1 00:00:00,560 --> 00:00:10,200 Speaker 1: Welcome to Stuff you Should Know from HowStuffWorks dot com. 2 00:00:10,360 --> 00:00:13,000 Speaker 2: Hey, and welcome to the podcast. I'm Josh Clark. There's 3 00:00:13,119 --> 00:00:17,120 Speaker 2: Charles w Chuck Bryant. Jerry's over there. Chuck's wearing a hat, 4 00:00:17,560 --> 00:00:21,439 Speaker 2: so it stuff you should know. Yeah, still still pretty sad? 5 00:00:22,400 --> 00:00:24,320 Speaker 1: Yeah? Are you really sure? 6 00:00:25,520 --> 00:00:26,279 Speaker 2: All right, Pete? 7 00:00:26,360 --> 00:00:29,120 Speaker 1: You know what I'm getting? The Josh is referencing my 8 00:00:29,200 --> 00:00:31,520 Speaker 1: last chance garage hat that I've talked way too much about. 9 00:00:32,760 --> 00:00:36,800 Speaker 1: I'm getting the patch remade as we speak. Whoa, I actually. 10 00:00:36,560 --> 00:00:39,640 Speaker 3: Found one an eBay that had been sold three months ago, 11 00:00:40,320 --> 00:00:42,280 Speaker 3: and he's all a big conspiracy. 12 00:00:42,280 --> 00:00:43,080 Speaker 2: Is that right? No? 13 00:00:43,960 --> 00:00:45,599 Speaker 1: Okay, but I found. 14 00:00:45,360 --> 00:00:46,640 Speaker 3: A picture of the patch that I sent to a 15 00:00:46,640 --> 00:00:50,240 Speaker 3: patchmaker who like, can digitally reproduce this thing? 16 00:00:50,320 --> 00:00:50,920 Speaker 2: Nice man. 17 00:00:51,240 --> 00:00:53,000 Speaker 1: Well, then I got to find in the right hat. 18 00:00:53,120 --> 00:00:55,400 Speaker 2: It's coming back home. Well that's step one. That's a 19 00:00:55,400 --> 00:00:56,240 Speaker 2: big step one. 20 00:00:56,320 --> 00:00:58,120 Speaker 1: Yeah. I'm getting a few patches and a few hats 21 00:00:58,120 --> 00:00:58,480 Speaker 1: this time. 22 00:00:58,560 --> 00:01:00,800 Speaker 2: I think that's a good idea. Yeah, you can name 23 00:01:00,880 --> 00:01:01,640 Speaker 2: them one through eight. 24 00:01:01,760 --> 00:01:02,240 Speaker 1: That's right. 25 00:01:04,200 --> 00:01:08,600 Speaker 2: Let's see, Chuck, you worked in the film industry previously. 26 00:01:08,920 --> 00:01:10,240 Speaker 1: Yeah, so did you? Technically? 27 00:01:10,959 --> 00:01:14,920 Speaker 2: Yeah, you did more than I did by far. You 28 00:01:15,240 --> 00:01:17,679 Speaker 2: worked it in front of and behind the camera. 29 00:01:17,800 --> 00:01:18,160 Speaker 1: That's right. 30 00:01:19,080 --> 00:01:21,000 Speaker 2: Did you ever work with a steady cam at all? 31 00:01:21,200 --> 00:01:21,720 Speaker 1: Yeah? 32 00:01:21,760 --> 00:01:23,880 Speaker 2: So like you've seen these things up close? 33 00:01:24,040 --> 00:01:24,280 Speaker 1: Yep. 34 00:01:24,800 --> 00:01:27,400 Speaker 2: I don't recall Scott or anybody using one. 35 00:01:27,840 --> 00:01:29,160 Speaker 1: We did not have one on our show. 36 00:01:29,240 --> 00:01:32,480 Speaker 2: Okay, they're expensive, Okay, but I mean there's some pretty 37 00:01:32,480 --> 00:01:35,440 Speaker 2: good equipment on set. It seemed like sure, but there 38 00:01:35,480 --> 00:01:37,520 Speaker 2: was no steady cam right, Nope, because I was trying 39 00:01:37,560 --> 00:01:40,080 Speaker 2: to recall and I could not, for the life of 40 00:01:40,120 --> 00:01:43,040 Speaker 2: me remember a moment when there was an awesome like 41 00:01:43,440 --> 00:01:47,760 Speaker 2: extendo arm camera with like all of the components exploded 42 00:01:47,840 --> 00:01:49,240 Speaker 2: out into different parts of a polly that. 43 00:01:49,200 --> 00:01:50,880 Speaker 1: Didn't hapen because he would have walked in and said, 44 00:01:50,960 --> 00:01:53,840 Speaker 1: what's that? Right? And everyone would have laughed, and you 45 00:01:53,840 --> 00:01:55,640 Speaker 1: would have been like, why does everyone make fun of me? 46 00:01:55,800 --> 00:01:59,560 Speaker 1: Would all this stuff? Now? 47 00:01:59,560 --> 00:02:01,960 Speaker 3: We never is one on our TV show for Science 48 00:02:02,000 --> 00:02:05,400 Speaker 3: Chowl because, like I said, it's pricey to rent, and 49 00:02:05,480 --> 00:02:07,560 Speaker 3: this is a bit of a giveaway, but a person 50 00:02:08,280 --> 00:02:13,399 Speaker 3: steadycam operator comes with the package, right, with all the equipment. 51 00:02:13,720 --> 00:02:17,560 Speaker 1: It's a lot of times their own, and it's you know, 52 00:02:17,600 --> 00:02:20,800 Speaker 1: it's pricey, yeah, to pay for that lady or that dude. 53 00:02:21,000 --> 00:02:24,919 Speaker 2: Right, But the reason it is price is because it's 54 00:02:26,320 --> 00:02:29,680 Speaker 2: it has a really good effect. Yeah, and the person 55 00:02:29,680 --> 00:02:32,799 Speaker 2: who's doing it really knows what they're doing. Yeah, I 56 00:02:33,639 --> 00:02:35,960 Speaker 2: don't know, but just from researching this, it seemed like 57 00:02:36,480 --> 00:02:40,280 Speaker 2: they were probably the most skilled trades person on the 58 00:02:40,320 --> 00:02:42,440 Speaker 2: set at any given time when they were on the set. 59 00:02:42,639 --> 00:02:43,200 Speaker 2: Is that right? 60 00:02:43,240 --> 00:02:45,400 Speaker 1: Well, I think it's just a matter of what skill. 61 00:02:46,360 --> 00:02:47,400 Speaker 1: It's just a different skill. 62 00:02:47,600 --> 00:02:50,079 Speaker 2: Are they like the highest echelon of camera operators. 63 00:02:50,200 --> 00:02:51,160 Speaker 1: No, it's just different. 64 00:02:51,320 --> 00:02:54,480 Speaker 2: Okay, like a top niche Yeah, okay, I got it. 65 00:02:54,840 --> 00:02:58,520 Speaker 3: But but you don't just wade into steadycam and start 66 00:02:58,520 --> 00:03:00,359 Speaker 3: getting worked the next day. It does take a lot 67 00:03:00,360 --> 00:03:03,320 Speaker 3: of work to master. But like a good dolly grip 68 00:03:04,560 --> 00:03:07,920 Speaker 3: is just as skilled, right at just pushing that thing around, 69 00:03:08,480 --> 00:03:09,280 Speaker 3: But that takes. 70 00:03:09,080 --> 00:03:11,880 Speaker 2: A very non herky jerky Well it's not. 71 00:03:11,880 --> 00:03:14,520 Speaker 3: Gonna heirckey jerky anyway, but just to hit the marks 72 00:03:14,560 --> 00:03:16,400 Speaker 3: right and oh I see yeah, I mean all that 73 00:03:16,440 --> 00:03:17,800 Speaker 3: stuff takes a great amount of skill. 74 00:03:18,000 --> 00:03:20,160 Speaker 2: Well, let's talk about this because STEADI camp, you know, 75 00:03:20,200 --> 00:03:23,080 Speaker 2: when I came of age, was already invented. It was 76 00:03:23,360 --> 00:03:26,440 Speaker 2: it was basically became commercially available the year I was born, 77 00:03:26,639 --> 00:03:29,920 Speaker 2: So I don't really know a world prior to STEADI Camp. 78 00:03:30,000 --> 00:03:32,160 Speaker 2: I've never seen a movie that came out before nineteen 79 00:03:32,240 --> 00:03:37,360 Speaker 2: seventy six. Funny, and I'm just used to it, right, Yeah, 80 00:03:37,400 --> 00:03:40,400 Speaker 2: but it's interesting to look back and see that there 81 00:03:40,760 --> 00:03:43,480 Speaker 2: actually is a point in time where this one dude 82 00:03:43,880 --> 00:03:46,560 Speaker 2: who was actually kind of an outsider of the movie 83 00:03:46,600 --> 00:03:53,160 Speaker 2: business basically changed it permanently forever for sure. Yeah. 84 00:03:53,360 --> 00:03:55,840 Speaker 1: His name was Garrett Brown. Is Garrett Brown. 85 00:03:56,280 --> 00:03:58,200 Speaker 2: Yeah, he's still around right, Yeah. 86 00:03:58,040 --> 00:04:01,560 Speaker 3: And he was working for well, he was working in 87 00:04:01,600 --> 00:04:04,720 Speaker 3: TV commercials on Sesame Street in Philadelphia. 88 00:04:04,920 --> 00:04:07,560 Speaker 1: Yeah, and he. 89 00:04:08,400 --> 00:04:12,880 Speaker 3: Got a little frustrated, as camera people do pre steady CAM, 90 00:04:13,280 --> 00:04:16,000 Speaker 3: with not being able to accomplish certain shots. 91 00:04:16,480 --> 00:04:21,159 Speaker 2: Yeah, there's supposedly there were thirty impossible shots that just 92 00:04:21,240 --> 00:04:24,840 Speaker 2: based on the equipment of the day, you just couldn't 93 00:04:24,880 --> 00:04:25,839 Speaker 2: do right. 94 00:04:26,000 --> 00:04:26,400 Speaker 1: Yeah. 95 00:04:26,600 --> 00:04:28,000 Speaker 2: Well, and a lot of it had to do with 96 00:04:28,040 --> 00:04:31,520 Speaker 2: like rough terrain. Sure, staircases were a big one. Yeah, 97 00:04:31,560 --> 00:04:33,520 Speaker 2: and the recent these shots were impossible. It's not like 98 00:04:33,560 --> 00:04:35,960 Speaker 2: you couldn't lug a camera around up and down the stairs, 99 00:04:36,120 --> 00:04:38,720 Speaker 2: but the movement that the camera recorded would be so 100 00:04:38,960 --> 00:04:42,120 Speaker 2: jarring that it would render the film like that it 101 00:04:42,120 --> 00:04:43,160 Speaker 2: would be unusable. 102 00:04:43,680 --> 00:04:46,600 Speaker 3: Yeah, and this was in a day before I mean 103 00:04:46,640 --> 00:04:49,920 Speaker 3: there were shaky cam shots and like Cassavettis and all 104 00:04:49,920 --> 00:04:53,120 Speaker 3: these early indie filmmakers did a lot of like avant 105 00:04:53,120 --> 00:04:55,800 Speaker 3: garde handheld stuff, but it was known as avant garde 106 00:04:55,880 --> 00:04:58,920 Speaker 3: right cause it looked different and people were used to 107 00:04:59,040 --> 00:05:02,000 Speaker 3: kind of smoother looking things in mainstream movies at the time. 108 00:05:02,080 --> 00:05:05,560 Speaker 2: Yeah, it had like a real phrenetic energy to it, Yeah, 109 00:05:05,560 --> 00:05:06,880 Speaker 2: which you see all the time now. 110 00:05:07,040 --> 00:05:08,520 Speaker 1: It's like a bona fide thing. 111 00:05:08,839 --> 00:05:11,880 Speaker 2: But it wasn't just like picking up the movements of 112 00:05:11,960 --> 00:05:15,400 Speaker 2: the camera. It was like telegraphing them as far as 113 00:05:15,440 --> 00:05:17,919 Speaker 2: the human brain's concerned, because we take it for granted, 114 00:05:18,080 --> 00:05:21,760 Speaker 2: but we have in our own brains a pretty complex 115 00:05:21,800 --> 00:05:26,400 Speaker 2: system that involves the inner ear coordinating with the movement 116 00:05:26,400 --> 00:05:30,920 Speaker 2: of the retina so that it offsets the movement and 117 00:05:30,960 --> 00:05:35,960 Speaker 2: the motion and the jarring impact of like just walking. Like, 118 00:05:36,000 --> 00:05:38,080 Speaker 2: if we didn't have that, we wouldn't be able to 119 00:05:38,080 --> 00:05:39,960 Speaker 2: focus on anything while we were moving around. 120 00:05:40,120 --> 00:05:42,960 Speaker 3: Yeah, people wouldn't jog, They would get sick and vomit 121 00:05:43,000 --> 00:05:43,600 Speaker 3: every time they. 122 00:05:43,600 --> 00:05:45,960 Speaker 2: Job exactly right, and you certainly wouldn't be able to 123 00:05:46,120 --> 00:05:48,640 Speaker 2: read US magazine while you were jogging or something like that. 124 00:05:48,839 --> 00:05:52,440 Speaker 2: The fact that you can it really is, it really 125 00:05:52,480 --> 00:05:56,680 Speaker 2: shows how incredibly complex and well developed the system is. Right. Yes, 126 00:05:57,040 --> 00:06:02,040 Speaker 2: that's what the steady cam that Garrett Brown created sought 127 00:06:02,120 --> 00:06:04,640 Speaker 2: to recreate and he did it. He nailed it like 128 00:06:04,680 --> 00:06:06,120 Speaker 2: on the first time out. Basically. 129 00:06:06,400 --> 00:06:08,039 Speaker 1: Yeah, because we mentioned a dolly. 130 00:06:08,160 --> 00:06:11,400 Speaker 3: That is people that know film know this stuff is 131 00:06:11,480 --> 00:06:14,479 Speaker 3: like pretty rudimentary information. But a lot of people don't 132 00:06:14,560 --> 00:06:16,320 Speaker 3: know what a dolly is. And they see the word 133 00:06:16,360 --> 00:06:19,000 Speaker 3: dolly grip in a movie, they just think it sounds funny. 134 00:06:19,880 --> 00:06:21,640 Speaker 3: But the dolly is how you typically would get a 135 00:06:21,680 --> 00:06:26,120 Speaker 3: smooth shot. It's just a big, super super heavy sled 136 00:06:26,400 --> 00:06:29,479 Speaker 3: with wheels that the camera sits on and the camera 137 00:06:29,520 --> 00:06:33,040 Speaker 3: operator sits on, and it's either on a very smooth floor, 138 00:06:33,040 --> 00:06:34,400 Speaker 3: it's on a piece of track. 139 00:06:34,240 --> 00:06:35,760 Speaker 1: Like a little railroad car. 140 00:06:36,279 --> 00:06:38,240 Speaker 3: And it pushes along and that's how you get those 141 00:06:38,320 --> 00:06:39,200 Speaker 3: nice smooth shots. 142 00:06:39,880 --> 00:06:41,960 Speaker 2: So that's a dolly. The problem with the dolly is 143 00:06:41,960 --> 00:06:45,679 Speaker 2: is you can't really lay that track over a rocky 144 00:06:45,760 --> 00:06:48,599 Speaker 2: terrain if you're filming on Mars or something like that. 145 00:06:48,760 --> 00:06:51,080 Speaker 3: No, and like you said, you can't push it up 146 00:06:51,120 --> 00:06:53,680 Speaker 3: and downstairs. It just had its limitations, right, it did. 147 00:06:53,800 --> 00:06:56,760 Speaker 2: So Garrett Brown said, I'm sick of these limitations. I'm 148 00:06:56,800 --> 00:07:00,640 Speaker 2: so tired of being limited by Dolly, stupid Dolly. I'm 149 00:07:00,680 --> 00:07:04,240 Speaker 2: going to invent something better. And so he tinkered around 150 00:07:05,200 --> 00:07:09,760 Speaker 2: with his what was called the Brown Stabilizer at first, Yeah, 151 00:07:09,840 --> 00:07:12,760 Speaker 2: which he later renamed the steady Cam. Yeah, and to 152 00:07:12,840 --> 00:07:16,240 Speaker 2: show off, like at first he was just using him 153 00:07:16,240 --> 00:07:19,000 Speaker 2: in commercials, and he was like, this is way bigger 154 00:07:19,040 --> 00:07:22,119 Speaker 2: than just commercials. Yeah, I'm going to make a sizzle reel. 155 00:07:22,760 --> 00:07:25,480 Speaker 2: And he made a sizzle reel of the thirty impossible 156 00:07:25,480 --> 00:07:28,760 Speaker 2: shots that you just couldn't do before, and he did 157 00:07:28,760 --> 00:07:30,840 Speaker 2: it with the steady cam, but he didn't show how 158 00:07:30,880 --> 00:07:31,520 Speaker 2: it was done. 159 00:07:31,920 --> 00:07:32,760 Speaker 1: Yeah, and you can. 160 00:07:33,600 --> 00:07:37,200 Speaker 3: He was able to save ten of those shots and 161 00:07:37,240 --> 00:07:39,680 Speaker 3: digitize them, and a couple of years ago he finally 162 00:07:39,720 --> 00:07:42,760 Speaker 3: released online ten of those so you can actually go 163 00:07:42,800 --> 00:07:43,840 Speaker 3: see this original reel. 164 00:07:44,000 --> 00:07:45,520 Speaker 1: Yeah, it's pretty cool. 165 00:07:45,720 --> 00:07:48,000 Speaker 2: His wife and his best friend like just doing stuff, 166 00:07:48,040 --> 00:07:50,400 Speaker 2: while just doing stuff, like you know, like one of 167 00:07:50,440 --> 00:07:54,320 Speaker 2: them was swimming. You can't run alongside somebody swimming apparently 168 00:07:54,440 --> 00:07:57,080 Speaker 2: was an impossible shot. I'm not quite sure why. 169 00:07:56,920 --> 00:07:59,360 Speaker 1: Well, you just couldn't run alongside someone doing anything. 170 00:08:00,080 --> 00:08:01,080 Speaker 2: Oh, okay, that's what it was. 171 00:08:01,200 --> 00:08:01,760 Speaker 1: Even with a. 172 00:08:01,760 --> 00:08:05,600 Speaker 3: Dolly Well, no, you could have. You could have laid 173 00:08:05,600 --> 00:08:07,920 Speaker 3: dolly track down the length of a swimming pool shirt. 174 00:08:07,800 --> 00:08:09,520 Speaker 2: Right, That's why I didn't understand that one was an 175 00:08:09,520 --> 00:08:12,920 Speaker 2: impossible shot. But to show off, he goes question, he 176 00:08:13,040 --> 00:08:16,280 Speaker 2: goes around a slide. 177 00:08:17,360 --> 00:08:19,440 Speaker 3: Just to kind of show maybe maybe that was the 178 00:08:19,440 --> 00:08:20,600 Speaker 3: impossibility of it. 179 00:08:20,640 --> 00:08:22,400 Speaker 2: But then his buddy gets out of the pool and 180 00:08:22,440 --> 00:08:25,360 Speaker 2: like walking like he pivots around him. And I'm sure 181 00:08:26,160 --> 00:08:28,880 Speaker 2: when he put this reel together and he sent it out, 182 00:08:28,960 --> 00:08:32,920 Speaker 2: the directors are like, this is magic sorcery. 183 00:08:33,400 --> 00:08:34,560 Speaker 1: Well, it was mind blowing. 184 00:08:34,600 --> 00:08:38,240 Speaker 3: And some people say it was the first viral video 185 00:08:38,400 --> 00:08:41,760 Speaker 3: because it was shared around Hollywood literally in a matter 186 00:08:41,800 --> 00:08:46,120 Speaker 3: of days. Everybody in Hollywood was saying what in the world, 187 00:08:46,280 --> 00:08:47,960 Speaker 3: Like you said, what is this sorcery? 188 00:08:48,200 --> 00:08:48,440 Speaker 2: Right? 189 00:08:48,520 --> 00:08:50,400 Speaker 1: This Garrett Brown has bestowed upon us? 190 00:08:50,520 --> 00:08:52,920 Speaker 2: Yeah, it's It was a bit of a mic drop 191 00:08:52,960 --> 00:08:54,280 Speaker 2: as far as that reel goes. 192 00:08:54,360 --> 00:08:58,760 Speaker 3: And Stanley Kubrick being Stanley Kubrick sent a message to 193 00:08:58,840 --> 00:09:02,120 Speaker 3: Garrett Brown that said, if you are really concerned about 194 00:09:02,120 --> 00:09:05,520 Speaker 3: protecting its design before you fully patent it, I suggest 195 00:09:05,559 --> 00:09:07,679 Speaker 3: you delete the two occasions on the reel where the 196 00:09:07,679 --> 00:09:10,560 Speaker 3: shadow on the ground gives the skilled counter intelligence photo 197 00:09:10,600 --> 00:09:13,720 Speaker 3: interpreter a fairly clear representation of a man holding a 198 00:09:13,720 --> 00:09:15,839 Speaker 3: pole with one hand, with something or other at the 199 00:09:15,840 --> 00:09:17,160 Speaker 3: bottom of the pole, which appears to. 200 00:09:17,120 --> 00:09:17,839 Speaker 1: Be slowly moving. 201 00:09:18,760 --> 00:09:22,280 Speaker 3: All of that is Stanley Kubrickian for Hey, there's a 202 00:09:22,280 --> 00:09:24,400 Speaker 3: shadow in one of your shots. 203 00:09:25,600 --> 00:09:26,640 Speaker 1: Of the steady. 204 00:09:26,240 --> 00:09:29,560 Speaker 2: Camopea, which is pretty cool of him to do. Sure, 205 00:09:29,679 --> 00:09:31,800 Speaker 2: because I'm sure there were plenty of people in Hollywood 206 00:09:31,800 --> 00:09:33,680 Speaker 2: who would have been like, Okay, I think I kind 207 00:09:33,679 --> 00:09:36,280 Speaker 2: of get the idea of what this was, because there 208 00:09:36,360 --> 00:09:40,719 Speaker 2: was no suggestion whatsoever of what Garrett Brown had used 209 00:09:40,760 --> 00:09:43,320 Speaker 2: to get these shots except in those shadows. So he 210 00:09:43,400 --> 00:09:47,120 Speaker 2: went and went and immediately cut those, yeah, those I 211 00:09:47,120 --> 00:09:49,840 Speaker 2: think fourteen seconds out of his reel, and then released 212 00:09:49,840 --> 00:09:50,920 Speaker 2: the second edition. 213 00:09:50,920 --> 00:09:52,000 Speaker 1: And it looked pretty good. 214 00:09:52,040 --> 00:09:55,480 Speaker 3: I mean, it's rough compared to today's standard, sure, but 215 00:09:55,640 --> 00:09:58,600 Speaker 3: for the time it was like unbelievable, right. 216 00:09:58,440 --> 00:10:02,800 Speaker 2: It changed everything. Oh yeah, and one of the shots 217 00:10:02,840 --> 00:10:06,960 Speaker 2: that he got was his wife Ellen. He said, dear, 218 00:10:07,000 --> 00:10:09,880 Speaker 2: why don't you put on your most seventies bell bottoms 219 00:10:09,920 --> 00:10:12,960 Speaker 2: you can find and I'm going to run up behind you. 220 00:10:13,120 --> 00:10:15,880 Speaker 2: Is you run up the steps to the Philadelphia Museum 221 00:10:15,920 --> 00:10:18,079 Speaker 2: of Art, And maybe when you get to the top, 222 00:10:18,160 --> 00:10:21,920 Speaker 2: you can raise your hands in triumph and I will 223 00:10:22,040 --> 00:10:25,920 Speaker 2: spin around you. And if that shot sounds familiar, it 224 00:10:26,040 --> 00:10:30,640 Speaker 2: actually attracted a guy, a director named John what is 225 00:10:30,640 --> 00:10:31,400 Speaker 2: it avilds Son? 226 00:10:31,559 --> 00:10:32,079 Speaker 1: Yeah, John G. 227 00:10:32,200 --> 00:10:35,480 Speaker 2: Avelson, who said, I like this, I'm going to use 228 00:10:35,520 --> 00:10:37,720 Speaker 2: it in this little film I'm directing called Rocky. 229 00:10:37,960 --> 00:10:38,600 Speaker 1: Yeah. 230 00:10:38,640 --> 00:10:41,320 Speaker 2: And I didn't get whether or not this was the case. 231 00:10:41,360 --> 00:10:46,840 Speaker 2: But did they Did they locate Rocky in Philadelphia because 232 00:10:46,880 --> 00:10:47,600 Speaker 2: of those steps? 233 00:10:48,520 --> 00:10:48,559 Speaker 1: No? 234 00:10:48,880 --> 00:10:51,680 Speaker 2: Because he said, how did you do that? And where 235 00:10:51,679 --> 00:10:52,480 Speaker 2: are those steps? 236 00:10:53,240 --> 00:10:55,160 Speaker 3: I don't think so, man, because I wondered that too, 237 00:10:55,280 --> 00:10:58,400 Speaker 3: like like, did he not have a scene written where 238 00:10:58,480 --> 00:10:59,760 Speaker 3: Rocky just runs up those steps? 239 00:10:59,840 --> 00:11:00,000 Speaker 2: Right? 240 00:11:00,120 --> 00:11:03,480 Speaker 1: I mean Stallone wrote it. I think they al just 241 00:11:03,520 --> 00:11:04,240 Speaker 1: have to ask him. 242 00:11:04,600 --> 00:11:09,800 Speaker 2: Okay, hey, Sly, I was wondering if you yeah, that 243 00:11:09,880 --> 00:11:10,840 Speaker 2: was pretty good. 244 00:11:11,840 --> 00:11:14,360 Speaker 3: I answered in that little moment. Someone will have to 245 00:11:14,400 --> 00:11:17,280 Speaker 3: interpret that. Great movie though. 246 00:11:17,280 --> 00:11:17,400 Speaker 1: Man. 247 00:11:17,559 --> 00:11:21,959 Speaker 3: I rewatched that Yeah, like this year from beginning to end, 248 00:11:22,520 --> 00:11:23,720 Speaker 3: just phenomenal movie. 249 00:11:24,280 --> 00:11:25,719 Speaker 1: I'm trying to get Emily to watch it. 250 00:11:26,200 --> 00:11:27,520 Speaker 2: Has she never seen the original. 251 00:11:27,679 --> 00:11:29,960 Speaker 1: No, it's its own thing for sure. 252 00:11:30,040 --> 00:11:32,080 Speaker 2: Like it's not it's a boxing movies. 253 00:11:32,480 --> 00:11:34,280 Speaker 1: Really, it's a love story for the most part. 254 00:11:34,320 --> 00:11:37,680 Speaker 2: It's a love story and like the triumph of the 255 00:11:37,720 --> 00:11:41,240 Speaker 2: little guy. Yeah story for sure, Yeah, featuring boxing, right, 256 00:11:41,679 --> 00:11:45,560 Speaker 2: that's exactly right. Yeah, But two and three and on 257 00:11:45,559 --> 00:11:47,800 Speaker 2: on word it's like a totally different thing. 258 00:11:48,000 --> 00:11:49,079 Speaker 1: Yeah, but those were good too. 259 00:11:49,160 --> 00:11:51,280 Speaker 2: Yeah, they said, let's take your story, take out the 260 00:11:51,320 --> 00:11:53,280 Speaker 2: heart and insert cocaine. 261 00:11:52,840 --> 00:11:58,679 Speaker 1: Instead, insert mister t. I don't get the cocaine reference. 262 00:11:58,920 --> 00:12:01,839 Speaker 2: Oh, it's just the eighties and Hollywood got hands on sure, 263 00:12:02,000 --> 00:12:02,680 Speaker 2: you know what I mean. 264 00:12:02,600 --> 00:12:03,000 Speaker 1: I gotcha. 265 00:12:03,840 --> 00:12:06,720 Speaker 3: Uh yeah, that's a good question, though, I wonder about 266 00:12:06,720 --> 00:12:10,199 Speaker 3: that if he surely didn't remake it for Philadelphia just for. 267 00:12:10,160 --> 00:12:14,400 Speaker 2: That well, But the point is is Garrett Brown created 268 00:12:14,520 --> 00:12:18,760 Speaker 2: on this sizzle reel, the one of the most iconic 269 00:12:18,840 --> 00:12:21,960 Speaker 2: shots in filmmaking history, for sure, and he sent that 270 00:12:22,040 --> 00:12:25,800 Speaker 2: reel out and within that year, I believe nineteen seventy six, 271 00:12:26,600 --> 00:12:30,280 Speaker 2: three Major Motion Pictures hired him to operate his steady 272 00:12:30,320 --> 00:12:34,480 Speaker 2: camp for it. There was Rocky yep, there was what 273 00:12:34,520 --> 00:12:35,760 Speaker 2: was the one about Woody. 274 00:12:35,480 --> 00:12:36,880 Speaker 1: Guthrie Bound for Glory? 275 00:12:37,160 --> 00:12:39,800 Speaker 3: Yeah, I think that one came out first, so that 276 00:12:39,920 --> 00:12:44,120 Speaker 3: was the first actual like h and that one the 277 00:12:44,120 --> 00:12:46,680 Speaker 3: steady camop was Garrett Brown, I think for all these huh, 278 00:12:46,720 --> 00:12:48,320 Speaker 3: because he was the only guy that knew, he got 279 00:12:48,360 --> 00:12:49,160 Speaker 3: a lot of work early on. 280 00:12:49,280 --> 00:12:51,360 Speaker 2: Yeah, And I think I think the patent was still 281 00:12:51,360 --> 00:12:53,959 Speaker 2: pending until nineteen seventy seven, so I'm sure he'p the 282 00:12:54,000 --> 00:12:56,600 Speaker 2: thing out of everybody closed your eyes while I shoot this. 283 00:12:57,160 --> 00:13:00,400 Speaker 3: But on Bound for Glory, he was on a crane 284 00:13:00,440 --> 00:13:05,040 Speaker 3: even that lowered down, stepped off the crane, so people 285 00:13:05,040 --> 00:13:07,600 Speaker 3: had seen crane shots, but then for the crane to 286 00:13:07,640 --> 00:13:09,439 Speaker 3: go down, down, down, and then all of a sudden 287 00:13:09,480 --> 00:13:11,440 Speaker 3: start following this guy, everyone was like what in the 288 00:13:11,480 --> 00:13:11,920 Speaker 3: word right? 289 00:13:11,920 --> 00:13:14,600 Speaker 2: There would have been a cut, yeah, after the crane stopped, 290 00:13:14,600 --> 00:13:16,959 Speaker 2: and then before you know, they would cut and he 291 00:13:17,000 --> 00:13:19,000 Speaker 2: would have gotten a position and then started up again. 292 00:13:19,160 --> 00:13:20,480 Speaker 2: This is one smooth shot. 293 00:13:20,559 --> 00:13:21,640 Speaker 1: One smooth shot yeah. 294 00:13:21,640 --> 00:13:23,719 Speaker 2: And then the other one was Marathon Man, So. 295 00:13:23,760 --> 00:13:25,160 Speaker 1: Another great right out of the blue. 296 00:13:25,200 --> 00:13:27,920 Speaker 2: This guy who was a commercial director and made short 297 00:13:27,920 --> 00:13:32,440 Speaker 2: films for Sestame Street changed filmmaking like single handedly. 298 00:13:32,080 --> 00:13:35,160 Speaker 3: Yeah, and won an Academy Award nineteen seventy eight for 299 00:13:35,320 --> 00:13:40,000 Speaker 3: Technical achievement, got that patent in seventy seven, and. 300 00:13:41,679 --> 00:13:43,520 Speaker 1: Well, that's it. That's the history of the steady. 301 00:13:43,240 --> 00:13:45,439 Speaker 2: Gam that's it. Everyboding good night. 302 00:13:46,400 --> 00:13:48,559 Speaker 3: But we're gonna should we take a break and tell 303 00:13:48,600 --> 00:13:49,600 Speaker 3: everyone how this thing works. 304 00:13:49,800 --> 00:14:08,160 Speaker 2: Let's do it man, all right, Chuck? So the STUDI CAAMP. 305 00:14:08,200 --> 00:14:11,080 Speaker 2: Do you remember when we did our episode on breathalyzers. 306 00:14:11,720 --> 00:14:13,559 Speaker 1: Oh boy, that was a long time ago, and we. 307 00:14:13,520 --> 00:14:15,640 Speaker 2: Found out that the breathalyzer is one of the most 308 00:14:15,640 --> 00:14:18,679 Speaker 2: complicated machines. Yeah, on the planet. 309 00:14:19,520 --> 00:14:20,920 Speaker 1: I kind of hated that one. 310 00:14:20,720 --> 00:14:24,640 Speaker 2: Like there were crystals involved somehow. I hated that one too, 311 00:14:24,760 --> 00:14:29,080 Speaker 2: dark crystals. This is a bit like that, Like if 312 00:14:29,120 --> 00:14:32,360 Speaker 2: you really dive into steticams, like this article on how 313 00:14:32,400 --> 00:14:36,520 Speaker 2: stuff works does it's it's it's labyrinthine talk about the 314 00:14:36,600 --> 00:14:39,000 Speaker 2: dark crystal. Yeah, we're talking labyrinth instead. 315 00:14:39,080 --> 00:14:39,280 Speaker 1: Yeah. 316 00:14:39,280 --> 00:14:42,800 Speaker 3: But we're gonna simplify it because you don't need to 317 00:14:42,880 --> 00:14:44,920 Speaker 3: break this thing apart and look at every component like 318 00:14:44,920 --> 00:14:45,680 Speaker 3: this article does. 319 00:14:46,080 --> 00:14:47,920 Speaker 2: I mean it really gets involved. 320 00:14:48,320 --> 00:14:49,840 Speaker 3: What you should do is look at a picture of 321 00:14:49,880 --> 00:14:52,960 Speaker 3: someone operating one. Yeah, and just because when you look 322 00:14:53,000 --> 00:14:55,880 Speaker 3: at it, you go it all makes a lot more sense. 323 00:14:55,760 --> 00:14:58,640 Speaker 2: Right, And there's really just three main parts to the 324 00:14:58,640 --> 00:15:01,640 Speaker 2: whole thing. There's a vest, there's an arm that's attached 325 00:15:01,640 --> 00:15:03,160 Speaker 2: to the vest, and then the other end of the 326 00:15:03,280 --> 00:15:06,280 Speaker 2: arm is attached to what's called the sled, yeah, which 327 00:15:06,280 --> 00:15:09,800 Speaker 2: is what the camera and its components are mounted on. Right. 328 00:15:09,960 --> 00:15:13,760 Speaker 3: Yeah, and that arm, I mean just picture yourself wearing 329 00:15:13,800 --> 00:15:19,400 Speaker 3: a like a baby Bjorn baby carrier, except for instead 330 00:15:19,400 --> 00:15:23,240 Speaker 3: of the baby at your sternum, there's a mechanical arm 331 00:15:23,280 --> 00:15:23,960 Speaker 3: coming out. 332 00:15:23,840 --> 00:15:24,920 Speaker 2: Like a spring arm lamp. 333 00:15:25,600 --> 00:15:28,000 Speaker 1: Yeah, like accordion arm or a spring arm lamp. 334 00:15:28,120 --> 00:15:29,760 Speaker 2: Right, And it's virtually the same thing. 335 00:15:30,080 --> 00:15:33,400 Speaker 3: Well, yeah, and guess who made one of these by 336 00:15:33,480 --> 00:15:36,600 Speaker 3: himself before they started making them for at home people. 337 00:15:36,840 --> 00:15:38,520 Speaker 2: Who? Casey? Who? 338 00:15:38,760 --> 00:15:39,640 Speaker 1: My brother? Of course? 339 00:15:39,640 --> 00:15:40,560 Speaker 2: Oh? Did he really? Yeah? 340 00:15:40,640 --> 00:15:42,160 Speaker 3: Yeah, my brother made one of these in like the 341 00:15:42,200 --> 00:15:46,880 Speaker 3: early nineties out of door hinges and rubber bands and springs. 342 00:15:46,960 --> 00:15:49,200 Speaker 2: Does he still have it? Is it in the Smithsonian? 343 00:15:49,320 --> 00:15:49,920 Speaker 1: I don't know. 344 00:15:50,200 --> 00:15:54,760 Speaker 3: It's in the Scotsonian, which is where all his early mentions. 345 00:15:54,480 --> 00:15:55,720 Speaker 2: With all his pinball machines. 346 00:15:55,840 --> 00:15:57,960 Speaker 1: Yeah, but he made one. He basically did the same thing. 347 00:15:58,040 --> 00:16:01,760 Speaker 3: He looked at it and looked at these swing arm lamps, right, 348 00:16:01,800 --> 00:16:04,200 Speaker 3: and accordion arm lamps, and it's like, well, it's the 349 00:16:04,240 --> 00:16:04,640 Speaker 3: same thing. 350 00:16:04,680 --> 00:16:05,800 Speaker 1: I'll just make a version of that. 351 00:16:06,280 --> 00:16:08,000 Speaker 2: It is, and it worked pretty good. It's virtually the 352 00:16:08,040 --> 00:16:08,440 Speaker 2: same thing. 353 00:16:08,560 --> 00:16:08,840 Speaker 1: Yeah. 354 00:16:08,880 --> 00:16:11,440 Speaker 2: So the whole point of a steady cam is that 355 00:16:11,560 --> 00:16:15,160 Speaker 2: it basically stimulates or the arm at least simulates a 356 00:16:15,280 --> 00:16:18,920 Speaker 2: human arm right to where it can move around very easily. Yeah, 357 00:16:19,000 --> 00:16:22,080 Speaker 2: And it redistributes the weight of the camera, which can 358 00:16:22,080 --> 00:16:24,600 Speaker 2: be up to like seventy pounds I imagine probably more. 359 00:16:24,760 --> 00:16:27,000 Speaker 3: Yeah, the whole unit is pretty heavy, and it's not 360 00:16:27,120 --> 00:16:28,560 Speaker 3: easy to operate. 361 00:16:28,280 --> 00:16:29,320 Speaker 1: But it'll hold a wear you out. 362 00:16:29,400 --> 00:16:31,880 Speaker 2: It holds it effortlessly, and it holds it in place. 363 00:16:32,000 --> 00:16:34,840 Speaker 2: This arm does and it does it by using springs. 364 00:16:35,320 --> 00:16:37,600 Speaker 2: And you can adjust the tension of the springs by 365 00:16:37,680 --> 00:16:40,440 Speaker 2: using a cable and pulley system. Yes, so that it 366 00:16:40,520 --> 00:16:43,680 Speaker 2: offsets the balance of the camera and holds it in 367 00:16:43,800 --> 00:16:47,440 Speaker 2: space in front of the camera operator basically so that 368 00:16:47,480 --> 00:16:50,280 Speaker 2: they can move it effortlessly up down to the side. 369 00:16:51,160 --> 00:16:53,280 Speaker 2: You can put the camera on top of the sled 370 00:16:54,400 --> 00:16:56,360 Speaker 2: so that you get high shots. You can switch it 371 00:16:56,400 --> 00:16:57,840 Speaker 2: so it goes on the bottom so you can get 372 00:16:57,840 --> 00:16:58,800 Speaker 2: low angle shots. 373 00:16:58,960 --> 00:16:59,160 Speaker 1: Yeah. 374 00:16:59,200 --> 00:17:01,480 Speaker 3: The traditional it's called high mode and low mode and 375 00:17:01,600 --> 00:17:04,679 Speaker 3: high mode is it doesn't mean it's high, it just 376 00:17:04,720 --> 00:17:06,160 Speaker 3: means it's on the top. 377 00:17:05,960 --> 00:17:06,480 Speaker 1: Of the unit. 378 00:17:07,040 --> 00:17:08,920 Speaker 3: And then low mode is when it's on the bottom. 379 00:17:08,960 --> 00:17:11,919 Speaker 3: So if you wanted to film a mouse running across 380 00:17:11,960 --> 00:17:12,840 Speaker 3: the floor, you would put. 381 00:17:12,760 --> 00:17:14,320 Speaker 1: It in low mode, right. If you want to film 382 00:17:14,320 --> 00:17:15,520 Speaker 1: a human, you put it in high mode. 383 00:17:15,600 --> 00:17:19,560 Speaker 2: Yeah. And the camera itself is broken out into pieces, 384 00:17:19,600 --> 00:17:22,680 Speaker 2: which is kind of an ingenious trick that I guess 385 00:17:22,720 --> 00:17:25,880 Speaker 2: Garrett Brown came up with himself. I think he did. 386 00:17:26,880 --> 00:17:31,040 Speaker 2: And this is the third part. The camera slid right. 387 00:17:31,160 --> 00:17:33,680 Speaker 1: Yes, the slid is what holds all the equipment. 388 00:17:33,440 --> 00:17:36,800 Speaker 2: Right, And it's basically a pole with a little bit 389 00:17:36,920 --> 00:17:40,320 Speaker 2: at the top called the stage. Yeah, and that's where 390 00:17:40,320 --> 00:17:42,159 Speaker 2: the camera goes, or it could be at the bottom 391 00:17:42,160 --> 00:17:45,320 Speaker 2: wherever the camera is. The camera's mounted to the stage. 392 00:17:45,440 --> 00:17:45,680 Speaker 1: Yes. 393 00:17:45,840 --> 00:17:49,199 Speaker 2: Then you get the pole itself and then the I 394 00:17:49,200 --> 00:17:53,880 Speaker 2: guess the arm is connected to the pole by a gibble, 395 00:17:54,400 --> 00:17:57,080 Speaker 2: a gimbal. A gimbal, that's right. And it's like an 396 00:17:57,119 --> 00:18:01,320 Speaker 2: old technology. It's basically sure something that uses base gyroscopic 397 00:18:01,440 --> 00:18:07,080 Speaker 2: action to take the movement of whatever is seeking to move, 398 00:18:07,119 --> 00:18:09,480 Speaker 2: whatever you want to hold still and getting rid of 399 00:18:09,480 --> 00:18:11,800 Speaker 2: it Yeah, like everything around it moves except for the 400 00:18:11,840 --> 00:18:13,000 Speaker 2: thing that you want to hold still. 401 00:18:13,080 --> 00:18:13,920 Speaker 1: Yeah, it's pretty neat. 402 00:18:14,080 --> 00:18:16,720 Speaker 2: It's super neat. And that's just the one arm that's 403 00:18:16,720 --> 00:18:19,520 Speaker 2: connected to the pole. Yes, So you can see how 404 00:18:19,520 --> 00:18:22,600 Speaker 2: complicated this thing is. That this guy sat back and 405 00:18:22,640 --> 00:18:25,280 Speaker 2: I think in a hotel room somewhere he put it together. 406 00:18:25,960 --> 00:18:28,800 Speaker 2: Garrett Brown, the first one. There's just the ingenuity it 407 00:18:28,840 --> 00:18:33,359 Speaker 2: took to put this together. It's pretty pretty in depth 408 00:18:33,400 --> 00:18:34,520 Speaker 2: as far as inventions go. 409 00:18:34,880 --> 00:18:37,560 Speaker 3: Yeah, and there's a little science to it. There's something 410 00:18:37,600 --> 00:18:41,080 Speaker 3: called moment of inertia. It's basically how much that camera 411 00:18:41,359 --> 00:18:44,320 Speaker 3: is resistant to rotation. So if you want the camera 412 00:18:44,359 --> 00:18:46,760 Speaker 3: to be still, you want to increase that resistance to 413 00:18:46,800 --> 00:18:49,760 Speaker 3: the rotation. And this is determined by a couple of 414 00:18:49,760 --> 00:18:52,880 Speaker 3: different things. How much mass there is to the object, 415 00:18:53,160 --> 00:18:56,120 Speaker 3: and how far that mass is the from its own 416 00:18:56,200 --> 00:18:59,159 Speaker 3: axis of rotation. So by spreading the camera out, he 417 00:18:59,200 --> 00:19:02,200 Speaker 3: basically took the cameras come with a monitor now, so 418 00:19:02,240 --> 00:19:04,679 Speaker 3: you can see what's going on in a big heavy battery. 419 00:19:05,040 --> 00:19:07,160 Speaker 3: He took the monitor off of the camera, He took 420 00:19:07,200 --> 00:19:10,320 Speaker 3: the battery off of the camera and redistributed that up 421 00:19:10,400 --> 00:19:13,600 Speaker 3: and down the pole. So what he ended up doing 422 00:19:13,680 --> 00:19:17,919 Speaker 3: was spreading out that mass, which takes away the center 423 00:19:18,000 --> 00:19:19,840 Speaker 3: of gravity from the camera itself. 424 00:19:19,960 --> 00:19:22,000 Speaker 2: Yeah, because like with a regular camera, where all the 425 00:19:22,000 --> 00:19:24,600 Speaker 2: components are in one single unit, that center of gravity 426 00:19:24,640 --> 00:19:27,440 Speaker 2: is inside the camera. Yeah, so it's easy to rotate. 427 00:19:27,680 --> 00:19:31,440 Speaker 2: But since he exploded it out into its various components, 428 00:19:31,640 --> 00:19:35,840 Speaker 2: he made that center of gravity land somewhere on the pole, right, 429 00:19:35,880 --> 00:19:38,480 Speaker 2: and the gimbal attaches to the pole just above the 430 00:19:38,480 --> 00:19:41,600 Speaker 2: center of gravity, so that the camera operator holds the 431 00:19:41,640 --> 00:19:45,000 Speaker 2: pole and manipulates the camera at the center of gravity, 432 00:19:45,160 --> 00:19:48,439 Speaker 2: which makes it very easy to balance keep balance. 433 00:19:48,560 --> 00:19:50,440 Speaker 1: Yeah, And they do a good job in this article. 434 00:19:50,480 --> 00:19:53,280 Speaker 3: If you'd like, just take a broomstick and you find 435 00:19:53,280 --> 00:19:55,320 Speaker 3: that center of gravity with your finger. You can hold 436 00:19:55,359 --> 00:19:57,600 Speaker 3: it with your finger and lift it up and down. 437 00:19:57,520 --> 00:19:59,800 Speaker 2: Right, and it just it's balanced on your finger be 438 00:20:00,160 --> 00:20:01,520 Speaker 2: you're hitting that center of balance. 439 00:20:01,520 --> 00:20:04,520 Speaker 1: That's right. It's the same principle. Yeah. And in fact, 440 00:20:04,520 --> 00:20:05,360 Speaker 1: if you took. 441 00:20:07,160 --> 00:20:09,440 Speaker 3: If you took that same broomstick and cut it off 442 00:20:09,440 --> 00:20:12,359 Speaker 3: and you just had three feet of broomstick and just 443 00:20:12,440 --> 00:20:16,560 Speaker 3: took your SLR camera and screwed that broomstick into the 444 00:20:16,600 --> 00:20:18,280 Speaker 3: bottom of your camera, instead of a. 445 00:20:18,160 --> 00:20:20,360 Speaker 1: Tripod that would function. 446 00:20:20,480 --> 00:20:22,520 Speaker 3: You could walk around with that and it would be 447 00:20:22,560 --> 00:20:24,560 Speaker 3: steadier than if you just had it in your hand. 448 00:20:25,480 --> 00:20:27,679 Speaker 2: I could see that because of the change of the 449 00:20:27,720 --> 00:20:28,399 Speaker 2: center of gravity. 450 00:20:28,480 --> 00:20:30,040 Speaker 3: Change of the center of gravity, and if you put 451 00:20:30,040 --> 00:20:31,879 Speaker 3: a little counterweight at the bottom, it would make it 452 00:20:31,920 --> 00:20:34,920 Speaker 3: even more steady. And that's the whole concept of the 453 00:20:34,960 --> 00:20:38,480 Speaker 3: steady cam sled. Then attach that to an arm, that 454 00:20:39,320 --> 00:20:42,080 Speaker 3: accordion arm, and you're cooking with gas. 455 00:20:42,160 --> 00:20:43,960 Speaker 2: Yeah, because you were saying, like if you walk around 456 00:20:44,000 --> 00:20:46,919 Speaker 2: with just the pole holding or the broomstick, cut off 457 00:20:46,960 --> 00:20:51,119 Speaker 2: broomstick and you're holding it just with your hand, Yeah, 458 00:20:51,160 --> 00:20:53,879 Speaker 2: it's steady. The point of the arm is it's taking 459 00:20:53,920 --> 00:20:56,800 Speaker 2: your hand out of the equation and replacing it with 460 00:20:56,840 --> 00:21:00,639 Speaker 2: something that can isolate movement even more. Yeah, so that 461 00:21:00,760 --> 00:21:04,000 Speaker 2: your movement of you walking just gets lost within the 462 00:21:04,119 --> 00:21:06,320 Speaker 2: arm before it ever gets to the camera and could 463 00:21:06,400 --> 00:21:06,840 Speaker 2: shake it. 464 00:21:07,240 --> 00:21:09,080 Speaker 3: Yeah, like if you did it with a broomstick. Your 465 00:21:09,200 --> 00:21:11,040 Speaker 3: arm is the same thing as a steady camra. 466 00:21:11,040 --> 00:21:14,000 Speaker 2: Right, it's better if the steadycam arms. 467 00:21:13,760 --> 00:21:16,200 Speaker 1: Is better than your human arm, right, yes, exactly. 468 00:21:16,760 --> 00:21:20,520 Speaker 2: Pretty neat stuff. It is neat stuff, And I think 469 00:21:20,560 --> 00:21:22,800 Speaker 2: that's it for the science man. We made it through it. 470 00:21:23,080 --> 00:21:25,760 Speaker 3: Yeah, I mean it's all got to be very precisely balanced. 471 00:21:26,440 --> 00:21:28,600 Speaker 3: You don't just throw the stuff on the pole, willy 472 00:21:28,680 --> 00:21:29,320 Speaker 3: nilly no. 473 00:21:29,440 --> 00:21:31,520 Speaker 2: And they point out that the balance of the camera 474 00:21:31,560 --> 00:21:34,919 Speaker 2: can actually change during filming. Yeah, just from the film 475 00:21:35,000 --> 00:21:37,200 Speaker 2: moving from one end to the camera to the other 476 00:21:37,800 --> 00:21:38,560 Speaker 2: as it records. 477 00:21:38,640 --> 00:21:38,760 Speaker 1: Right. 478 00:21:38,760 --> 00:21:41,080 Speaker 3: Well, yeah, in the old days when they use film, sure, 479 00:21:41,640 --> 00:21:43,639 Speaker 3: nowadays it's just that digital card. 480 00:21:43,960 --> 00:21:45,000 Speaker 1: Yeah, well not always. 481 00:21:45,119 --> 00:21:47,639 Speaker 2: Quinn Tarantino's camera operators have to deal with this. 482 00:21:48,040 --> 00:21:49,639 Speaker 3: Yeah, And if you've ever been on a job with 483 00:21:49,640 --> 00:21:52,240 Speaker 3: a steady cam, there are a lot of there's a 484 00:21:52,240 --> 00:21:54,560 Speaker 3: lot of breaks where I mean you can adjust them 485 00:21:54,560 --> 00:21:57,080 Speaker 3: on the fly more now, but I remember there just 486 00:21:57,080 --> 00:21:59,560 Speaker 3: being a lot of breaks with a steadycam. Up would 487 00:21:59,600 --> 00:22:02,240 Speaker 3: say hold on, you know, I need five minutes, and 488 00:22:02,280 --> 00:22:04,479 Speaker 3: they go over and they have a little stand that 489 00:22:04,520 --> 00:22:07,000 Speaker 3: they put it on to take because you know, it 490 00:22:07,040 --> 00:22:09,400 Speaker 3: takes the weight off to a certain degree, but it's 491 00:22:09,400 --> 00:22:10,680 Speaker 3: still a lot of weight to be. 492 00:22:10,640 --> 00:22:12,960 Speaker 1: Carrying on a vest on your chest. 493 00:22:12,840 --> 00:22:16,680 Speaker 2: Yeah, and running and moving and doing all sorts of stuff. 494 00:22:16,840 --> 00:22:18,320 Speaker 1: Yeah, it's a tough gig. 495 00:22:18,440 --> 00:22:20,800 Speaker 2: Like there's a pretty amazing video. Did you watch it 496 00:22:20,800 --> 00:22:24,399 Speaker 2: of that Eurovision shot. No, there's a guy from I 497 00:22:24,400 --> 00:22:27,679 Speaker 2: think Baylarus singing and they shot they showed him like 498 00:22:28,640 --> 00:22:31,920 Speaker 2: he's like they they showed the shot and then they 499 00:22:31,960 --> 00:22:36,359 Speaker 2: showed what somebody filming the shot being done. And the 500 00:22:36,400 --> 00:22:39,200 Speaker 2: guy with the SAIDI cam wearing the vest rides down 501 00:22:39,240 --> 00:22:41,800 Speaker 2: the aisle on a segue. 502 00:22:42,240 --> 00:22:42,879 Speaker 1: Is that what he's on? 503 00:22:43,040 --> 00:22:46,679 Speaker 2: Yeah, hops off, runs up this ramp and then starts 504 00:22:46,880 --> 00:22:50,439 Speaker 2: circling around the guy who's singing, And it's a pretty 505 00:22:50,480 --> 00:22:53,280 Speaker 2: amazing thing. It's a great shot. But then when you 506 00:22:53,320 --> 00:22:56,280 Speaker 2: see how it's done, Yeah, wow, that guy deserved a 507 00:22:56,480 --> 00:22:57,280 Speaker 2: standing ovation. 508 00:22:57,520 --> 00:22:59,959 Speaker 3: It would have been more impressive hit it not like 509 00:23:00,040 --> 00:23:03,159 Speaker 3: the subject matter have been more interested in the video quality, 510 00:23:03,200 --> 00:23:05,960 Speaker 3: but better pretty bad, Like if it was a Scorsese movie, 511 00:23:05,960 --> 00:23:08,199 Speaker 3: you'd be like, wow, sure, but it was this you know, 512 00:23:08,320 --> 00:23:10,679 Speaker 3: kind of corny. Well, I mean it looked like an 513 00:23:10,720 --> 00:23:11,640 Speaker 3: American idol or. 514 00:23:11,560 --> 00:23:14,879 Speaker 2: Something it was, but it was American idol. If you 515 00:23:15,040 --> 00:23:18,000 Speaker 2: took American idol at its peak and then spread it 516 00:23:18,040 --> 00:23:23,560 Speaker 2: out over Eurasia and like it was popular over that 517 00:23:23,560 --> 00:23:26,560 Speaker 2: that large of a population, that's what Eurovision is. 518 00:23:27,280 --> 00:23:27,720 Speaker 1: That's right. 519 00:23:28,680 --> 00:23:30,560 Speaker 2: So you want to talk about some of the shots 520 00:23:30,560 --> 00:23:50,240 Speaker 2: when we come back after a break please, okay, all right, 521 00:23:50,280 --> 00:23:53,800 Speaker 2: so Chuck. In addition to that Rocky shot and that 522 00:23:53,880 --> 00:23:58,280 Speaker 2: Eurovision shot, there are some other very famous shots, classic 523 00:23:58,600 --> 00:24:02,080 Speaker 2: shots of all time. Yeah, that had to do with 524 00:24:02,119 --> 00:24:04,760 Speaker 2: steady cam. It couldn't have been done without steady cam. 525 00:24:04,880 --> 00:24:07,480 Speaker 3: Well, The Shining is the first one that pops into 526 00:24:07,520 --> 00:24:11,160 Speaker 3: most people's minds because, like we said, Kubrick was a 527 00:24:11,200 --> 00:24:15,760 Speaker 3: big fan of this invention and immediately started talks with 528 00:24:15,800 --> 00:24:19,000 Speaker 3: Garrett Brown on how to help him out with this movie, 529 00:24:19,080 --> 00:24:23,000 Speaker 3: The Shining, that he was making. And apparently they kind 530 00:24:23,000 --> 00:24:26,200 Speaker 3: of battled one another quite a bit on the set 531 00:24:26,200 --> 00:24:28,720 Speaker 3: of The Shining, and Garrett Brown later admitted he said 532 00:24:28,720 --> 00:24:30,879 Speaker 3: a lot of that was probably what do you call it, 533 00:24:30,960 --> 00:24:34,000 Speaker 3: like inventor's pride or something kind of getting in the 534 00:24:34,040 --> 00:24:38,560 Speaker 3: way of this like brilliant all tour. So Kubrick already 535 00:24:38,560 --> 00:24:40,280 Speaker 3: had his own ideas on how to best use this 536 00:24:40,320 --> 00:24:43,800 Speaker 3: thing that this other guy invented. And you know the Shining, 537 00:24:44,119 --> 00:24:48,800 Speaker 3: classic example, those tricycle shots, the famous maze chase. 538 00:24:48,520 --> 00:24:52,920 Speaker 1: At the end, very iconic in motion picture history. 539 00:24:53,080 --> 00:24:57,119 Speaker 2: Yeah, and I mean the how did they do? You know, 540 00:24:57,119 --> 00:24:59,720 Speaker 2: how they did that shot? Behind Danny and his little 541 00:24:59,720 --> 00:25:00,000 Speaker 2: big one. 542 00:25:01,320 --> 00:25:03,040 Speaker 1: They probably just went into low mode and. 543 00:25:03,840 --> 00:25:05,520 Speaker 2: Like walked behind him or yeah, ran down the. 544 00:25:05,520 --> 00:25:06,080 Speaker 1: Hall after him. 545 00:25:06,080 --> 00:25:09,920 Speaker 2: That's really impressive. Yeah, so the shining's a big one. Sure, 546 00:25:10,000 --> 00:25:13,520 Speaker 2: Rocky's a big one. Good Fellows is another classic example, too, 547 00:25:13,760 --> 00:25:17,760 Speaker 2: classic where Rayleioda and Lorraine Brocco are going into the 548 00:25:17,760 --> 00:25:20,600 Speaker 2: Copa Cabana, but they go through the back yeah, and 549 00:25:20,640 --> 00:25:24,040 Speaker 2: they're followed like throughout like the backstairs into the kitchen, 550 00:25:24,160 --> 00:25:26,679 Speaker 2: and then they finally come out into their table and 551 00:25:27,359 --> 00:25:30,719 Speaker 2: it's like one uninterrupted, like five minute shot or something. 552 00:25:31,320 --> 00:25:33,720 Speaker 3: It's amazing, and it's I think when you see this, 553 00:25:33,920 --> 00:25:37,960 Speaker 3: you're you might see it and not be a discerning 554 00:25:38,000 --> 00:25:40,400 Speaker 3: film viewer and just say, well that I didn't notice 555 00:25:40,400 --> 00:25:43,880 Speaker 3: anything right, which is probably good. Yeah, Or you might 556 00:25:43,960 --> 00:25:45,880 Speaker 3: be a fan and steady cam and just say, man, 557 00:25:45,880 --> 00:25:48,440 Speaker 3: that was amazing. U. Then you have to step back 558 00:25:48,440 --> 00:25:51,760 Speaker 3: and look at lighting and realize that how incredibly hard 559 00:25:51,800 --> 00:25:54,119 Speaker 3: it is to light a shot like that that takes 560 00:25:54,119 --> 00:25:57,840 Speaker 3: place over I don't know how many hundreds of feet. 561 00:25:57,680 --> 00:25:59,399 Speaker 2: Well without seeing the lights in the shot. 562 00:25:59,680 --> 00:26:02,760 Speaker 3: Well that or just consistent lighting and having it look good. 563 00:26:02,800 --> 00:26:04,639 Speaker 3: I mean, that's just Usually you light for like a 564 00:26:04,760 --> 00:26:08,080 Speaker 3: room or something, or a hallway, but to light all 565 00:26:08,160 --> 00:26:11,840 Speaker 3: those different rooms and hallways and just incredibly, I can't 566 00:26:11,880 --> 00:26:13,840 Speaker 3: imagine how long it took to set that up. 567 00:26:14,240 --> 00:26:15,760 Speaker 2: You know, they were like, wait, what do you want 568 00:26:15,800 --> 00:26:16,040 Speaker 2: to do. 569 00:26:16,240 --> 00:26:19,399 Speaker 3: Yeah, it'll be great, worry about it, stay with me. 570 00:26:21,520 --> 00:26:25,080 Speaker 1: You know, he's making another gangster movie. 571 00:26:25,440 --> 00:26:26,280 Speaker 2: No, I didn't know that. 572 00:26:26,680 --> 00:26:28,240 Speaker 1: Yeah, and it may be like the. 573 00:26:30,040 --> 00:26:31,800 Speaker 3: Some folks are saying, it's like, you know, his last 574 00:26:31,880 --> 00:26:36,480 Speaker 3: big gangster movie, but it's got de Niro again. He 575 00:26:36,520 --> 00:26:40,199 Speaker 3: had worked with him in a long time. Paccino and 576 00:26:40,280 --> 00:26:42,000 Speaker 3: Joe pesci Is coming out of retirement. 577 00:26:42,280 --> 00:26:44,240 Speaker 2: I didn't even know he was retired. I just thought 578 00:26:44,240 --> 00:26:45,399 Speaker 2: he wasn't doing stuff anymo. 579 00:26:45,560 --> 00:26:46,280 Speaker 1: Man, he retired. 580 00:26:46,280 --> 00:26:46,919 Speaker 2: I didn't know that. 581 00:26:47,240 --> 00:26:51,399 Speaker 3: Yeah, so's he's got the three heavyweights and supposedly Harvey Cattail. 582 00:26:51,440 --> 00:26:53,040 Speaker 3: Of course you got to throw him in there. Sure, 583 00:26:53,359 --> 00:26:55,480 Speaker 3: But I'm just like giddy thinking about this. 584 00:26:55,720 --> 00:26:59,120 Speaker 2: Yeah, I'm glad he is because his last one was departed. 585 00:26:59,200 --> 00:27:00,239 Speaker 2: Right now. 586 00:27:00,359 --> 00:27:04,240 Speaker 3: He's made movies since then, like Wolf of Wall Street Gangster, Yeah, 587 00:27:04,280 --> 00:27:05,160 Speaker 3: which I thought was great. 588 00:27:05,200 --> 00:27:08,480 Speaker 1: I know you didn't love it. I thought it was awesome. 589 00:27:08,560 --> 00:27:11,800 Speaker 2: I thought everything. But what Jack Nicholson did was pretty good. 590 00:27:11,920 --> 00:27:13,240 Speaker 1: Yeah you didn't like his performance? 591 00:27:13,280 --> 00:27:17,800 Speaker 2: No, I really didn't. Well, sorry Jack, He'll. 592 00:27:17,600 --> 00:27:21,560 Speaker 3: Forgive that all right, because you like him as an actor, right, Yeah, okay, 593 00:27:23,600 --> 00:27:29,119 Speaker 3: does it gets come on Return of the Jedi nineteen 594 00:27:29,160 --> 00:27:37,680 Speaker 3: eighty three, the famous speeder bike chase scene and the indoor. Yeah, 595 00:27:37,840 --> 00:27:41,760 Speaker 3: California's Redwood National Park doubled his indoor and that was 596 00:27:41,800 --> 00:27:45,440 Speaker 3: Garrett Brown walking and they sped it up. 597 00:27:46,040 --> 00:27:48,720 Speaker 2: Yeah. But and then you're just like, wow, who cares. 598 00:27:49,280 --> 00:27:53,240 Speaker 2: The reason why it's such an iconic steady cam shot 599 00:27:53,560 --> 00:27:56,439 Speaker 2: is because he walked very slowly. Yeah, and when you 600 00:27:56,720 --> 00:28:00,919 Speaker 2: speed film up the tiny movements involved they're telegraphed, they 601 00:28:01,080 --> 00:28:02,480 Speaker 2: just become much more exaggerated. 602 00:28:02,600 --> 00:28:02,840 Speaker 1: Yeah. 603 00:28:02,880 --> 00:28:05,960 Speaker 2: So without a setikam when they sped the film up again, 604 00:28:06,000 --> 00:28:08,000 Speaker 2: it would have been just so blurry and just jarring. 605 00:28:08,040 --> 00:28:09,199 Speaker 2: It would have been unusable. 606 00:28:09,320 --> 00:28:09,600 Speaker 1: Yeah. 607 00:28:09,680 --> 00:28:11,840 Speaker 2: The fact that you can see the trees and stuff, 608 00:28:12,280 --> 00:28:16,120 Speaker 2: and even at that high speed, it's all steady cam. 609 00:28:16,600 --> 00:28:18,679 Speaker 3: Yeah, and people, I think it's just so easy to 610 00:28:18,720 --> 00:28:20,520 Speaker 3: take it for granted now in movies when you see 611 00:28:20,520 --> 00:28:23,760 Speaker 3: these shots. But to pioneer these these things and this 612 00:28:23,840 --> 00:28:30,520 Speaker 3: equipment was remarkable. Yeah, and nowadays you can. They're all 613 00:28:30,680 --> 00:28:33,240 Speaker 3: manner of at home steady cam. You don't have to 614 00:28:33,280 --> 00:28:35,520 Speaker 3: do like my brother and build one out of spare 615 00:28:35,560 --> 00:28:36,560 Speaker 3: parts and door hinges. 616 00:28:37,160 --> 00:28:38,640 Speaker 1: No, you can buy one. 617 00:28:39,040 --> 00:28:39,960 Speaker 2: For not too much. 618 00:28:40,120 --> 00:28:40,760 Speaker 1: Yeah, you can. 619 00:28:41,240 --> 00:28:44,640 Speaker 3: You spend one hundred dollars, Yeah, on a decent enough 620 00:28:44,760 --> 00:28:45,960 Speaker 3: little home steady cam. 621 00:28:47,240 --> 00:28:51,240 Speaker 2: This article says that the steady cam curve, which was 622 00:28:51,360 --> 00:28:54,400 Speaker 2: made for GoPros, it was like one hundred bucks. 623 00:28:54,480 --> 00:28:55,800 Speaker 1: Yeah, well those are teeny tiny. 624 00:28:56,040 --> 00:29:00,960 Speaker 2: And there's one for the iPhone called what's it called 625 00:29:01,000 --> 00:29:03,240 Speaker 2: the Smoothie. That one is like it's like, I think 626 00:29:03,320 --> 00:29:06,360 Speaker 2: even less than one hundred bucks, and it's just like 627 00:29:06,360 --> 00:29:09,640 Speaker 2: a handheld camera stabilizer that works pretty well from what 628 00:29:09,680 --> 00:29:10,240 Speaker 2: I can gather. 629 00:29:10,360 --> 00:29:12,840 Speaker 3: Yeah, we should have had Casey, our video producer Casey. 630 00:29:12,840 --> 00:29:15,640 Speaker 3: He's in France right now though, live in the High. 631 00:29:15,480 --> 00:29:17,720 Speaker 1: Life, right you should We should have had. 632 00:29:17,640 --> 00:29:20,680 Speaker 3: Casey in here just given thumbs up her thumbs down 633 00:29:21,200 --> 00:29:24,600 Speaker 3: to each one of these brands of the mentioned and I. 634 00:29:24,600 --> 00:29:26,280 Speaker 1: Would trust that is like the gospel truth. 635 00:29:27,560 --> 00:29:30,160 Speaker 3: But Casey's not here, so we're just gonna say read 636 00:29:30,240 --> 00:29:31,080 Speaker 3: online reviews. 637 00:29:31,440 --> 00:29:35,720 Speaker 2: I also saw that there's like a lot of gimbal 638 00:29:35,760 --> 00:29:42,200 Speaker 2: based drone steady cams. Yeah that are just not that expensive. 639 00:29:42,480 --> 00:29:45,680 Speaker 1: Well, amazing they're changing the game again, sure, because then 640 00:29:45,720 --> 00:29:46,160 Speaker 1: you can. 641 00:29:46,040 --> 00:29:49,160 Speaker 3: Do a shot where you follow someone by the swimming 642 00:29:49,160 --> 00:29:51,640 Speaker 3: pool and then fly up into outer space with them 643 00:29:51,680 --> 00:29:53,920 Speaker 3: if you want, in one continuous motion. 644 00:29:54,520 --> 00:29:58,120 Speaker 2: Like the Cisp monster, the what the Cisp monster? You 645 00:29:58,120 --> 00:30:00,360 Speaker 2: remember the alien from Crisp Cereal? Uh? 646 00:30:00,400 --> 00:30:01,560 Speaker 1: I do remember Quisp? 647 00:30:01,880 --> 00:30:03,040 Speaker 2: Remember the weird alien? 648 00:30:03,520 --> 00:30:05,800 Speaker 1: Sort of? I didn't eat Quisp. Wasn't that a Captain 649 00:30:05,840 --> 00:30:08,200 Speaker 1: Crunch knock offer? Was it different? 650 00:30:08,280 --> 00:30:10,920 Speaker 2: It was different because they were saucer shaped rather than 651 00:30:11,000 --> 00:30:15,480 Speaker 2: square waffle cut gotcha? Same thing though, Yeah, same thing. 652 00:30:15,760 --> 00:30:18,600 Speaker 2: It was good. It didn't cut the tongue like Captain 653 00:30:18,640 --> 00:30:19,240 Speaker 2: Crunch did. 654 00:30:19,640 --> 00:30:23,200 Speaker 1: Yeah, the roof of the mouth. I'll suffer through that still. 655 00:30:23,440 --> 00:30:26,440 Speaker 3: Uh. And then of course Steatikam is a name brand, 656 00:30:27,080 --> 00:30:28,520 Speaker 3: right Seeing Eye Dog. 657 00:30:28,800 --> 00:30:31,320 Speaker 1: Yeah, it's made Uh who makes it? 658 00:30:31,520 --> 00:30:31,880 Speaker 2: Tiffin? 659 00:30:31,960 --> 00:30:32,280 Speaker 1: Tiffin? 660 00:30:32,400 --> 00:30:35,000 Speaker 2: Now that's what Yeah, I think I think Tiffin does. 661 00:30:35,040 --> 00:30:37,520 Speaker 2: They have a pretty good site, like if you are 662 00:30:37,560 --> 00:30:39,720 Speaker 2: at all interested in this, like, they've got a great 663 00:30:39,760 --> 00:30:42,160 Speaker 2: site and they have all of their steadycam models with 664 00:30:42,200 --> 00:30:46,240 Speaker 2: a real like in depth overview of them and yeah, pretty. Uh. 665 00:30:46,440 --> 00:30:48,520 Speaker 2: I think it's got all their manuals and everything just 666 00:30:48,560 --> 00:30:49,440 Speaker 2: right there for you to read. 667 00:30:49,560 --> 00:30:52,480 Speaker 3: Yeah, there's other companies making them. There's one called Glidecam 668 00:30:52,840 --> 00:30:53,720 Speaker 3: Embara Zoom. 669 00:30:54,000 --> 00:30:56,719 Speaker 1: Yeah, but you know, Steadikam is still probably the giant. 670 00:30:57,240 --> 00:30:57,920 Speaker 1: It's like Dolly's. 671 00:30:57,920 --> 00:31:00,600 Speaker 3: There's only two Dolly Makers, well, or there may be 672 00:31:00,680 --> 00:31:04,440 Speaker 3: more now, but it's like Chapman and Fisher and each 673 00:31:04,800 --> 00:31:05,160 Speaker 3: you know. 674 00:31:05,200 --> 00:31:07,320 Speaker 2: Every Dolly grip has the Dolly Makers. 675 00:31:07,640 --> 00:31:11,720 Speaker 1: Yeah, Chapman dollies are Fisher dollies kind of like kind 676 00:31:11,720 --> 00:31:12,520 Speaker 1: of holding. 677 00:31:12,280 --> 00:31:18,200 Speaker 2: Jamison or bush mills, you know, Foodweiser cores neither. And 678 00:31:18,240 --> 00:31:21,640 Speaker 2: then Garrett Brown, as if the steady cam wasn't enough 679 00:31:21,720 --> 00:31:25,920 Speaker 2: as far as revolutionizing filming goes, he later on invented 680 00:31:25,960 --> 00:31:29,880 Speaker 2: something called the skycam, Yeah, which like if you watch 681 00:31:29,960 --> 00:31:33,160 Speaker 2: any kind of sporting event now especially it's especially useful 682 00:31:33,160 --> 00:31:38,280 Speaker 2: for football. In football, where like it's there's just cables 683 00:31:38,800 --> 00:31:42,000 Speaker 2: above the field and there's cameras hanging down that are 684 00:31:42,040 --> 00:31:44,640 Speaker 2: just like doing overhead shots following the action. 685 00:31:44,800 --> 00:31:46,160 Speaker 1: Like it's nothing, it's pretty neat. 686 00:31:46,240 --> 00:31:47,600 Speaker 2: Garrett Brown invented that too. 687 00:31:48,160 --> 00:31:50,720 Speaker 3: I got one more little thing for you. There are 688 00:31:50,800 --> 00:31:55,720 Speaker 3: two positions not high mode low mode positions are like 689 00:31:55,760 --> 00:31:59,680 Speaker 3: how you're operating the camera. But if you are pointing 690 00:31:59,720 --> 00:32:02,479 Speaker 3: for it as an operator and your camera is pointing forward, 691 00:32:02,920 --> 00:32:03,640 Speaker 3: you're just walking. 692 00:32:04,240 --> 00:32:06,120 Speaker 1: It's called missionary no. 693 00:32:06,920 --> 00:32:10,560 Speaker 3: And then if you are if the operator is forward 694 00:32:10,600 --> 00:32:13,000 Speaker 3: and the camera is backward, they call that don Juan. 695 00:32:14,160 --> 00:32:17,160 Speaker 3: So leave it to film set goons to think of 696 00:32:18,600 --> 00:32:21,560 Speaker 3: sexual names for sex it up camera positions. 697 00:32:21,800 --> 00:32:23,480 Speaker 2: Don Juan, Yeah, I. 698 00:32:23,560 --> 00:32:24,200 Speaker 1: Never heard of that one. 699 00:32:24,240 --> 00:32:26,880 Speaker 2: I hadn't either. Well, if you want to know more 700 00:32:26,920 --> 00:32:31,680 Speaker 2: about steady cams, including a really really fine grain involved 701 00:32:31,760 --> 00:32:36,240 Speaker 2: look at the physics of how the steady cam arm works, 702 00:32:36,920 --> 00:32:40,400 Speaker 2: you should go type steadycam into the search part HowStuffWorks 703 00:32:40,440 --> 00:32:42,840 Speaker 2: dot Com. Since I said search parts signed for the 704 00:32:42,880 --> 00:32:43,800 Speaker 2: listener mail. 705 00:32:46,040 --> 00:32:49,600 Speaker 1: I'm going to call this encouragement from a Christian listener. 706 00:32:49,680 --> 00:32:52,000 Speaker 3: Okay, Hey guys, I was listening to the Easter Show 707 00:32:52,000 --> 00:32:54,360 Speaker 3: and was compelled right in. As a Christian, I've always 708 00:32:54,360 --> 00:32:56,920 Speaker 3: appreciated how you make a solid effort to not rail 709 00:32:56,960 --> 00:32:59,200 Speaker 3: on the church too hard. I found it humorous and 710 00:32:59,240 --> 00:33:02,280 Speaker 3: simultaneously sad when you felt you had to tiptoe around 711 00:33:02,280 --> 00:33:05,720 Speaker 3: the pagan traditions that have been integrated with the resurrection. 712 00:33:06,440 --> 00:33:08,600 Speaker 3: Find it disheartening to think that other believers can't find 713 00:33:08,600 --> 00:33:10,960 Speaker 3: anything better to do than wait to be offended by 714 00:33:10,960 --> 00:33:12,400 Speaker 3: something than jump all over you for it. 715 00:33:12,480 --> 00:33:15,440 Speaker 1: But based on your years of experience and careful. 716 00:33:15,160 --> 00:33:17,840 Speaker 3: Treatment of the subject, it must be the case a 717 00:33:17,880 --> 00:33:19,760 Speaker 3: lot of the time. Personally, I just want to say, 718 00:33:19,760 --> 00:33:21,520 Speaker 3: I can't think of anything you've ever said to offend me. 719 00:33:21,920 --> 00:33:23,840 Speaker 3: I think you've done a stand up job with sensitive 720 00:33:23,840 --> 00:33:28,160 Speaker 3: subjects like satanic panic in particular. It's also nice just 721 00:33:28,200 --> 00:33:30,600 Speaker 3: to hear you talk about things directly related to my 722 00:33:30,680 --> 00:33:34,000 Speaker 3: beliefs without sneering like many others will. 723 00:33:34,920 --> 00:33:36,600 Speaker 1: That's nice Dane in Minnesota. 724 00:33:36,720 --> 00:33:39,320 Speaker 2: Yeah, for real thing. If you want to get in 725 00:33:39,360 --> 00:33:41,320 Speaker 2: touch with this like Dane did and be a super 726 00:33:41,320 --> 00:33:44,720 Speaker 2: cool person, you can tweet to us a SYSK podcast. 727 00:33:45,000 --> 00:33:48,040 Speaker 2: You can also follow the behind the scenes action of 728 00:33:48,240 --> 00:33:53,040 Speaker 2: Chucks in My Life at SYSK podcast on Instagram. You 729 00:33:53,080 --> 00:33:55,840 Speaker 2: can join us on Facebook dot com slash stuff you 730 00:33:55,840 --> 00:33:58,880 Speaker 2: Should Know for the hurt, and you can send us 731 00:33:58,880 --> 00:34:01,520 Speaker 2: an email this Stuff podcast, that HowStuffWorks dot com. In 732 00:34:01,560 --> 00:34:03,680 Speaker 2: the meantime, while you're doing all this, hang out with 733 00:34:03,760 --> 00:34:06,000 Speaker 2: us at our home on the web. Stuff youshould Know 734 00:34:06,120 --> 00:34:11,799 Speaker 2: dot com. 735 00:34:11,960 --> 00:34:14,479 Speaker 3: For more on this and thousands of other topics, visit 736 00:34:14,520 --> 00:34:22,719 Speaker 3: HowStuffWorks dot com.