WEBVTT - How Steadicams Work

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<v Speaker 1>Welcome to Stuff you Should Know from HowStuffWorks dot com.

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<v Speaker 2>Hey, and welcome to the podcast. I'm Josh Clark. There's

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<v Speaker 2>Charles w Chuck Bryant. Jerry's over there. Chuck's wearing a hat,

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<v Speaker 2>so it stuff you should know. Yeah, still still pretty sad?

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<v Speaker 1>Yeah? Are you really sure?

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<v Speaker 2>All right, Pete?

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<v Speaker 1>You know what I'm getting? The Josh is referencing my

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<v Speaker 1>last chance garage hat that I've talked way too much about.

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<v Speaker 1>I'm getting the patch remade as we speak. Whoa, I actually.

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<v Speaker 3>Found one an eBay that had been sold three months ago,

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<v Speaker 3>and he's all a big conspiracy.

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<v Speaker 2>Is that right? No?

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<v Speaker 1>Okay, but I found.

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<v Speaker 3>A picture of the patch that I sent to a

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<v Speaker 3>patchmaker who like, can digitally reproduce this thing?

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<v Speaker 2>Nice man.

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<v Speaker 1>Well, then I got to find in the right hat.

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<v Speaker 2>It's coming back home. Well that's step one. That's a

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<v Speaker 2>big step one.

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<v Speaker 1>Yeah. I'm getting a few patches and a few hats

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<v Speaker 1>this time.

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<v Speaker 2>I think that's a good idea. Yeah, you can name

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<v Speaker 2>them one through eight.

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<v Speaker 1>That's right.

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<v Speaker 2>Let's see, Chuck, you worked in the film industry previously.

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<v Speaker 1>Yeah, so did you? Technically?

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<v Speaker 2>Yeah, you did more than I did by far. You

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<v Speaker 2>worked it in front of and behind the camera.

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<v Speaker 1>That's right.

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<v Speaker 2>Did you ever work with a steady cam at all?

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<v Speaker 1>Yeah?

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<v Speaker 2>So like you've seen these things up close?

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<v Speaker 1>Yep.

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<v Speaker 2>I don't recall Scott or anybody using one.

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<v Speaker 1>We did not have one on our show.

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<v Speaker 2>Okay, they're expensive, Okay, but I mean there's some pretty

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<v Speaker 2>good equipment on set. It seemed like sure, but there

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<v Speaker 2>was no steady cam right, Nope, because I was trying

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<v Speaker 2>to recall and I could not, for the life of

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<v Speaker 2>me remember a moment when there was an awesome like

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<v Speaker 2>extendo arm camera with like all of the components exploded

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<v Speaker 2>out into different parts of a polly that.

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<v Speaker 1>Didn't hapen because he would have walked in and said,

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<v Speaker 1>what's that? Right? And everyone would have laughed, and you

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<v Speaker 1>would have been like, why does everyone make fun of me?

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<v Speaker 1>Would all this stuff? Now?

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<v Speaker 3>We never is one on our TV show for Science

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<v Speaker 3>Chowl because, like I said, it's pricey to rent, and

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<v Speaker 3>this is a bit of a giveaway, but a person

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<v Speaker 3>steadycam operator comes with the package, right, with all the equipment.

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<v Speaker 1>It's a lot of times their own, and it's you know,

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<v Speaker 1>it's pricey, yeah, to pay for that lady or that dude.

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<v Speaker 2>Right, But the reason it is price is because it's

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<v Speaker 2>it has a really good effect. Yeah, and the person

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<v Speaker 2>who's doing it really knows what they're doing. Yeah, I

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<v Speaker 2>don't know, but just from researching this, it seemed like

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<v Speaker 2>they were probably the most skilled trades person on the

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<v Speaker 2>set at any given time when they were on the set.

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<v Speaker 2>Is that right?

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<v Speaker 1>Well, I think it's just a matter of what skill.

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<v Speaker 1>It's just a different skill.

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<v Speaker 2>Are they like the highest echelon of camera operators.

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<v Speaker 1>No, it's just different.

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<v Speaker 2>Okay, like a top niche Yeah, okay, I got it.

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<v Speaker 3>But but you don't just wade into steadycam and start

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<v Speaker 3>getting worked the next day. It does take a lot

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<v Speaker 3>of work to master. But like a good dolly grip

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<v Speaker 3>is just as skilled, right at just pushing that thing around,

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<v Speaker 3>But that takes.

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<v Speaker 2>A very non herky jerky Well it's not.

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<v Speaker 3>Gonna heirckey jerky anyway, but just to hit the marks

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<v Speaker 3>right and oh I see yeah, I mean all that

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<v Speaker 3>stuff takes a great amount of skill.

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<v Speaker 2>Well, let's talk about this because STEADI camp, you know,

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<v Speaker 2>when I came of age, was already invented. It was

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<v Speaker 2>it was basically became commercially available the year I was born,

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<v Speaker 2>So I don't really know a world prior to STEADI Camp.

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<v Speaker 2>I've never seen a movie that came out before nineteen

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<v Speaker 2>seventy six. Funny, and I'm just used to it, right, Yeah,

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<v Speaker 2>but it's interesting to look back and see that there

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<v Speaker 2>actually is a point in time where this one dude

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<v Speaker 2>who was actually kind of an outsider of the movie

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<v Speaker 2>business basically changed it permanently forever for sure. Yeah.

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<v Speaker 1>His name was Garrett Brown. Is Garrett Brown.

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<v Speaker 2>Yeah, he's still around right, Yeah.

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<v Speaker 3>And he was working for well, he was working in

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<v Speaker 3>TV commercials on Sesame Street in Philadelphia.

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<v Speaker 1>Yeah, and he.

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<v Speaker 3>Got a little frustrated, as camera people do pre steady CAM,

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<v Speaker 3>with not being able to accomplish certain shots.

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<v Speaker 2>Yeah, there's supposedly there were thirty impossible shots that just

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<v Speaker 2>based on the equipment of the day, you just couldn't

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<v Speaker 2>do right.

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<v Speaker 1>Yeah.

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<v Speaker 2>Well, and a lot of it had to do with

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<v Speaker 2>like rough terrain. Sure, staircases were a big one. Yeah,

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<v Speaker 2>and the recent these shots were impossible. It's not like

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<v Speaker 2>you couldn't lug a camera around up and down the stairs,

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<v Speaker 2>but the movement that the camera recorded would be so

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<v Speaker 2>jarring that it would render the film like that it

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<v Speaker 2>would be unusable.

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<v Speaker 3>Yeah, and this was in a day before I mean

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<v Speaker 3>there were shaky cam shots and like Cassavettis and all

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<v Speaker 3>these early indie filmmakers did a lot of like avant

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<v Speaker 3>garde handheld stuff, but it was known as avant garde

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<v Speaker 3>right cause it looked different and people were used to

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<v Speaker 3>kind of smoother looking things in mainstream movies at the time.

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<v Speaker 2>Yeah, it had like a real phrenetic energy to it, Yeah,

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<v Speaker 2>which you see all the time now.

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<v Speaker 1>It's like a bona fide thing.

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<v Speaker 2>But it wasn't just like picking up the movements of

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<v Speaker 2>the camera. It was like telegraphing them as far as

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<v Speaker 2>the human brain's concerned, because we take it for granted,

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<v Speaker 2>but we have in our own brains a pretty complex

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<v Speaker 2>system that involves the inner ear coordinating with the movement

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<v Speaker 2>of the retina so that it offsets the movement and

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<v Speaker 2>the motion and the jarring impact of like just walking. Like,

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<v Speaker 2>if we didn't have that, we wouldn't be able to

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<v Speaker 2>focus on anything while we were moving around.

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<v Speaker 3>Yeah, people wouldn't jog, They would get sick and vomit

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<v Speaker 3>every time they.

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<v Speaker 2>Job exactly right, and you certainly wouldn't be able to

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<v Speaker 2>read US magazine while you were jogging or something like that.

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<v Speaker 2>The fact that you can it really is, it really

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<v Speaker 2>shows how incredibly complex and well developed the system is. Right. Yes,

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<v Speaker 2>that's what the steady cam that Garrett Brown created sought

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<v Speaker 2>to recreate and he did it. He nailed it like

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<v Speaker 2>on the first time out. Basically.

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<v Speaker 1>Yeah, because we mentioned a dolly.

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<v Speaker 3>That is people that know film know this stuff is

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<v Speaker 3>like pretty rudimentary information. But a lot of people don't

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<v Speaker 3>know what a dolly is. And they see the word

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<v Speaker 3>dolly grip in a movie, they just think it sounds funny.

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<v Speaker 3>But the dolly is how you typically would get a

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<v Speaker 3>smooth shot. It's just a big, super super heavy sled

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<v Speaker 3>with wheels that the camera sits on and the camera

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<v Speaker 3>operator sits on, and it's either on a very smooth floor,

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<v Speaker 3>it's on a piece of track.

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<v Speaker 1>Like a little railroad car.

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<v Speaker 3>And it pushes along and that's how you get those

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<v Speaker 3>nice smooth shots.

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<v Speaker 2>So that's a dolly. The problem with the dolly is

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<v Speaker 2>is you can't really lay that track over a rocky

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<v Speaker 2>terrain if you're filming on Mars or something like that.

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<v Speaker 3>No, and like you said, you can't push it up

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<v Speaker 3>and downstairs. It just had its limitations, right, it did.

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<v Speaker 2>So Garrett Brown said, I'm sick of these limitations. I'm

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<v Speaker 2>so tired of being limited by Dolly, stupid Dolly. I'm

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<v Speaker 2>going to invent something better. And so he tinkered around

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<v Speaker 2>with his what was called the Brown Stabilizer at first, Yeah,

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<v Speaker 2>which he later renamed the steady Cam. Yeah, and to

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<v Speaker 2>show off, like at first he was just using him

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<v Speaker 2>in commercials, and he was like, this is way bigger

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<v Speaker 2>than just commercials. Yeah, I'm going to make a sizzle reel.

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<v Speaker 2>And he made a sizzle reel of the thirty impossible

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<v Speaker 2>shots that you just couldn't do before, and he did

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<v Speaker 2>it with the steady cam, but he didn't show how

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<v Speaker 2>it was done.

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<v Speaker 1>Yeah, and you can.

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<v Speaker 3>He was able to save ten of those shots and

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<v Speaker 3>digitize them, and a couple of years ago he finally

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<v Speaker 3>released online ten of those so you can actually go

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<v Speaker 3>see this original reel.

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<v Speaker 1>Yeah, it's pretty cool.

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<v Speaker 2>His wife and his best friend like just doing stuff,

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<v Speaker 2>while just doing stuff, like you know, like one of

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<v Speaker 2>them was swimming. You can't run alongside somebody swimming apparently

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<v Speaker 2>was an impossible shot. I'm not quite sure why.

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<v Speaker 1>Well, you just couldn't run alongside someone doing anything.

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<v Speaker 2>Oh, okay, that's what it was.

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<v Speaker 1>Even with a.

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<v Speaker 3>Dolly Well, no, you could have. You could have laid

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<v Speaker 3>dolly track down the length of a swimming pool shirt.

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<v Speaker 2>Right, That's why I didn't understand that one was an

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<v Speaker 2>impossible shot. But to show off, he goes question, he

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<v Speaker 2>goes around a slide.

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<v Speaker 3>Just to kind of show maybe maybe that was the

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<v Speaker 3>impossibility of it.

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<v Speaker 2>But then his buddy gets out of the pool and

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<v Speaker 2>like walking like he pivots around him. And I'm sure

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<v Speaker 2>when he put this reel together and he sent it out,

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<v Speaker 2>the directors are like, this is magic sorcery.

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<v Speaker 1>Well, it was mind blowing.

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<v Speaker 3>And some people say it was the first viral video

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<v Speaker 3>because it was shared around Hollywood literally in a matter

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<v Speaker 3>of days. Everybody in Hollywood was saying what in the world,

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<v Speaker 3>Like you said, what is this sorcery?

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<v Speaker 2>Right?

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<v Speaker 1>This Garrett Brown has bestowed upon us?

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<v Speaker 2>Yeah, it's It was a bit of a mic drop

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<v Speaker 2>as far as that reel goes.

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<v Speaker 3>And Stanley Kubrick being Stanley Kubrick sent a message to

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<v Speaker 3>Garrett Brown that said, if you are really concerned about

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<v Speaker 3>protecting its design before you fully patent it, I suggest

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<v Speaker 3>you delete the two occasions on the reel where the

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<v Speaker 3>shadow on the ground gives the skilled counter intelligence photo

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<v Speaker 3>interpreter a fairly clear representation of a man holding a

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<v Speaker 3>pole with one hand, with something or other at the

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<v Speaker 3>bottom of the pole, which appears to.

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<v Speaker 1>Be slowly moving.

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<v Speaker 3>All of that is Stanley Kubrickian for Hey, there's a

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<v Speaker 3>shadow in one of your shots.

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<v Speaker 1>Of the steady.

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<v Speaker 2>Camopea, which is pretty cool of him to do. Sure,

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<v Speaker 2>because I'm sure there were plenty of people in Hollywood

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<v Speaker 2>who would have been like, Okay, I think I kind

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<v Speaker 2>of get the idea of what this was, because there

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<v Speaker 2>was no suggestion whatsoever of what Garrett Brown had used

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<v Speaker 2>to get these shots except in those shadows. So he

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<v Speaker 2>went and went and immediately cut those, yeah, those I

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<v Speaker 2>think fourteen seconds out of his reel, and then released

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<v Speaker 2>the second edition.

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<v Speaker 1>And it looked pretty good.

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<v Speaker 3>I mean, it's rough compared to today's standard, sure, but

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<v Speaker 3>for the time it was like unbelievable, right.

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<v Speaker 2>It changed everything. Oh yeah, and one of the shots

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<v Speaker 2>that he got was his wife Ellen. He said, dear,

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<v Speaker 2>why don't you put on your most seventies bell bottoms

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<v Speaker 2>you can find and I'm going to run up behind you.

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<v Speaker 2>Is you run up the steps to the Philadelphia Museum

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<v Speaker 2>of Art, And maybe when you get to the top,

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<v Speaker 2>you can raise your hands in triumph and I will

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<v Speaker 2>spin around you. And if that shot sounds familiar, it

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<v Speaker 2>actually attracted a guy, a director named John what is

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<v Speaker 2>it avilds Son?

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<v Speaker 1>Yeah, John G.

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<v Speaker 2>Avelson, who said, I like this, I'm going to use

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<v Speaker 2>it in this little film I'm directing called Rocky.

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<v Speaker 1>Yeah.

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<v Speaker 2>And I didn't get whether or not this was the case.

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<v Speaker 2>But did they Did they locate Rocky in Philadelphia because

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<v Speaker 2>of those steps?

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<v Speaker 1>No?

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<v Speaker 2>Because he said, how did you do that? And where

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<v Speaker 2>are those steps?

0:10:53.240 --> 0:10:55.160
<v Speaker 3>I don't think so, man, because I wondered that too,

0:10:55.280 --> 0:10:58.400
<v Speaker 3>like like, did he not have a scene written where

0:10:58.480 --> 0:10:59.760
<v Speaker 3>Rocky just runs up those steps?

0:10:59.840 --> 0:11:00.000
<v Speaker 2>Right?

0:11:00.120 --> 0:11:03.480
<v Speaker 1>I mean Stallone wrote it. I think they al just

0:11:03.520 --> 0:11:04.240
<v Speaker 1>have to ask him.

0:11:04.600 --> 0:11:09.800
<v Speaker 2>Okay, hey, Sly, I was wondering if you yeah, that

0:11:09.880 --> 0:11:10.840
<v Speaker 2>was pretty good.

0:11:11.840 --> 0:11:14.360
<v Speaker 3>I answered in that little moment. Someone will have to

0:11:14.400 --> 0:11:17.280
<v Speaker 3>interpret that. Great movie though.

0:11:17.280 --> 0:11:17.400
<v Speaker 1>Man.

0:11:17.559 --> 0:11:21.959
<v Speaker 3>I rewatched that Yeah, like this year from beginning to end,

0:11:22.520 --> 0:11:23.720
<v Speaker 3>just phenomenal movie.

0:11:24.280 --> 0:11:25.719
<v Speaker 1>I'm trying to get Emily to watch it.

0:11:26.200 --> 0:11:27.520
<v Speaker 2>Has she never seen the original.

0:11:27.679 --> 0:11:29.960
<v Speaker 1>No, it's its own thing for sure.

0:11:30.040 --> 0:11:32.080
<v Speaker 2>Like it's not it's a boxing movies.

0:11:32.480 --> 0:11:34.280
<v Speaker 1>Really, it's a love story for the most part.

0:11:34.320 --> 0:11:37.680
<v Speaker 2>It's a love story and like the triumph of the

0:11:37.720 --> 0:11:41.240
<v Speaker 2>little guy. Yeah story for sure, Yeah, featuring boxing, right,

0:11:41.679 --> 0:11:45.560
<v Speaker 2>that's exactly right. Yeah, But two and three and on

0:11:45.559 --> 0:11:47.800
<v Speaker 2>on word it's like a totally different thing.

0:11:48.000 --> 0:11:49.079
<v Speaker 1>Yeah, but those were good too.

0:11:49.160 --> 0:11:51.280
<v Speaker 2>Yeah, they said, let's take your story, take out the

0:11:51.320 --> 0:11:53.280
<v Speaker 2>heart and insert cocaine.

0:11:52.840 --> 0:11:58.679
<v Speaker 1>Instead, insert mister t. I don't get the cocaine reference.

0:11:58.920 --> 0:12:01.839
<v Speaker 2>Oh, it's just the eighties and Hollywood got hands on sure,

0:12:02.000 --> 0:12:02.680
<v Speaker 2>you know what I mean.

0:12:02.600 --> 0:12:03.000
<v Speaker 1>I gotcha.

0:12:03.840 --> 0:12:06.720
<v Speaker 3>Uh yeah, that's a good question, though, I wonder about

0:12:06.720 --> 0:12:10.199
<v Speaker 3>that if he surely didn't remake it for Philadelphia just for.

0:12:10.160 --> 0:12:14.400
<v Speaker 2>That well, But the point is is Garrett Brown created

0:12:14.520 --> 0:12:18.760
<v Speaker 2>on this sizzle reel, the one of the most iconic

0:12:18.840 --> 0:12:21.960
<v Speaker 2>shots in filmmaking history, for sure, and he sent that

0:12:22.040 --> 0:12:25.800
<v Speaker 2>reel out and within that year, I believe nineteen seventy six,

0:12:26.600 --> 0:12:30.280
<v Speaker 2>three Major Motion Pictures hired him to operate his steady

0:12:30.320 --> 0:12:34.480
<v Speaker 2>camp for it. There was Rocky yep, there was what

0:12:34.520 --> 0:12:35.760
<v Speaker 2>was the one about Woody.

0:12:35.480 --> 0:12:36.880
<v Speaker 1>Guthrie Bound for Glory?

0:12:37.160 --> 0:12:39.800
<v Speaker 3>Yeah, I think that one came out first, so that

0:12:39.920 --> 0:12:44.120
<v Speaker 3>was the first actual like h and that one the

0:12:44.120 --> 0:12:46.680
<v Speaker 3>steady camop was Garrett Brown, I think for all these huh,

0:12:46.720 --> 0:12:48.320
<v Speaker 3>because he was the only guy that knew, he got

0:12:48.360 --> 0:12:49.160
<v Speaker 3>a lot of work early on.

0:12:49.280 --> 0:12:51.360
<v Speaker 2>Yeah, And I think I think the patent was still

0:12:51.360 --> 0:12:53.959
<v Speaker 2>pending until nineteen seventy seven, so I'm sure he'p the

0:12:54.000 --> 0:12:56.600
<v Speaker 2>thing out of everybody closed your eyes while I shoot this.

0:12:57.160 --> 0:13:00.400
<v Speaker 3>But on Bound for Glory, he was on a crane

0:13:00.440 --> 0:13:05.040
<v Speaker 3>even that lowered down, stepped off the crane, so people

0:13:05.040 --> 0:13:07.600
<v Speaker 3>had seen crane shots, but then for the crane to

0:13:07.640 --> 0:13:09.439
<v Speaker 3>go down, down, down, and then all of a sudden

0:13:09.480 --> 0:13:11.440
<v Speaker 3>start following this guy, everyone was like what in the

0:13:11.480 --> 0:13:11.920
<v Speaker 3>word right?

0:13:11.920 --> 0:13:14.600
<v Speaker 2>There would have been a cut, yeah, after the crane stopped,

0:13:14.600 --> 0:13:16.959
<v Speaker 2>and then before you know, they would cut and he

0:13:17.000 --> 0:13:19.000
<v Speaker 2>would have gotten a position and then started up again.

0:13:19.160 --> 0:13:20.480
<v Speaker 2>This is one smooth shot.

0:13:20.559 --> 0:13:21.640
<v Speaker 1>One smooth shot yeah.

0:13:21.640 --> 0:13:23.719
<v Speaker 2>And then the other one was Marathon Man, So.

0:13:23.760 --> 0:13:25.160
<v Speaker 1>Another great right out of the blue.

0:13:25.200 --> 0:13:27.920
<v Speaker 2>This guy who was a commercial director and made short

0:13:27.920 --> 0:13:32.440
<v Speaker 2>films for Sestame Street changed filmmaking like single handedly.

0:13:32.080 --> 0:13:35.160
<v Speaker 3>Yeah, and won an Academy Award nineteen seventy eight for

0:13:35.320 --> 0:13:40.000
<v Speaker 3>Technical achievement, got that patent in seventy seven, and.

0:13:41.679 --> 0:13:43.520
<v Speaker 1>Well, that's it. That's the history of the steady.

0:13:43.240 --> 0:13:45.439
<v Speaker 2>Gam that's it. Everyboding good night.

0:13:46.400 --> 0:13:48.559
<v Speaker 3>But we're gonna should we take a break and tell

0:13:48.600 --> 0:13:49.600
<v Speaker 3>everyone how this thing works.

0:13:49.800 --> 0:14:08.160
<v Speaker 2>Let's do it man, all right, Chuck? So the STUDI CAAMP.

0:14:08.200 --> 0:14:11.080
<v Speaker 2>Do you remember when we did our episode on breathalyzers.

0:14:11.720 --> 0:14:13.559
<v Speaker 1>Oh boy, that was a long time ago, and we.

0:14:13.520 --> 0:14:15.640
<v Speaker 2>Found out that the breathalyzer is one of the most

0:14:15.640 --> 0:14:18.679
<v Speaker 2>complicated machines. Yeah, on the planet.

0:14:19.520 --> 0:14:20.920
<v Speaker 1>I kind of hated that one.

0:14:20.720 --> 0:14:24.640
<v Speaker 2>Like there were crystals involved somehow. I hated that one too,

0:14:24.760 --> 0:14:29.080
<v Speaker 2>dark crystals. This is a bit like that, Like if

0:14:29.120 --> 0:14:32.360
<v Speaker 2>you really dive into steticams, like this article on how

0:14:32.400 --> 0:14:36.520
<v Speaker 2>stuff works does it's it's it's labyrinthine talk about the

0:14:36.600 --> 0:14:39.000
<v Speaker 2>dark crystal. Yeah, we're talking labyrinth instead.

0:14:39.080 --> 0:14:39.280
<v Speaker 1>Yeah.

0:14:39.280 --> 0:14:42.800
<v Speaker 3>But we're gonna simplify it because you don't need to

0:14:42.880 --> 0:14:44.920
<v Speaker 3>break this thing apart and look at every component like

0:14:44.920 --> 0:14:45.680
<v Speaker 3>this article does.

0:14:46.080 --> 0:14:47.920
<v Speaker 2>I mean it really gets involved.

0:14:48.320 --> 0:14:49.840
<v Speaker 3>What you should do is look at a picture of

0:14:49.880 --> 0:14:52.960
<v Speaker 3>someone operating one. Yeah, and just because when you look

0:14:53.000 --> 0:14:55.880
<v Speaker 3>at it, you go it all makes a lot more sense.

0:14:55.760 --> 0:14:58.640
<v Speaker 2>Right, And there's really just three main parts to the

0:14:58.640 --> 0:15:01.640
<v Speaker 2>whole thing. There's a vest, there's an arm that's attached

0:15:01.640 --> 0:15:03.160
<v Speaker 2>to the vest, and then the other end of the

0:15:03.280 --> 0:15:06.280
<v Speaker 2>arm is attached to what's called the sled, yeah, which

0:15:06.280 --> 0:15:09.800
<v Speaker 2>is what the camera and its components are mounted on. Right.

0:15:09.960 --> 0:15:13.760
<v Speaker 3>Yeah, and that arm, I mean just picture yourself wearing

0:15:13.800 --> 0:15:19.400
<v Speaker 3>a like a baby Bjorn baby carrier, except for instead

0:15:19.400 --> 0:15:23.240
<v Speaker 3>of the baby at your sternum, there's a mechanical arm

0:15:23.280 --> 0:15:23.960
<v Speaker 3>coming out.

0:15:23.840 --> 0:15:24.920
<v Speaker 2>Like a spring arm lamp.

0:15:25.600 --> 0:15:28.000
<v Speaker 1>Yeah, like accordion arm or a spring arm lamp.

0:15:28.120 --> 0:15:29.760
<v Speaker 2>Right, And it's virtually the same thing.

0:15:30.080 --> 0:15:33.400
<v Speaker 3>Well, yeah, and guess who made one of these by

0:15:33.480 --> 0:15:36.600
<v Speaker 3>himself before they started making them for at home people.

0:15:36.840 --> 0:15:38.520
<v Speaker 2>Who? Casey? Who?

0:15:38.760 --> 0:15:39.640
<v Speaker 1>My brother? Of course?

0:15:39.640 --> 0:15:40.560
<v Speaker 2>Oh? Did he really? Yeah?

0:15:40.640 --> 0:15:42.160
<v Speaker 3>Yeah, my brother made one of these in like the

0:15:42.200 --> 0:15:46.880
<v Speaker 3>early nineties out of door hinges and rubber bands and springs.

0:15:46.960 --> 0:15:49.200
<v Speaker 2>Does he still have it? Is it in the Smithsonian?

0:15:49.320 --> 0:15:49.920
<v Speaker 1>I don't know.

0:15:50.200 --> 0:15:54.760
<v Speaker 3>It's in the Scotsonian, which is where all his early mentions.

0:15:54.480 --> 0:15:55.720
<v Speaker 2>With all his pinball machines.

0:15:55.840 --> 0:15:57.960
<v Speaker 1>Yeah, but he made one. He basically did the same thing.

0:15:58.040 --> 0:16:01.760
<v Speaker 3>He looked at it and looked at these swing arm lamps, right,

0:16:01.800 --> 0:16:04.200
<v Speaker 3>and accordion arm lamps, and it's like, well, it's the

0:16:04.240 --> 0:16:04.640
<v Speaker 3>same thing.

0:16:04.680 --> 0:16:05.800
<v Speaker 1>I'll just make a version of that.

0:16:06.280 --> 0:16:08.000
<v Speaker 2>It is, and it worked pretty good. It's virtually the

0:16:08.040 --> 0:16:08.440
<v Speaker 2>same thing.

0:16:08.560 --> 0:16:08.840
<v Speaker 1>Yeah.

0:16:08.880 --> 0:16:11.440
<v Speaker 2>So the whole point of a steady cam is that

0:16:11.560 --> 0:16:15.160
<v Speaker 2>it basically stimulates or the arm at least simulates a

0:16:15.280 --> 0:16:18.920
<v Speaker 2>human arm right to where it can move around very easily. Yeah,

0:16:19.000 --> 0:16:22.080
<v Speaker 2>And it redistributes the weight of the camera, which can

0:16:22.080 --> 0:16:24.600
<v Speaker 2>be up to like seventy pounds I imagine probably more.

0:16:24.760 --> 0:16:27.000
<v Speaker 3>Yeah, the whole unit is pretty heavy, and it's not

0:16:27.120 --> 0:16:28.560
<v Speaker 3>easy to operate.

0:16:28.280 --> 0:16:29.320
<v Speaker 1>But it'll hold a wear you out.

0:16:29.400 --> 0:16:31.880
<v Speaker 2>It holds it effortlessly, and it holds it in place.

0:16:32.000 --> 0:16:34.840
<v Speaker 2>This arm does and it does it by using springs.

0:16:35.320 --> 0:16:37.600
<v Speaker 2>And you can adjust the tension of the springs by

0:16:37.680 --> 0:16:40.440
<v Speaker 2>using a cable and pulley system. Yes, so that it

0:16:40.520 --> 0:16:43.680
<v Speaker 2>offsets the balance of the camera and holds it in

0:16:43.800 --> 0:16:47.440
<v Speaker 2>space in front of the camera operator basically so that

0:16:47.480 --> 0:16:50.280
<v Speaker 2>they can move it effortlessly up down to the side.

0:16:51.160 --> 0:16:53.280
<v Speaker 2>You can put the camera on top of the sled

0:16:54.400 --> 0:16:56.360
<v Speaker 2>so that you get high shots. You can switch it

0:16:56.400 --> 0:16:57.840
<v Speaker 2>so it goes on the bottom so you can get

0:16:57.840 --> 0:16:58.800
<v Speaker 2>low angle shots.

0:16:58.960 --> 0:16:59.160
<v Speaker 1>Yeah.

0:16:59.200 --> 0:17:01.480
<v Speaker 3>The traditional it's called high mode and low mode and

0:17:01.600 --> 0:17:04.679
<v Speaker 3>high mode is it doesn't mean it's high, it just

0:17:04.720 --> 0:17:06.160
<v Speaker 3>means it's on the top.

0:17:05.960 --> 0:17:06.480
<v Speaker 1>Of the unit.

0:17:07.040 --> 0:17:08.920
<v Speaker 3>And then low mode is when it's on the bottom.

0:17:08.960 --> 0:17:11.919
<v Speaker 3>So if you wanted to film a mouse running across

0:17:11.960 --> 0:17:12.840
<v Speaker 3>the floor, you would put.

0:17:12.760 --> 0:17:14.320
<v Speaker 1>It in low mode, right. If you want to film

0:17:14.320 --> 0:17:15.520
<v Speaker 1>a human, you put it in high mode.

0:17:15.600 --> 0:17:19.560
<v Speaker 2>Yeah. And the camera itself is broken out into pieces,

0:17:19.600 --> 0:17:22.680
<v Speaker 2>which is kind of an ingenious trick that I guess

0:17:22.720 --> 0:17:25.880
<v Speaker 2>Garrett Brown came up with himself. I think he did.

0:17:26.880 --> 0:17:31.040
<v Speaker 2>And this is the third part. The camera slid right.

0:17:31.160 --> 0:17:33.680
<v Speaker 1>Yes, the slid is what holds all the equipment.

0:17:33.440 --> 0:17:36.800
<v Speaker 2>Right, And it's basically a pole with a little bit

0:17:36.920 --> 0:17:40.320
<v Speaker 2>at the top called the stage. Yeah, and that's where

0:17:40.320 --> 0:17:42.159
<v Speaker 2>the camera goes, or it could be at the bottom

0:17:42.160 --> 0:17:45.320
<v Speaker 2>wherever the camera is. The camera's mounted to the stage.

0:17:45.440 --> 0:17:45.680
<v Speaker 1>Yes.

0:17:45.840 --> 0:17:49.199
<v Speaker 2>Then you get the pole itself and then the I

0:17:49.200 --> 0:17:53.880
<v Speaker 2>guess the arm is connected to the pole by a gibble,

0:17:54.400 --> 0:17:57.080
<v Speaker 2>a gimbal. A gimbal, that's right. And it's like an

0:17:57.119 --> 0:18:01.320
<v Speaker 2>old technology. It's basically sure something that uses base gyroscopic

0:18:01.440 --> 0:18:07.080
<v Speaker 2>action to take the movement of whatever is seeking to move,

0:18:07.119 --> 0:18:09.480
<v Speaker 2>whatever you want to hold still and getting rid of

0:18:09.480 --> 0:18:11.800
<v Speaker 2>it Yeah, like everything around it moves except for the

0:18:11.840 --> 0:18:13.000
<v Speaker 2>thing that you want to hold still.

0:18:13.080 --> 0:18:13.920
<v Speaker 1>Yeah, it's pretty neat.

0:18:14.080 --> 0:18:16.720
<v Speaker 2>It's super neat. And that's just the one arm that's

0:18:16.720 --> 0:18:19.520
<v Speaker 2>connected to the pole. Yes, So you can see how

0:18:19.520 --> 0:18:22.600
<v Speaker 2>complicated this thing is. That this guy sat back and

0:18:22.640 --> 0:18:25.280
<v Speaker 2>I think in a hotel room somewhere he put it together.

0:18:25.960 --> 0:18:28.800
<v Speaker 2>Garrett Brown, the first one. There's just the ingenuity it

0:18:28.840 --> 0:18:33.359
<v Speaker 2>took to put this together. It's pretty pretty in depth

0:18:33.400 --> 0:18:34.520
<v Speaker 2>as far as inventions go.

0:18:34.880 --> 0:18:37.560
<v Speaker 3>Yeah, and there's a little science to it. There's something

0:18:37.600 --> 0:18:41.080
<v Speaker 3>called moment of inertia. It's basically how much that camera

0:18:41.359 --> 0:18:44.320
<v Speaker 3>is resistant to rotation. So if you want the camera

0:18:44.359 --> 0:18:46.760
<v Speaker 3>to be still, you want to increase that resistance to

0:18:46.800 --> 0:18:49.760
<v Speaker 3>the rotation. And this is determined by a couple of

0:18:49.760 --> 0:18:52.880
<v Speaker 3>different things. How much mass there is to the object,

0:18:53.160 --> 0:18:56.120
<v Speaker 3>and how far that mass is the from its own

0:18:56.200 --> 0:18:59.159
<v Speaker 3>axis of rotation. So by spreading the camera out, he

0:18:59.200 --> 0:19:02.200
<v Speaker 3>basically took the cameras come with a monitor now, so

0:19:02.240 --> 0:19:04.679
<v Speaker 3>you can see what's going on in a big heavy battery.

0:19:05.040 --> 0:19:07.160
<v Speaker 3>He took the monitor off of the camera, He took

0:19:07.200 --> 0:19:10.320
<v Speaker 3>the battery off of the camera and redistributed that up

0:19:10.400 --> 0:19:13.600
<v Speaker 3>and down the pole. So what he ended up doing

0:19:13.680 --> 0:19:17.919
<v Speaker 3>was spreading out that mass, which takes away the center

0:19:18.000 --> 0:19:19.840
<v Speaker 3>of gravity from the camera itself.

0:19:19.960 --> 0:19:22.000
<v Speaker 2>Yeah, because like with a regular camera, where all the

0:19:22.000 --> 0:19:24.600
<v Speaker 2>components are in one single unit, that center of gravity

0:19:24.640 --> 0:19:27.440
<v Speaker 2>is inside the camera. Yeah, so it's easy to rotate.

0:19:27.680 --> 0:19:31.440
<v Speaker 2>But since he exploded it out into its various components,

0:19:31.640 --> 0:19:35.840
<v Speaker 2>he made that center of gravity land somewhere on the pole, right,

0:19:35.880 --> 0:19:38.480
<v Speaker 2>and the gimbal attaches to the pole just above the

0:19:38.480 --> 0:19:41.600
<v Speaker 2>center of gravity, so that the camera operator holds the

0:19:41.640 --> 0:19:45.000
<v Speaker 2>pole and manipulates the camera at the center of gravity,

0:19:45.160 --> 0:19:48.439
<v Speaker 2>which makes it very easy to balance keep balance.

0:19:48.560 --> 0:19:50.440
<v Speaker 1>Yeah, And they do a good job in this article.

0:19:50.480 --> 0:19:53.280
<v Speaker 3>If you'd like, just take a broomstick and you find

0:19:53.280 --> 0:19:55.320
<v Speaker 3>that center of gravity with your finger. You can hold

0:19:55.359 --> 0:19:57.600
<v Speaker 3>it with your finger and lift it up and down.

0:19:57.520 --> 0:19:59.800
<v Speaker 2>Right, and it just it's balanced on your finger be

0:20:00.160 --> 0:20:01.520
<v Speaker 2>you're hitting that center of balance.

0:20:01.520 --> 0:20:04.520
<v Speaker 1>That's right. It's the same principle. Yeah. And in fact,

0:20:04.520 --> 0:20:05.360
<v Speaker 1>if you took.

0:20:07.160 --> 0:20:09.440
<v Speaker 3>If you took that same broomstick and cut it off

0:20:09.440 --> 0:20:12.359
<v Speaker 3>and you just had three feet of broomstick and just

0:20:12.440 --> 0:20:16.560
<v Speaker 3>took your SLR camera and screwed that broomstick into the

0:20:16.600 --> 0:20:18.280
<v Speaker 3>bottom of your camera, instead of a.

0:20:18.160 --> 0:20:20.360
<v Speaker 1>Tripod that would function.

0:20:20.480 --> 0:20:22.520
<v Speaker 3>You could walk around with that and it would be

0:20:22.560 --> 0:20:24.560
<v Speaker 3>steadier than if you just had it in your hand.

0:20:25.480 --> 0:20:27.679
<v Speaker 2>I could see that because of the change of the

0:20:27.720 --> 0:20:28.399
<v Speaker 2>center of gravity.

0:20:28.480 --> 0:20:30.040
<v Speaker 3>Change of the center of gravity, and if you put

0:20:30.040 --> 0:20:31.879
<v Speaker 3>a little counterweight at the bottom, it would make it

0:20:31.920 --> 0:20:34.920
<v Speaker 3>even more steady. And that's the whole concept of the

0:20:34.960 --> 0:20:38.480
<v Speaker 3>steady cam sled. Then attach that to an arm, that

0:20:39.320 --> 0:20:42.080
<v Speaker 3>accordion arm, and you're cooking with gas.

0:20:42.160 --> 0:20:43.960
<v Speaker 2>Yeah, because you were saying, like if you walk around

0:20:44.000 --> 0:20:46.919
<v Speaker 2>with just the pole holding or the broomstick, cut off

0:20:46.960 --> 0:20:51.119
<v Speaker 2>broomstick and you're holding it just with your hand, Yeah,

0:20:51.160 --> 0:20:53.879
<v Speaker 2>it's steady. The point of the arm is it's taking

0:20:53.920 --> 0:20:56.800
<v Speaker 2>your hand out of the equation and replacing it with

0:20:56.840 --> 0:21:00.639
<v Speaker 2>something that can isolate movement even more. Yeah, so that

0:21:00.760 --> 0:21:04.000
<v Speaker 2>your movement of you walking just gets lost within the

0:21:04.119 --> 0:21:06.320
<v Speaker 2>arm before it ever gets to the camera and could

0:21:06.400 --> 0:21:06.840
<v Speaker 2>shake it.

0:21:07.240 --> 0:21:09.080
<v Speaker 3>Yeah, like if you did it with a broomstick. Your

0:21:09.200 --> 0:21:11.040
<v Speaker 3>arm is the same thing as a steady camra.

0:21:11.040 --> 0:21:14.000
<v Speaker 2>Right, it's better if the steadycam arms.

0:21:13.760 --> 0:21:16.200
<v Speaker 1>Is better than your human arm, right, yes, exactly.

0:21:16.760 --> 0:21:20.520
<v Speaker 2>Pretty neat stuff. It is neat stuff, And I think

0:21:20.560 --> 0:21:22.800
<v Speaker 2>that's it for the science man. We made it through it.

0:21:23.080 --> 0:21:25.760
<v Speaker 3>Yeah, I mean it's all got to be very precisely balanced.

0:21:26.440 --> 0:21:28.600
<v Speaker 3>You don't just throw the stuff on the pole, willy

0:21:28.680 --> 0:21:29.320
<v Speaker 3>nilly no.

0:21:29.440 --> 0:21:31.520
<v Speaker 2>And they point out that the balance of the camera

0:21:31.560 --> 0:21:34.919
<v Speaker 2>can actually change during filming. Yeah, just from the film

0:21:35.000 --> 0:21:37.200
<v Speaker 2>moving from one end to the camera to the other

0:21:37.800 --> 0:21:38.560
<v Speaker 2>as it records.

0:21:38.640 --> 0:21:38.760
<v Speaker 1>Right.

0:21:38.760 --> 0:21:41.080
<v Speaker 3>Well, yeah, in the old days when they use film, sure,

0:21:41.640 --> 0:21:43.639
<v Speaker 3>nowadays it's just that digital card.

0:21:43.960 --> 0:21:45.000
<v Speaker 1>Yeah, well not always.

0:21:45.119 --> 0:21:47.639
<v Speaker 2>Quinn Tarantino's camera operators have to deal with this.

0:21:48.040 --> 0:21:49.639
<v Speaker 3>Yeah, And if you've ever been on a job with

0:21:49.640 --> 0:21:52.240
<v Speaker 3>a steady cam, there are a lot of there's a

0:21:52.240 --> 0:21:54.560
<v Speaker 3>lot of breaks where I mean you can adjust them

0:21:54.560 --> 0:21:57.080
<v Speaker 3>on the fly more now, but I remember there just

0:21:57.080 --> 0:21:59.560
<v Speaker 3>being a lot of breaks with a steadycam. Up would

0:21:59.600 --> 0:22:02.240
<v Speaker 3>say hold on, you know, I need five minutes, and

0:22:02.280 --> 0:22:04.479
<v Speaker 3>they go over and they have a little stand that

0:22:04.520 --> 0:22:07.000
<v Speaker 3>they put it on to take because you know, it

0:22:07.040 --> 0:22:09.400
<v Speaker 3>takes the weight off to a certain degree, but it's

0:22:09.400 --> 0:22:10.680
<v Speaker 3>still a lot of weight to be.

0:22:10.640 --> 0:22:12.960
<v Speaker 1>Carrying on a vest on your chest.

0:22:12.840 --> 0:22:16.680
<v Speaker 2>Yeah, and running and moving and doing all sorts of stuff.

0:22:16.840 --> 0:22:18.320
<v Speaker 1>Yeah, it's a tough gig.

0:22:18.440 --> 0:22:20.800
<v Speaker 2>Like there's a pretty amazing video. Did you watch it

0:22:20.800 --> 0:22:24.399
<v Speaker 2>of that Eurovision shot. No, there's a guy from I

0:22:24.400 --> 0:22:27.679
<v Speaker 2>think Baylarus singing and they shot they showed him like

0:22:28.640 --> 0:22:31.920
<v Speaker 2>he's like they they showed the shot and then they

0:22:31.960 --> 0:22:36.359
<v Speaker 2>showed what somebody filming the shot being done. And the

0:22:36.400 --> 0:22:39.200
<v Speaker 2>guy with the SAIDI cam wearing the vest rides down

0:22:39.240 --> 0:22:41.800
<v Speaker 2>the aisle on a segue.

0:22:42.240 --> 0:22:42.879
<v Speaker 1>Is that what he's on?

0:22:43.040 --> 0:22:46.679
<v Speaker 2>Yeah, hops off, runs up this ramp and then starts

0:22:46.880 --> 0:22:50.439
<v Speaker 2>circling around the guy who's singing, And it's a pretty

0:22:50.480 --> 0:22:53.280
<v Speaker 2>amazing thing. It's a great shot. But then when you

0:22:53.320 --> 0:22:56.280
<v Speaker 2>see how it's done, Yeah, wow, that guy deserved a

0:22:56.480 --> 0:22:57.280
<v Speaker 2>standing ovation.

0:22:57.520 --> 0:22:59.959
<v Speaker 3>It would have been more impressive hit it not like

0:23:00.040 --> 0:23:03.159
<v Speaker 3>the subject matter have been more interested in the video quality,

0:23:03.200 --> 0:23:05.960
<v Speaker 3>but better pretty bad, Like if it was a Scorsese movie,

0:23:05.960 --> 0:23:08.199
<v Speaker 3>you'd be like, wow, sure, but it was this you know,

0:23:08.320 --> 0:23:10.679
<v Speaker 3>kind of corny. Well, I mean it looked like an

0:23:10.720 --> 0:23:11.640
<v Speaker 3>American idol or.

0:23:11.560 --> 0:23:14.879
<v Speaker 2>Something it was, but it was American idol. If you

0:23:15.040 --> 0:23:18.000
<v Speaker 2>took American idol at its peak and then spread it

0:23:18.040 --> 0:23:23.560
<v Speaker 2>out over Eurasia and like it was popular over that

0:23:23.560 --> 0:23:26.560
<v Speaker 2>that large of a population, that's what Eurovision is.

0:23:27.280 --> 0:23:27.720
<v Speaker 1>That's right.

0:23:28.680 --> 0:23:30.560
<v Speaker 2>So you want to talk about some of the shots

0:23:30.560 --> 0:23:50.240
<v Speaker 2>when we come back after a break please, okay, all right,

0:23:50.280 --> 0:23:53.800
<v Speaker 2>so Chuck. In addition to that Rocky shot and that

0:23:53.880 --> 0:23:58.280
<v Speaker 2>Eurovision shot, there are some other very famous shots, classic

0:23:58.600 --> 0:24:02.080
<v Speaker 2>shots of all time. Yeah, that had to do with

0:24:02.119 --> 0:24:04.760
<v Speaker 2>steady cam. It couldn't have been done without steady cam.

0:24:04.880 --> 0:24:07.480
<v Speaker 3>Well, The Shining is the first one that pops into

0:24:07.520 --> 0:24:11.160
<v Speaker 3>most people's minds because, like we said, Kubrick was a

0:24:11.200 --> 0:24:15.760
<v Speaker 3>big fan of this invention and immediately started talks with

0:24:15.800 --> 0:24:19.000
<v Speaker 3>Garrett Brown on how to help him out with this movie,

0:24:19.080 --> 0:24:23.000
<v Speaker 3>The Shining, that he was making. And apparently they kind

0:24:23.000 --> 0:24:26.200
<v Speaker 3>of battled one another quite a bit on the set

0:24:26.200 --> 0:24:28.720
<v Speaker 3>of The Shining, and Garrett Brown later admitted he said

0:24:28.720 --> 0:24:30.879
<v Speaker 3>a lot of that was probably what do you call it,

0:24:30.960 --> 0:24:34.000
<v Speaker 3>like inventor's pride or something kind of getting in the

0:24:34.040 --> 0:24:38.560
<v Speaker 3>way of this like brilliant all tour. So Kubrick already

0:24:38.560 --> 0:24:40.280
<v Speaker 3>had his own ideas on how to best use this

0:24:40.320 --> 0:24:43.800
<v Speaker 3>thing that this other guy invented. And you know the Shining,

0:24:44.119 --> 0:24:48.800
<v Speaker 3>classic example, those tricycle shots, the famous maze chase.

0:24:48.520 --> 0:24:52.920
<v Speaker 1>At the end, very iconic in motion picture history.

0:24:53.080 --> 0:24:57.119
<v Speaker 2>Yeah, and I mean the how did they do? You know,

0:24:57.119 --> 0:24:59.720
<v Speaker 2>how they did that shot? Behind Danny and his little

0:24:59.720 --> 0:25:00.000
<v Speaker 2>big one.

0:25:01.320 --> 0:25:03.040
<v Speaker 1>They probably just went into low mode and.

0:25:03.840 --> 0:25:05.520
<v Speaker 2>Like walked behind him or yeah, ran down the.

0:25:05.520 --> 0:25:06.080
<v Speaker 1>Hall after him.

0:25:06.080 --> 0:25:09.920
<v Speaker 2>That's really impressive. Yeah, so the shining's a big one. Sure,

0:25:10.000 --> 0:25:13.520
<v Speaker 2>Rocky's a big one. Good Fellows is another classic example, too,

0:25:13.760 --> 0:25:17.760
<v Speaker 2>classic where Rayleioda and Lorraine Brocco are going into the

0:25:17.760 --> 0:25:20.600
<v Speaker 2>Copa Cabana, but they go through the back yeah, and

0:25:20.640 --> 0:25:24.040
<v Speaker 2>they're followed like throughout like the backstairs into the kitchen,

0:25:24.160 --> 0:25:26.679
<v Speaker 2>and then they finally come out into their table and

0:25:27.359 --> 0:25:30.719
<v Speaker 2>it's like one uninterrupted, like five minute shot or something.

0:25:31.320 --> 0:25:33.720
<v Speaker 3>It's amazing, and it's I think when you see this,

0:25:33.920 --> 0:25:37.960
<v Speaker 3>you're you might see it and not be a discerning

0:25:38.000 --> 0:25:40.400
<v Speaker 3>film viewer and just say, well that I didn't notice

0:25:40.400 --> 0:25:43.880
<v Speaker 3>anything right, which is probably good. Yeah, Or you might

0:25:43.960 --> 0:25:45.880
<v Speaker 3>be a fan and steady cam and just say, man,

0:25:45.880 --> 0:25:48.440
<v Speaker 3>that was amazing. U. Then you have to step back

0:25:48.440 --> 0:25:51.760
<v Speaker 3>and look at lighting and realize that how incredibly hard

0:25:51.800 --> 0:25:54.119
<v Speaker 3>it is to light a shot like that that takes

0:25:54.119 --> 0:25:57.840
<v Speaker 3>place over I don't know how many hundreds of feet.

0:25:57.680 --> 0:25:59.399
<v Speaker 2>Well without seeing the lights in the shot.

0:25:59.680 --> 0:26:02.760
<v Speaker 3>Well that or just consistent lighting and having it look good.

0:26:02.800 --> 0:26:04.639
<v Speaker 3>I mean, that's just Usually you light for like a

0:26:04.760 --> 0:26:08.080
<v Speaker 3>room or something, or a hallway, but to light all

0:26:08.160 --> 0:26:11.840
<v Speaker 3>those different rooms and hallways and just incredibly, I can't

0:26:11.880 --> 0:26:13.840
<v Speaker 3>imagine how long it took to set that up.

0:26:14.240 --> 0:26:15.760
<v Speaker 2>You know, they were like, wait, what do you want

0:26:15.800 --> 0:26:16.040
<v Speaker 2>to do.

0:26:16.240 --> 0:26:19.399
<v Speaker 3>Yeah, it'll be great, worry about it, stay with me.

0:26:21.520 --> 0:26:25.080
<v Speaker 1>You know, he's making another gangster movie.

0:26:25.440 --> 0:26:26.280
<v Speaker 2>No, I didn't know that.

0:26:26.680 --> 0:26:28.240
<v Speaker 1>Yeah, and it may be like the.

0:26:30.040 --> 0:26:31.800
<v Speaker 3>Some folks are saying, it's like, you know, his last

0:26:31.880 --> 0:26:36.480
<v Speaker 3>big gangster movie, but it's got de Niro again. He

0:26:36.520 --> 0:26:40.199
<v Speaker 3>had worked with him in a long time. Paccino and

0:26:40.280 --> 0:26:42.000
<v Speaker 3>Joe pesci Is coming out of retirement.

0:26:42.280 --> 0:26:44.240
<v Speaker 2>I didn't even know he was retired. I just thought

0:26:44.240 --> 0:26:45.399
<v Speaker 2>he wasn't doing stuff anymo.

0:26:45.560 --> 0:26:46.280
<v Speaker 1>Man, he retired.

0:26:46.280 --> 0:26:46.919
<v Speaker 2>I didn't know that.

0:26:47.240 --> 0:26:51.399
<v Speaker 3>Yeah, so's he's got the three heavyweights and supposedly Harvey Cattail.

0:26:51.440 --> 0:26:53.040
<v Speaker 3>Of course you got to throw him in there. Sure,

0:26:53.359 --> 0:26:55.480
<v Speaker 3>But I'm just like giddy thinking about this.

0:26:55.720 --> 0:26:59.120
<v Speaker 2>Yeah, I'm glad he is because his last one was departed.

0:26:59.200 --> 0:27:00.239
<v Speaker 2>Right now.

0:27:00.359 --> 0:27:04.240
<v Speaker 3>He's made movies since then, like Wolf of Wall Street Gangster, Yeah,

0:27:04.280 --> 0:27:05.160
<v Speaker 3>which I thought was great.

0:27:05.200 --> 0:27:08.480
<v Speaker 1>I know you didn't love it. I thought it was awesome.

0:27:08.560 --> 0:27:11.800
<v Speaker 2>I thought everything. But what Jack Nicholson did was pretty good.

0:27:11.920 --> 0:27:13.240
<v Speaker 1>Yeah you didn't like his performance?

0:27:13.280 --> 0:27:17.800
<v Speaker 2>No, I really didn't. Well, sorry Jack, He'll.

0:27:17.600 --> 0:27:21.560
<v Speaker 3>Forgive that all right, because you like him as an actor, right, Yeah, okay,

0:27:23.600 --> 0:27:29.119
<v Speaker 3>does it gets come on Return of the Jedi nineteen

0:27:29.160 --> 0:27:37.680
<v Speaker 3>eighty three, the famous speeder bike chase scene and the indoor. Yeah,

0:27:37.840 --> 0:27:41.760
<v Speaker 3>California's Redwood National Park doubled his indoor and that was

0:27:41.800 --> 0:27:45.440
<v Speaker 3>Garrett Brown walking and they sped it up.

0:27:46.040 --> 0:27:48.720
<v Speaker 2>Yeah. But and then you're just like, wow, who cares.

0:27:49.280 --> 0:27:53.240
<v Speaker 2>The reason why it's such an iconic steady cam shot

0:27:53.560 --> 0:27:56.439
<v Speaker 2>is because he walked very slowly. Yeah, and when you

0:27:56.720 --> 0:28:00.919
<v Speaker 2>speed film up the tiny movements involved they're telegraphed, they

0:28:01.080 --> 0:28:02.480
<v Speaker 2>just become much more exaggerated.

0:28:02.600 --> 0:28:02.840
<v Speaker 1>Yeah.

0:28:02.880 --> 0:28:05.960
<v Speaker 2>So without a setikam when they sped the film up again,

0:28:06.000 --> 0:28:08.000
<v Speaker 2>it would have been just so blurry and just jarring.

0:28:08.040 --> 0:28:09.199
<v Speaker 2>It would have been unusable.

0:28:09.320 --> 0:28:09.600
<v Speaker 1>Yeah.

0:28:09.680 --> 0:28:11.840
<v Speaker 2>The fact that you can see the trees and stuff,

0:28:12.280 --> 0:28:16.120
<v Speaker 2>and even at that high speed, it's all steady cam.

0:28:16.600 --> 0:28:18.679
<v Speaker 3>Yeah, and people, I think it's just so easy to

0:28:18.720 --> 0:28:20.520
<v Speaker 3>take it for granted now in movies when you see

0:28:20.520 --> 0:28:23.760
<v Speaker 3>these shots. But to pioneer these these things and this

0:28:23.840 --> 0:28:30.520
<v Speaker 3>equipment was remarkable. Yeah, and nowadays you can. They're all

0:28:30.680 --> 0:28:33.240
<v Speaker 3>manner of at home steady cam. You don't have to

0:28:33.280 --> 0:28:35.520
<v Speaker 3>do like my brother and build one out of spare

0:28:35.560 --> 0:28:36.560
<v Speaker 3>parts and door hinges.

0:28:37.160 --> 0:28:38.640
<v Speaker 1>No, you can buy one.

0:28:39.040 --> 0:28:39.960
<v Speaker 2>For not too much.

0:28:40.120 --> 0:28:40.760
<v Speaker 1>Yeah, you can.

0:28:41.240 --> 0:28:44.640
<v Speaker 3>You spend one hundred dollars, Yeah, on a decent enough

0:28:44.760 --> 0:28:45.960
<v Speaker 3>little home steady cam.

0:28:47.240 --> 0:28:51.240
<v Speaker 2>This article says that the steady cam curve, which was

0:28:51.360 --> 0:28:54.400
<v Speaker 2>made for GoPros, it was like one hundred bucks.

0:28:54.480 --> 0:28:55.800
<v Speaker 1>Yeah, well those are teeny tiny.

0:28:56.040 --> 0:29:00.960
<v Speaker 2>And there's one for the iPhone called what's it called

0:29:01.000 --> 0:29:03.240
<v Speaker 2>the Smoothie. That one is like it's like, I think

0:29:03.320 --> 0:29:06.360
<v Speaker 2>even less than one hundred bucks, and it's just like

0:29:06.360 --> 0:29:09.640
<v Speaker 2>a handheld camera stabilizer that works pretty well from what

0:29:09.680 --> 0:29:10.240
<v Speaker 2>I can gather.

0:29:10.360 --> 0:29:12.840
<v Speaker 3>Yeah, we should have had Casey, our video producer Casey.

0:29:12.840 --> 0:29:15.640
<v Speaker 3>He's in France right now though, live in the High.

0:29:15.480 --> 0:29:17.720
<v Speaker 1>Life, right you should We should have had.

0:29:17.640 --> 0:29:20.680
<v Speaker 3>Casey in here just given thumbs up her thumbs down

0:29:21.200 --> 0:29:24.600
<v Speaker 3>to each one of these brands of the mentioned and I.

0:29:24.600 --> 0:29:26.280
<v Speaker 1>Would trust that is like the gospel truth.

0:29:27.560 --> 0:29:30.160
<v Speaker 3>But Casey's not here, so we're just gonna say read

0:29:30.240 --> 0:29:31.080
<v Speaker 3>online reviews.

0:29:31.440 --> 0:29:35.720
<v Speaker 2>I also saw that there's like a lot of gimbal

0:29:35.760 --> 0:29:42.200
<v Speaker 2>based drone steady cams. Yeah that are just not that expensive.

0:29:42.480 --> 0:29:45.680
<v Speaker 1>Well, amazing they're changing the game again, sure, because then

0:29:45.720 --> 0:29:46.160
<v Speaker 1>you can.

0:29:46.040 --> 0:29:49.160
<v Speaker 3>Do a shot where you follow someone by the swimming

0:29:49.160 --> 0:29:51.640
<v Speaker 3>pool and then fly up into outer space with them

0:29:51.680 --> 0:29:53.920
<v Speaker 3>if you want, in one continuous motion.

0:29:54.520 --> 0:29:58.120
<v Speaker 2>Like the Cisp monster, the what the Cisp monster? You

0:29:58.120 --> 0:30:00.360
<v Speaker 2>remember the alien from Crisp Cereal? Uh?

0:30:00.400 --> 0:30:01.560
<v Speaker 1>I do remember Quisp?

0:30:01.880 --> 0:30:03.040
<v Speaker 2>Remember the weird alien?

0:30:03.520 --> 0:30:05.800
<v Speaker 1>Sort of? I didn't eat Quisp. Wasn't that a Captain

0:30:05.840 --> 0:30:08.200
<v Speaker 1>Crunch knock offer? Was it different?

0:30:08.280 --> 0:30:10.920
<v Speaker 2>It was different because they were saucer shaped rather than

0:30:11.000 --> 0:30:15.480
<v Speaker 2>square waffle cut gotcha? Same thing though, Yeah, same thing.

0:30:15.760 --> 0:30:18.600
<v Speaker 2>It was good. It didn't cut the tongue like Captain

0:30:18.640 --> 0:30:19.240
<v Speaker 2>Crunch did.

0:30:19.640 --> 0:30:23.200
<v Speaker 1>Yeah, the roof of the mouth. I'll suffer through that still.

0:30:23.440 --> 0:30:26.440
<v Speaker 3>Uh. And then of course Steatikam is a name brand,

0:30:27.080 --> 0:30:28.520
<v Speaker 3>right Seeing Eye Dog.

0:30:28.800 --> 0:30:31.320
<v Speaker 1>Yeah, it's made Uh who makes it?

0:30:31.520 --> 0:30:31.880
<v Speaker 2>Tiffin?

0:30:31.960 --> 0:30:32.280
<v Speaker 1>Tiffin?

0:30:32.400 --> 0:30:35.000
<v Speaker 2>Now that's what Yeah, I think I think Tiffin does.

0:30:35.040 --> 0:30:37.520
<v Speaker 2>They have a pretty good site, like if you are

0:30:37.560 --> 0:30:39.720
<v Speaker 2>at all interested in this, like, they've got a great

0:30:39.760 --> 0:30:42.160
<v Speaker 2>site and they have all of their steadycam models with

0:30:42.200 --> 0:30:46.240
<v Speaker 2>a real like in depth overview of them and yeah, pretty. Uh.

0:30:46.440 --> 0:30:48.520
<v Speaker 2>I think it's got all their manuals and everything just

0:30:48.560 --> 0:30:49.440
<v Speaker 2>right there for you to read.

0:30:49.560 --> 0:30:52.480
<v Speaker 3>Yeah, there's other companies making them. There's one called Glidecam

0:30:52.840 --> 0:30:53.720
<v Speaker 3>Embara Zoom.

0:30:54.000 --> 0:30:56.719
<v Speaker 1>Yeah, but you know, Steadikam is still probably the giant.

0:30:57.240 --> 0:30:57.920
<v Speaker 1>It's like Dolly's.

0:30:57.920 --> 0:31:00.600
<v Speaker 3>There's only two Dolly Makers, well, or there may be

0:31:00.680 --> 0:31:04.440
<v Speaker 3>more now, but it's like Chapman and Fisher and each

0:31:04.800 --> 0:31:05.160
<v Speaker 3>you know.

0:31:05.200 --> 0:31:07.320
<v Speaker 2>Every Dolly grip has the Dolly Makers.

0:31:07.640 --> 0:31:11.720
<v Speaker 1>Yeah, Chapman dollies are Fisher dollies kind of like kind

0:31:11.720 --> 0:31:12.520
<v Speaker 1>of holding.

0:31:12.280 --> 0:31:18.200
<v Speaker 2>Jamison or bush mills, you know, Foodweiser cores neither. And

0:31:18.240 --> 0:31:21.640
<v Speaker 2>then Garrett Brown, as if the steady cam wasn't enough

0:31:21.720 --> 0:31:25.920
<v Speaker 2>as far as revolutionizing filming goes, he later on invented

0:31:25.960 --> 0:31:29.880
<v Speaker 2>something called the skycam, Yeah, which like if you watch

0:31:29.960 --> 0:31:33.160
<v Speaker 2>any kind of sporting event now especially it's especially useful

0:31:33.160 --> 0:31:38.280
<v Speaker 2>for football. In football, where like it's there's just cables

0:31:38.800 --> 0:31:42.000
<v Speaker 2>above the field and there's cameras hanging down that are

0:31:42.040 --> 0:31:44.640
<v Speaker 2>just like doing overhead shots following the action.

0:31:44.800 --> 0:31:46.160
<v Speaker 1>Like it's nothing, it's pretty neat.

0:31:46.240 --> 0:31:47.600
<v Speaker 2>Garrett Brown invented that too.

0:31:48.160 --> 0:31:50.720
<v Speaker 3>I got one more little thing for you. There are

0:31:50.800 --> 0:31:55.720
<v Speaker 3>two positions not high mode low mode positions are like

0:31:55.760 --> 0:31:59.680
<v Speaker 3>how you're operating the camera. But if you are pointing

0:31:59.720 --> 0:32:02.479
<v Speaker 3>for it as an operator and your camera is pointing forward,

0:32:02.920 --> 0:32:03.640
<v Speaker 3>you're just walking.

0:32:04.240 --> 0:32:06.120
<v Speaker 1>It's called missionary no.

0:32:06.920 --> 0:32:10.560
<v Speaker 3>And then if you are if the operator is forward

0:32:10.600 --> 0:32:13.000
<v Speaker 3>and the camera is backward, they call that don Juan.

0:32:14.160 --> 0:32:17.160
<v Speaker 3>So leave it to film set goons to think of

0:32:18.600 --> 0:32:21.560
<v Speaker 3>sexual names for sex it up camera positions.

0:32:21.800 --> 0:32:23.480
<v Speaker 2>Don Juan, Yeah, I.

0:32:23.560 --> 0:32:24.200
<v Speaker 1>Never heard of that one.

0:32:24.240 --> 0:32:26.880
<v Speaker 2>I hadn't either. Well, if you want to know more

0:32:26.920 --> 0:32:31.680
<v Speaker 2>about steady cams, including a really really fine grain involved

0:32:31.760 --> 0:32:36.240
<v Speaker 2>look at the physics of how the steady cam arm works,

0:32:36.920 --> 0:32:40.400
<v Speaker 2>you should go type steadycam into the search part HowStuffWorks

0:32:40.440 --> 0:32:42.840
<v Speaker 2>dot Com. Since I said search parts signed for the

0:32:42.880 --> 0:32:43.800
<v Speaker 2>listener mail.

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<v Speaker 1>I'm going to call this encouragement from a Christian listener.

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<v Speaker 3>Okay, Hey guys, I was listening to the Easter Show

0:32:52.000 --> 0:32:54.360
<v Speaker 3>and was compelled right in. As a Christian, I've always

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<v Speaker 3>appreciated how you make a solid effort to not rail

0:32:56.960 --> 0:32:59.200
<v Speaker 3>on the church too hard. I found it humorous and

0:32:59.240 --> 0:33:02.280
<v Speaker 3>simultaneously sad when you felt you had to tiptoe around

0:33:02.280 --> 0:33:05.720
<v Speaker 3>the pagan traditions that have been integrated with the resurrection.

0:33:06.440 --> 0:33:08.600
<v Speaker 3>Find it disheartening to think that other believers can't find

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<v Speaker 3>anything better to do than wait to be offended by

0:33:10.960 --> 0:33:12.400
<v Speaker 3>something than jump all over you for it.

0:33:12.480 --> 0:33:15.440
<v Speaker 1>But based on your years of experience and careful.

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<v Speaker 3>Treatment of the subject, it must be the case a

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<v Speaker 3>lot of the time. Personally, I just want to say,

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<v Speaker 3>I can't think of anything you've ever said to offend me.

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<v Speaker 3>I think you've done a stand up job with sensitive

0:33:23.840 --> 0:33:28.160
<v Speaker 3>subjects like satanic panic in particular. It's also nice just

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<v Speaker 3>to hear you talk about things directly related to my

0:33:30.680 --> 0:33:34.000
<v Speaker 3>beliefs without sneering like many others will.

0:33:34.920 --> 0:33:36.600
<v Speaker 1>That's nice Dane in Minnesota.

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<v Speaker 2>Yeah, for real thing. If you want to get in

0:33:39.360 --> 0:33:41.320
<v Speaker 2>touch with this like Dane did and be a super

0:33:41.320 --> 0:33:44.720
<v Speaker 2>cool person, you can tweet to us a SYSK podcast.

0:33:45.000 --> 0:33:48.040
<v Speaker 2>You can also follow the behind the scenes action of

0:33:48.240 --> 0:33:53.040
<v Speaker 2>Chucks in My Life at SYSK podcast on Instagram. You

0:33:53.080 --> 0:33:55.840
<v Speaker 2>can join us on Facebook dot com slash stuff you

0:33:55.840 --> 0:33:58.880
<v Speaker 2>Should Know for the hurt, and you can send us

0:33:58.880 --> 0:34:01.520
<v Speaker 2>an email this Stuff podcast, that HowStuffWorks dot com. In

0:34:01.560 --> 0:34:03.680
<v Speaker 2>the meantime, while you're doing all this, hang out with

0:34:03.760 --> 0:34:06.000
<v Speaker 2>us at our home on the web. Stuff youshould Know

0:34:06.120 --> 0:34:11.799
<v Speaker 2>dot com.

0:34:11.960 --> 0:34:14.479
<v Speaker 3>For more on this and thousands of other topics, visit

0:34:14.520 --> 0:34:22.719
<v Speaker 3>HowStuffWorks dot com.