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