:28:15,520 Speaker 2: Yeah, but and you're just like, wow, who cares. The 603 00:28:16,640 --> 00:28:19,800 Speaker 2: reason why it's such an iconic steady cam shot is 604 00:28:19,840 --> 00:28:23,320 Speaker 2: because he walked very slowly. Yeah, and when you speed 605 00:28:23,359 --> 00:28:27,320 Speaker 2: film up the tiny movements involved their telegraphed, they just 606 00:28:27,359 --> 00:28:28,720 Speaker 2: become much more exaggerated. 607 00:28:28,800 --> 00:28:29,040 Speaker 1: Yeah. 608 00:28:29,080 --> 00:28:32,160 Speaker 2: So without a setikam, when they sped the film up again, 609 00:28:32,200 --> 00:28:34,199 Speaker 2: it would have been just so blurry and just jarring. 610 00:28:34,240 --> 00:28:35,399 Speaker 2: It would have been unusable. 611 00:28:35,520 --> 00:28:35,800 Speaker 1: Yeah. 612 00:28:35,880 --> 00:28:38,040 Speaker 2: The fact that you can see the trees and stuff, 613 00:28:38,480 --> 00:28:42,440 Speaker 2: and even at that high speed, it's all steady cam. 614 00:28:42,800 --> 00:28:44,880 Speaker 1: Yeah, and people, I think it's just so easy to 615 00:28:44,920 --> 00:28:46,720 Speaker 1: take it for granted now in movies when you see 616 00:28:46,720 --> 00:28:49,960 Speaker 1: these shots. But to pioneer these these things and this 617 00:28:50,040 --> 00:28:56,720 Speaker 1: equipment was remarkable. Yeah, and nowadays you can they're all 618 00:28:56,880 --> 00:28:59,440 Speaker 1: manner of at home steady cam. You don't have to 619 00:28:59,440 --> 00:29:02,080 Speaker 1: do like Myra and build one out of spare parts 620 00:29:02,080 --> 00:29:05,520 Speaker 1: and door hinges. No, you can buy one for not 621 00:29:05,640 --> 00:29:08,600 Speaker 1: too much. Yeah, you can. You spend one hundred dollars 622 00:29:09,400 --> 00:29:12,160 Speaker 1: on a on a decent enough little home steady cam. 623 00:29:13,440 --> 00:29:17,479 Speaker 2: This article says that the steady cam curve, which was 624 00:29:17,560 --> 00:29:20,600 Speaker 2: made for GoPros, it was like one hundred bucks. 625 00:29:20,680 --> 00:29:22,320 Speaker 1: Yeah. Well those are teeny tiny. 626 00:29:22,240 --> 00:29:27,160 Speaker 2: And there's one for the iPhone called what's it called 627 00:29:27,200 --> 00:29:29,440 Speaker 2: the Smoothie. That one is like it's like, I think, 628 00:29:29,520 --> 00:29:32,560 Speaker 2: even less than a hundred bucks and it's just like 629 00:29:32,560 --> 00:29:35,840 Speaker 2: a handheld camera stabilizer that works pretty well from what 630 00:29:35,880 --> 00:29:36,440 Speaker 2: I can gather. 631 00:29:36,560 --> 00:29:39,040 Speaker 1: Yeah, we should have had Casey, our video producer, Casey. 632 00:29:39,040 --> 00:29:41,400 Speaker 1: He's in France right now though YE live in the 633 00:29:41,440 --> 00:29:44,160 Speaker 1: high life, right he should We should have had Casey 634 00:29:44,200 --> 00:29:47,440 Speaker 1: in here just given thumbs up, her thumbs down to 635 00:29:47,480 --> 00:29:50,760 Speaker 1: each one of these brands that we mentioned, and I 636 00:29:50,800 --> 00:29:53,840 Speaker 1: would trust that is like the gospel truth, right, But 637 00:29:53,960 --> 00:29:57,280 Speaker 1: Casey's not here, so we're just gonna say read online reviews. 638 00:29:57,600 --> 00:30:01,920 Speaker 2: I also saw that there's like a lot of gimbal 639 00:30:01,960 --> 00:30:07,400 Speaker 2: based drone steady cams. Yeah, they are just not not 640 00:30:07,480 --> 00:30:09,200 Speaker 2: that expensive. 641 00:30:09,680 --> 00:30:12,200 Speaker 1: They're changing the game again, sure, because then you can 642 00:30:12,240 --> 00:30:15,360 Speaker 1: do a shot where you follow someone by the swimming 643 00:30:15,360 --> 00:30:17,840 Speaker 1: pool and then fly up into outer space with them 644 00:30:17,840 --> 00:30:20,120 Speaker 1: if you want, in one continuous motion. 645 00:30:20,720 --> 00:30:24,320 Speaker 2: Like the Cisp Monster, the what the Cisp monster? You 646 00:30:24,320 --> 00:30:26,200 Speaker 2: remember the alien from Cisp Cereal? 647 00:30:26,720 --> 00:30:27,760 Speaker 1: Do remember Crisp? 648 00:30:28,080 --> 00:30:29,200 Speaker 2: Remember the weird alien? 649 00:30:29,720 --> 00:30:32,000 Speaker 1: Sort of? I didn't eat Cuisp. Wasn't that a Captain 650 00:30:32,040 --> 00:30:34,400 Speaker 1: Crunch knock offer. Was it different? 651 00:30:34,480 --> 00:30:37,120 Speaker 2: It was different because they were saucer shaped rather than 652 00:30:37,200 --> 00:30:39,640 Speaker 2: square waffle cut. 653 00:30:39,600 --> 00:30:41,680 Speaker 1: Gotcha, same thing though, yeah, same thing. 654 00:30:41,960 --> 00:30:44,800 Speaker 2: It was good. It didn't cut the tongue like Captain 655 00:30:44,840 --> 00:30:45,400 Speaker 2: Crunch did. 656 00:30:45,840 --> 00:30:49,480 Speaker 1: Yeah, the roof of the mouth. I'll suffer through that still. 657 00:30:49,640 --> 00:30:49,760 Speaker 4: Uh. 658 00:30:49,880 --> 00:30:53,840 Speaker 1: And then of course Steady Cam is a name brand, 659 00:30:53,280 --> 00:30:57,520 Speaker 1: right do. Yeah, it's made who makes it? 660 00:30:57,720 --> 00:31:01,200 Speaker 2: Tiffin? Tiffin, Now that's what Yeah, I think Tiffin does. 661 00:31:01,240 --> 00:31:03,720 Speaker 2: They have a pretty good site, like if you are 662 00:31:03,760 --> 00:31:05,920 Speaker 2: at all interested in this, like they've got a great 663 00:31:05,960 --> 00:31:08,360 Speaker 2: site and they have all of their Steadycam models with 664 00:31:08,400 --> 00:31:11,520 Speaker 2: a real like in depth overview of them and yeah, 665 00:31:11,640 --> 00:31:14,200 Speaker 2: pretty uh. I think it's got all their manuals and 666 00:31:14,240 --> 00:31:15,640 Speaker 2: everything just right there for you to read. 667 00:31:15,760 --> 00:31:18,160 Speaker 1: Yeah, there's other companies making them. Uh, there's one called 668 00:31:18,160 --> 00:31:21,920 Speaker 1: Glidecam and Vara Zoom. Yeah, but you know, Steadycam is 669 00:31:21,920 --> 00:31:24,760 Speaker 1: still probably the giant. It's like dollies. There's only two 670 00:31:24,800 --> 00:31:27,400 Speaker 1: dolly makers. Well, well there may be more now, but 671 00:31:28,000 --> 00:31:31,880 Speaker 1: it's like Chapman and Fisher and each you know, every. 672 00:31:31,680 --> 00:31:33,520 Speaker 2: Dolly grip has the dolly makers. 673 00:31:33,840 --> 00:31:35,680 Speaker 1: Yeah, the Chapman dollies are Fisher dollies. 674 00:31:36,640 --> 00:31:40,120 Speaker 2: It's kind of like kind of holding Jamison or bush mills. Yeah, 675 00:31:40,160 --> 00:31:42,760 Speaker 2: you know, Budweiser cores neither. 676 00:31:43,480 --> 00:31:43,640 Speaker 1: Uh. 677 00:31:44,320 --> 00:31:47,320 Speaker 2: And then Garrett Brown, as if the steady cam wasn't 678 00:31:47,520 --> 00:31:51,600 Speaker 2: enough as far as revolutionizing filming goes, he later on 679 00:31:51,680 --> 00:31:55,800 Speaker 2: invented something called the skycam, Yeah, which like if you 680 00:31:55,840 --> 00:31:58,920 Speaker 2: watch any kind of sporting event now especially, it's especially 681 00:31:59,040 --> 00:32:03,720 Speaker 2: useful for football and in football where like there's just 682 00:32:03,840 --> 00:32:08,000 Speaker 2: cables above the field and there's cameras hanging down that 683 00:32:08,040 --> 00:32:11,080 Speaker 2: are just like doing overhead shots following the action. Like 684 00:32:11,120 --> 00:32:11,640 Speaker 2: it's nothing. 685 00:32:11,680 --> 00:32:12,360 Speaker 1: It's pretty neat. 686 00:32:12,440 --> 00:32:13,800 Speaker 2: Garrett Brown invented that too. 687 00:32:14,360 --> 00:32:16,959 Speaker 1: I got one more little thing for you. There are 688 00:32:17,000 --> 00:32:21,920 Speaker 1: two positions, not high mode. Low mode positions are like 689 00:32:21,960 --> 00:32:25,880 Speaker 1: how you're operating the camera. But if you are pointing 690 00:32:25,920 --> 00:32:28,680 Speaker 1: forward as the operator and your camera is pointing forward, 691 00:32:29,120 --> 00:32:33,600 Speaker 1: you're just walking. It's called missionary no. And then if 692 00:32:33,640 --> 00:32:37,280 Speaker 1: you are if the operator is forward and the camera 693 00:32:37,400 --> 00:32:40,800 Speaker 1: is backward, they call that don juan. So leave it 694 00:32:40,840 --> 00:32:45,719 Speaker 1: to film set goons to think of sexual names for 695 00:32:46,000 --> 00:32:49,920 Speaker 1: sex it up camera positions. Don Juan, Yeah, I never 696 00:32:49,920 --> 00:32:50,440 Speaker 1: heard of that one. 697 00:32:50,440 --> 00:32:53,080 Speaker 2: I hadn't either. Well, if you want to know more 698 00:32:53,080 --> 00:32:57,880 Speaker 2: about steady cams, including a really really fine grain involved 699 00:32:57,960 --> 00:33:02,440 Speaker 2: look at the physics of how the steady cam arm works. 700 00:33:03,080 --> 00:33:06,600 Speaker 2: You should go type steadycam into the search part HowStuffWorks 701 00:33:06,600 --> 00:33:09,040 Speaker 2: dot com. Since I said search parts, time for a 702 00:33:09,080 --> 00:33:09,920 Speaker 2: listener mail. 703 00:33:12,240 --> 00:33:16,160 Speaker 1: I'm going to call this encouragement from a Christian listener. Okay, 704 00:33:16,600 --> 00:33:18,280 Speaker 1: Hey guys, I was listening to the Easter Show and 705 00:33:18,360 --> 00:33:21,000 Speaker 1: was compelled right in. As a Christian, I've always appreciated 706 00:33:21,000 --> 00:33:23,240 Speaker 1: how you make a solid effort to not rail on 707 00:33:23,280 --> 00:33:26,320 Speaker 1: the church too hard. I found it humorous and simultaneously 708 00:33:26,360 --> 00:33:28,560 Speaker 1: sad when you felt you had to tiptoe around the 709 00:33:28,560 --> 00:33:32,640 Speaker 1: pagan traditions that have been integrated with the Resurrection. I 710 00:33:32,640 --> 00:33:34,800 Speaker 1: find it disheartening to think that other believers can't find 711 00:33:34,800 --> 00:33:37,160 Speaker 1: anything better to do than wait to be offended by 712 00:33:37,160 --> 00:33:39,440 Speaker 1: something than jump all over you for it. But based 713 00:33:39,480 --> 00:33:42,400 Speaker 1: on your years of experience and careful treatment of the subject, 714 00:33:42,800 --> 00:33:45,360 Speaker 1: it must be the case a lot of the time. Personally, 715 00:33:45,360 --> 00:33:46,720 Speaker 1: I just want to say, I can't think of anything 716 00:33:46,720 --> 00:33:48,719 Speaker 1: you've ever said to offend me. I think you've done 717 00:33:48,760 --> 00:33:52,160 Speaker 1: a stand up job with sensitive subjects like satanic panic 718 00:33:52,200 --> 00:33:54,880 Speaker 1: in particular. It's also nice just to hear you talk 719 00:33:54,880 --> 00:33:59,280 Speaker 1: about things directly related to my beliefs without sneering like 720 00:33:59,320 --> 00:34:02,800 Speaker 1: many others. That's nice. Dane in Minnesota. 721 00:34:02,920 --> 00:34:05,520 Speaker 2: Yeah, for real thing. If you want to get in 722 00:34:05,560 --> 00:34:07,520 Speaker 2: touch with this like Dane did and be a super 723 00:34:07,520 --> 00:34:10,880 Speaker 2: cool person, you can tweet to us at s y skpodcast. 724 00:34:11,200 --> 00:34:14,200 Speaker 2: You can also follow the behind the scenes action of 725 00:34:14,440 --> 00:34:19,000 Speaker 2: Chucks in My Life at s YSK podcast. On Instagram, 726 00:34:19,120 --> 00:34:21,960 Speaker 2: you can join us on Facebook dot com slash stuff 727 00:34:21,960 --> 00:34:24,920 Speaker 2: you Should Know for the hurt, and you can send 728 00:34:24,960 --> 00:34:27,560 Speaker 2: us an email to Stuff Podcast at HowStuffWorks dot com. 729 00:34:27,640 --> 00:34:29,759 Speaker 2: In the meantime, while you're doing all this, hang out 730 00:34:29,800 --> 00:34:31,800 Speaker 2: with us at our home on the web Stuff you 731 00:34:31,840 --> 00:34:38,040 Speaker 2: Should Know dot com. 732 00:34:38,160 --> 00:34:40,680 Speaker 1: For more on this and thousands of other topics, visit 733 00:34:40,719 --> 00:34:48,799 Speaker 1: HowStuffWorks dot com.