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Hi, everybody. Chuck here with another intro.
for our summer movie playlist right now you're about to listen to how steadicam works this one goes all the way back to june 2016 but this was a pretty good one everybody because the steadicam is one of movies great inventions quite honestly first used in some of the early movies like rocky and the shining we're going to talk about how it was made how it works and how it works best so So check it out right now.
Welcome to Stuff You Should Know from HowStuffWorks .com.
Hey, and welcome to the podcast. I'm Josh Clark.
There's Charles W. Chuck Bryant.
Jerry's over there.
Chuck's wearing a hat.
So it's Stuff You Should Know.
Yeah. Still pretty sad.
Yeah. Are you really?
Sure. Oh. R .I .P. You know what?
I'm getting the Josh is referencing my Last Chance Garage hat that I've talked way too much about I'm getting the patch remade as we speak whoa I actually found one on eBay that had been sold three months ago and it's all a big conspiracy is that right no not really but I found a picture of the patch that I sent to a patch maker who like can digitally reproduce this thing nice man but then I gotta find the right hat coming back home well that's step one that's a big step one yeah Yeah, I'm getting a few patches and a few hats this time.
I think that's a good idea.
Yeah. You can name them one through eight.
That's right. Let's see, Chuck.
You worked in the film industry previously.
Yeah, so did you technically.
Yeah. You did more than I did, by far.
You worked in front of and behind the camera.
That's right. Did you ever work with a steadicam at all?
Yeah. So, like, you've seen these things up close.
Yep. I don't recall Scott or anybody using one.
We did not have one on our show.
Okay. They're expensive.
Okay. But I mean, there was some pretty good equipment on set, it seemed like to me.
But there was no steady cam, right?
Nope. Because I was trying to recall, and I could not for the life of me remember a moment when there was an awesome extendo arm camera with all of the components exploded out into different parts of a pole.
That didn't happen because he would have walked in and said, what's that?
Right. And everyone would have laughed.
And you would have been like, why does everyone make fun of me just because I don't know all this stuff?
I'll be in my dressing room.
No, we never use one on our TV show for Science Channel because, like I said, it's pricey to rent.
And this is a bit of a giveaway.
But a person, a Steadicam operator, comes with the package with all the equipment.
It's a lot of times their own.
And it's pricey to pay for that lady or that dude.
right but the reason it is pricey because it's it has a really good effect yeah and uh the person who's doing it really knows what they're doing yeah i i don't know but just from researching this it seemed like they were probably the most skilled trades person on the set at any given time when they were on the set is that right well i think it's just a matter of what skill uh it's It's just a different skill.
Are they like the highest echelon of camera operators?
No, it's just different.
Okay. Like a top notch. They're niche.
Yeah. Okay, I got it then.
But you don't just wade into SteadyCam and start getting work the next day.
It does take a lot of work to master.
But a good dolly grip is just as skilled at just pushing that thing around.
But that takes a very...
Non -herky -jerky. Well, it's not going to be herky -jerky anyway, but just to hit the marks right.
Oh, I see. Yeah, I mean, all that stuff takes a great amount of skill.
Well, let's talk about this, because Steadicam, you know, when I came of age, was already invented.
It basically became commercially available the year I was born.
So I don't really know a world prior to Steadicam.
I've never seen a movie that came out before 1976.
Funny. And I'm just used to it, right?
Yeah. But it's interesting to look back and see that there actually is a point in time where this one dude who was actually kind of an outsider of the movie business basically changed it permanently forever for sure yeah his name was Garrett Brown his Garrett Brown yeah he's still around yeah and he he was working for well he was working in TV commercials and on Sesame Street in Philadelphia yeah and And he got a little frustrated, as camera people do pre -Steadycam, with not being able to accomplish certain shots.
Yeah, supposedly there were 30 impossible shots that just based on the equipment of the day, you just couldn't do.
Right? Yeah. And a lot of it had to do with rough terrain.
Sure. Staircases were a big one.
Yeah. And the reason these shots were impossible, it's not like you couldn't lug a camera around up and down the stairs but the movement that the camera recorded would be so jarring that it would render the film like that that it would be unusable yeah and this was in a day before I mean there were shaky cam shots and like Cassavetes and all these early indie filmmakers did a lot of like avant -garde handheld stuff but it was known as avant -garde right cuz it looked different yeah people were used to kind of smoother looking things in mainstream movies at the time yeah I had like a a real frenetic
energy to it. Yeah, which you see all the time now.
It's like a bona fide thing.
It wasn't just picking up the movements of the camera.
It was telegraphing them as far as the human brain's concerned because we take it for granted, but we have in our own brains a pretty complex system that involves the inner ear coordinating with the movement of the retina so that it offsets the movement and the motion and the jarring um, impact of like just walking.
Yeah. Like if we didn't have that, we wouldn't be able to focus on anything while we were moving around.
Yeah. You wouldn't, people wouldn't jog.
They would get sick and vomit every time they jog.
Exactly right. And you certainly wouldn't be able to like read us magazine while you were jogging or something like that.
The fact that you can, it really is a, a, a, it really shows how incredibly complex and well -developed the system is, right?
Yes. And that's what the Steadicam that Garrett Brown created sought to recreate.
And he did it. He nailed it, like, on the first time out, basically.
Yeah, because we mentioned a dolly.
That is, people that know film know this stuff is, like, pretty rudimentary information.
But a lot of people don't know what a dolly is, and they see the word dolly grip in a movie.
They just think it sounds funny.
But the dolly is how you typically would get a smooth shot.
It's just a big, super, super heavy sled with wheels that the camera sits on and the camera operator sits on.
It's either on a very smooth floor or it's on a piece of track like a little railroad car.
It pushes along, and that's how you get those nice, smooth shots.
Right. That's a dolly.
The problem with the dolly is you can't really lay that track over a rocky terrain if you're filming on Mars or something like that.
No, and like you said, you can't push it up and down stairs.
It just had its limitations.
Right, it did. So Garrett Brown said, I'm sick of these limitations.
I'm so tired of being limited by dollies, stupid dollies.
I'm going to invent something better.
And so he tinkered around with his, what was called the Brown Stabilizer at first, which he later renamed to the Steadicam.
And to show off, like at first he was just using them in commercials, and he was like, this is way bigger than just commercials.
yeah I'm gonna make it a sizzle reel and he made a sizzle reel of the 30 impossible shots that you just couldn't do before and he did it with the steadicam but he didn't show how it was done yeah and you can um he was able to save 10 of those shots mm -hmm and digitize them and a couple of years ago he finally released online 10 of those so you can actually go see this original reel yeah it's pretty cool yeah his wife and his best friend like just doing and stuff while you were?
Just doing stuff. Like, you know, one of them was swimming.
You can't run alongside somebody swimming, apparently was an impossible shot.
I'm not quite sure why.
Well, you just couldn't run alongside someone doing anything.
Oh, okay, that's what it was?
Yeah. Even with a dolly?
Well, no, you could have laid dolly track down the length of a swimming pool, sure.
Right, that's why I didn't understand that one was an impossible shot.
But to show off, he goes around a slide just to kind of show maybe maybe that was the impossibility of it but then his buddy gets out of the pool and like walking like he's he pivots around him and i'm sure he when he put this reel together and he sent it out the directors are like uh this is magic sorcery well it was mind blowing and some people say it was the first uh viral video because it was shared around hollywood literally in a matter of days everybody in Hollywood was saying what in the world like you said what is this sorcery this Garrett Brown has bestowed upon us yeah it was a bit of a mic
drop as far as that reel goes and Stanley Kubrick being Stanley Kubrick sent a message to Garrett Brown that said if you are really concerned about protecting its design before you fully patent it I suggest you delete the two occasions on the reel where the shadow on the ground gives the skilled counterintelligence photo interpreter a fairly clear representation of a man holding a pole with one hand with something or other at the bottom of the pole which appears to be slowly moving.
All of that is Stanley Kubrickian for, hey, there's a shadow in one of your shots.
Right. Of the Steadicam mop.
Yeah. Which is pretty cool of him to do.
Sure. Because I'm sure there were plenty of people in Hollywood who would have been like, okay, I think I kind of get the idea of what this was.
Because there was no suggestion whatsoever whatsoever of what, what Garrett Brown had used to get these shots, except in those shadows.
So he went and went and immediately cut those, those I think 14 seconds out of his reel and then released the second edition.
And it looked pretty good.
I mean, it's, it's rough compared to today's standard. Sure.
But for the time it was, it was like unbelievable.
Right. It changed everything.
Oh yeah. Um, and one of the, uh, shots that he got was, uh, his wife, Ellen.
Uh -huh. He said, said, Dear, why don't you put on your most 70s bell -bottoms you can find, and I'm going to run up behind you as you run up the steps to the Philadelphia Museum of Art.
Maybe when you get to the top, you can raise your hands in triumph, and I will spin around you.
If that shot sounds familiar, it actually attracted a guy, a director named John, what is it, Avildsen?
Yeah, John G. Avildsen.
Who said, I like this, I'm going to use it in this little film I'm directing called Rocky.
Yeah. And I didn't get whether or not this was the case, but did they locate Rocky in Philadelphia because of those steps?
No. Because he said, how did you do that and where are those steps?
I don't think so, man, because I wondered that too.
Like, did he not have a scene written where Rocky just runs up those steps?
Right. I mean, Stallone wrote it.
Right. We'll just have to ask him Hey Sly I was wondering if you could do it That was pretty good I answered in that little moment Someone will have to interpret that Great movie though man I rewatched that This year from beginning to end Just a phenomenal movie I'm trying to get Emily to watch it Has she never seen the original?
No It's it's own thing for sure It's not much like the sequels Really, it's a love story for the most part.
It's a love story and like the triumph of the little guy story for sure.
Featuring boxing. Right.
That's exactly right.
But two and three and onward, it's like a totally different thing.
Yeah, but those are good too.
Yeah, they said, let's take your story, take out the heart, and insert cocaine instead.
Insert Mr. T. I don't get the cocaine reference.
Oh, it's just the 80s and Hollywood got their hands on it.
Sure. You know what I mean?
I got you. Yeah, that's a good question, though.
I wonder about that.
Surely they didn't remake it for Philadelphia just for that.
Well, but the point is, is Garrett Brown created on this sizzle reel one of the most iconic shots in filmmaking history.
For sure. And he sent that reel out.
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day 76 three major motion pictures hired him to operate his steadicam for it um there was rocky yep there was um what was the one about woody guthrie bound for glory yeah i think that one came out first so that was the first actual like uh and that one uh the steady came up was garrett brown i think for all these because he was the only guy that knew how he got a lot of work early Yeah, and I think the patent was still pending until 1977, so I'm sure he didn't let that thing out of his sight.
Everybody close your eyes while I shoot this.
But on Bound for Glory, he was on a crane even that lowered down, stepped off the crane.
So people had seen crane shots, but then for the crane to go down, down, down, and then all of a sudden start following this guy, everyone was like, what in the world?
Right, there would have been a cut after the crane stopped, and then before, you know, they would have cut, and he would have gotten in position and then start it up again.
This is one smooth shot.
One smooth shot. Yeah, and then the other one was Marathon Man.
Yeah, another great movie.
Right out of the blue, this guy who is a commercial director and made short films for Sesame Street changed filmmaking single -handedly.
Yeah, and won an Academy Award in 1978 for technical achievement.
Got that patent in 77.
Well, that's it. That's the history of the Steadicam.
That's it, everybody.
Good night. But we're going to...
Should we take a break and tell everyone how this thing works?
Let's do it, man. All right, Chuck.
So the SETI camp, do you remember when we did our episode on breathalyzers?
Oh boy, that was a long time ago.
And we found out that the breathalyzer is one of the most complicated machines on the planet.
I kind of hated that one.
Like, there were crystals involved somehow.
I hated that one too.
Dark crystals. There were.
This is a bit like that.
Like, if you really dive into steadicams like this article on HowStuffWorks does, it's labyrinthine.
Talk about the dark crystal.
Yeah. We're talking labyrinth instead.
Yeah, but we're going to simplify it because you don't need to break this thing apart and look at every component like this article does.
I mean, it really gets involved.
What you should do is look at a picture of someone operating one.
Yeah. Because when you look at it, it all makes a lot more sense.
Right. And there's really just three main parts to the whole thing.
There's a vest, there's an arm that's attached to the vest, and then the other end of the arm is attached to what's called the sled, which is what the camera and its components are mounted on, right?
Yeah, and that arm, I mean, just picture yourself wearing like a Baby Bjorn baby carrier, except for instead of the baby at your sternum, there's a mechanical arm coming out.
Like a spring arm lamp.
Yeah, like accordion arm or a spring arm lamp.
Right, and it's virtually the same thing.
Well, yeah, and guess who made one of these by himself before they started making them for at -home people?
Who, Casey? No. Who?
Who? My brother, of course.
Oh, did he really? Yeah.
Yeah, my brother made one of these in the early 90s.
Did he really? Out of door hinges and rubber bands and springs.
Does he still have it?
Is it in the Smithsonian?
I don't know. It's in the Scottsonian.
Nice. Which is where all his early inventions.
With all his pinball machines?
Yeah, but he made one.
He basically did the same thing.
He looked at it and looked at these swing arm lamps and accordion arm lamps and was like, well, it's the same thing.
I'll just make a version of that.
And it worked pretty good.
It's virtually the same thing.
Yeah. So the whole point of a steadicam is that it basically simulates, or the arm at least, simulates a human arm, right, to where it can move around very easily.
Yeah. And it redistributes the weight of the camera, which can be up to like 70 pounds.
I imagine probably more.
Yeah. The whole unit is pretty heavy, and it's not easy to operate.
It'll wear you out.
But it holds it effortlessly, and it holds it in place.
This arm does. and it does it by using springs and you can adjust the tension of the springs by using a cable and pulley system so that it offsets the balance of the camera and holds it in space in front of the camera operator basically so that they can move it effortlessly up, down, to the side.
You can put the camera on top of the sled so that you get high shots.
You can switch it so it goes on the bottom so you can get low -angle shots.
Yeah, the traditional, it's called high mode and low mode and high mode doesn't mean it's high, it just means it's on the top of the unit.
And then low mode is when it's on the bottom, so if you wanted to film a mouse running across the floor, you would put it in low mode.
If you wanted to film a human, you'd put it in high mode.
Yeah, and the camera itself is broken out into pieces, which is kind of an ingenious trick that I guess Garret Brown came up with himself.
I think he did. And this is the third part, the camera sled, right?
right? Yes. The sled is what holds all the equipment.
Right. And it's basically a pole with a little bit at the top called the stage.
Yeah. And that's where the camera goes, or it could be at the bottom, wherever the camera is.
The camera's mounted to the stage.
Yes. Then you get the pole itself.
And then the, I guess the arm is connected to the pole by a, um, a gimble, a gimbal, a gimbal.
That's right. And that's like an old technology.
It's It's basically something that uses basically a gyroscopic action to take the movement of whatever is seeking to move whatever you want to hold still and getting rid of it.
Yeah. Like everything around it moves except for the thing that you want to hold still.
Yeah, it's pretty neat.
It's super neat. And that's just the one arm that's connected to the pole.
Yes. So you can see how complicated this thing is.
This guy sat back and I think in a hotel room somewhere he put it together, Garrett Brown, the first one.
Just the ingenuity it took to put this together, it's pretty in -depth as far as inventions go.
Yeah, and there's a little science to it.
There's something called moment of inertia.
It's basically how much that camera is resistant to rotation.
So if you want the camera to be still, you want to increase that resistance to the rotation.
And this is determined by a couple of different things.
how much mass there is to the object and how far that mass is from the from its own axis of rotation So by spreading the camera out he basically took the little you know cameras come with a monitor now So you can see what's going on right a big heavy battery.
Yeah. He took the monitor off of the camera He took the battery off of the camera and redistributed that up and down the pole So what he ended up doing was spreading out that mass Which takes away the center of gravity from the camera itself Yeah, because like with a regular camera where all the components are in one single unit, that center of gravity is inside the camera.
So it's easy to rotate, but since he exploded it out into its various components, he made that center of gravity land somewhere on the pole.
Right. And the gimbal attaches to the pole just above the center of gravity so that the camera operator holds the pole and manipulates the camera at the center of gravity, which makes it very easy to balance, keep balance.
Yeah, and they do a good job in this article.
If you just take a broomstick and you find that center of gravity with your finger, you can hold it with your finger and lift it up and down.
Right, and it's balanced on your finger because you're hitting that center of balance.
That's right. It's the same principle.
Yeah. And in fact, if you took that same broomstick and cut it off and you just had three feet of broomstick and just took your SLR camera and screwed that broomstick into the bottom of your camera instead of a tripod, that would function.
You could walk around with that, and it would be steadier than if you just had it in your hand.
I could see that because of the change of the center of gravity.
Change of the center of gravity.
And if you put a little counterweight at the bottom, it would make it even more steady.
And that's the whole concept of the Steadicam sled.
Then attach that to an arm, that accordion arm, and you're cooking with gas.
Yeah, because you were saying if you walk around with just the pole holding, or the broomstick, cut off broomstick, and you're holding it just with your hand, it's steady.
The point of the arm is it's taking your hand out of the equation and replacing it with something that can isolate movement even more so that your movement of you walking just gets lost within the arm before it ever gets to the camera and could shake it.
Yeah, like if you did it with a broomstick, your arm is the same thing as a Steadicam arm.
Right. Except it's better.
The Steadicam arm is.
is better than your human arm.
Right. Yes. Exactly.
Pretty neat stuff. It is neat stuff.
And I think that's it for the science, man.
We made it through it.
Yeah, I mean, it's all got to be very precisely balanced.
You don't just throw the stuff on the pole willy -nilly.
No, and they point out that the balance of the camera can actually change during filming.
Yeah. Just from the film moving from one end of the camera to the other as it records, right?
Well, yeah, in the old days when they used film, for sure.
Nowadays it's just that digital card Yeah, I'm sure Quentin Tarantino's camera operators Have to deal with this Yeah, and if you've ever been on a job With a Steadicam There's a lot of brakes I mean you can adjust them on the fly more now But I remember there just being a lot of breaks Where the Steadicam op would say Hold on, you know I need five minutes And they go over and they have a little stand That they put it on Because you know it takes the weight off To a certain degree but it's still a lot of weight to be carrying on a vest on your chest yeah um and running and moving and doing all
sorts of stuff yeah it's it's a tough gig like there's a pretty amazing video did you watch it of that eurovision shot no there's a guy from i think belarus singing and they showed they showed him like i did see that he he's like they they they showed the shot and then they showed what somebody filming the shot being done and the guy with the steadicam wearing wearing the vest, rides down the aisle on a Segway.
Is that what he's on?
Yeah, hops off, runs up this ramp, and then starts circling around the guy who's singing.
And it's a pretty amazing thing.
It's a great shot, but then when you see how it's done, you're like, wow, that guy deserved a standing ovation.
It would have been more impressive had it not the subject matter been more interesting and the video quality been better.
It's pretty bad. Like if it was a Scorsese movie, you'd be like, wow.
But it was this kind of corny, it looked like an American Idol or something.
It was, but it was American Idol.
If you took American Idol at its peak and then spread it out over Eurasia, and it was popular over that large of a population, that's what Eurovision is.
That's right. So you want to talk about some of the shots when we come back after a break?
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All right. So, Chuck, in addition to that Rocky shot and that Eurovision shot, there are some other very famous shots, classic shots of all time.
That had to do with Steadicam.
It couldn't have been done without Steadicam.
Well, The Shining is the first one that pops into most people's minds because, like we said, Kubrick was a big fan of this invention and immediately started talks with Garrett Brown on how to help him out with this movie, The Shining, that he was making.
Right. And apparently they kind of battled one another quite a bit on the set of The Shining, and Garrett Brown later admitted, And he said a lot of that was probably, what do you call it, like inventors pride or something.
Right. Kind of getting in the way of this like brilliant auteur.
So Kubrick already had his own ideas on how to best use this thing that this other guy invented.
Right. And, you know, The Shining's classic example.
Those tricycle shots.
Yeah. The famous maze chase at the end.
Yep. Very iconic in motion picture history.
Yeah. Yeah, and I mean, do you know how they did that shot behind Danny on his little big wheel?
They probably just went into low mode and - Like walked behind him?
Yeah, ran down the hall after him.
That's really impressive.
Yeah. So the Shining's a big one.
Sure. Rocky's a big one.
Goodfellas is another classic example, too.
Classic. Where Ray Liotta and Lorraine Bracco are going into the Copacabana, but they go through the back.
yeah and they're followed like throughout like the back stairs into the kitchen and then they finally come out into their table and it's like one uninterrupted like five minute shot or something it's amazing and it's um I think when you see this your you might see it and not be a discerning film viewer and just say well that I didn't notice anything right which is probably good yeah or you might be a fan and steady cam and just say man that was amazing uh then you have to step back and look at lighting and realize that how incredibly hard it is to light a shot like that that takes place over i
don't know how many hundreds of feet what without seeing the lights in the shot well that or just consistent lighting and having it look good i mean that's just usually you light for like a room or something or a hallway right yeah yeah but to light all those different rooms and hallways and uh just incredibly i can't imagine imagine how long it took to set that shot up.
They were like, wait, what do you want to do?
Yeah. It'll be great.
Don't worry about it.
Stick with me. Stay with me.
You know he's making another gangster movie.
No, I didn't know that.
Yeah, and it may be like the...
Some folks are saying it's like his last big gangster movie.
Yeah. But it's got De Niro again.
Okay. He hadn't worked with him in a long time.
Pacino. Nice. And Joe Pesci is coming out of retirement.
I didn't even know he was retired.
I just thought he wasn't doing stuff anymore.
No, man, he retired.
I didn't know that.
Yeah, so he's got the three heavyweights and supposedly Harvey Keitel, of course.
You gotta throw him in there.
Sure. But I'm just giddy thinking about this.
Yeah, I'm glad he is because his last one was The Departed, right?
No, he's made movies since then, like Wolf of Wall Street.
Oh, his last gangster movie.
Yeah, which I thought was great.
I know you didn't love it.
I just didn't. I thought it was awesome.
I thought everything but what Jack Nicholson did was pretty good.
Yeah? Yeah. You didn't like his performance?
No, I really didn't.
Well. Sorry, Jack. He'll forgive that.
All right. Because you like him as an actor, right?
Yeah. Oh, okay. Yeah, as good as it gets.
Come on. Return of the Jedi, 1983.
The famous speeder bike chase scene.
On Endor. Yeah. California's Redwood National Park doubled as Endor.
And that was Garrett Brown walking, and they sped it up.
Yeah, but you're just like, wow, who cares?
The reason why it's such an iconic Steadicam shot is because he walked very slowly.
And when you speed film up, the tiny movements involved are telegraphed.
They just become much more exaggerated.
So without a Steadicam, when they sped the film up, again, it would have been just so blurry and just jarring.
It would have been unusable.
The fact that you can see the trees and stuff, and even at that high speed, it's all Steadicam.
Yeah, and people, I think it's just so easy to take it for granted now in movies when you see these shots, but to pioneer these things and this equipment was remarkable.
Yeah. And nowadays, there are all manner of at -home Steadicam.
You don't have to do like my brother and build one out of spare parts and door hinges.
No. You can buy one.
For not too much. You can spend $100 on a decent enough little home Steadicam.
This article says that the Steadicam Curve, which is made for GoPros, is like $100.
Yeah, well, those are teeny tiny.
There's one for the iPhone called, what's it called?
The Smoothie. The Smoothie.
That one is like, I think, even less than $100.
and it's just like a handheld camera stabilizer that works pretty well from what I can gather yeah we should have had Casey our video producer Casey he's in France right now though yeah living the high life right he should beget we should have had Casey in here just giving thumbs up or thumbs down to each one of these brands that we mentioned yeah and I would trust that is like the gospel truth right but Casey's not here so we're just gonna say read online reviews I also saw that But there's a lot of gimbal -based drone steady cams that are just not that expensive.
Well, drones, they're changing the game again.
Sure. Because then you can do a shot where you follow someone by the swimming pool and then fly up into outer space with them if you want in one continuous motion.
Yeah, like the Quisp monster.
The what? The Quisp monster.
You remember the alien from Quisp Serial?
I do remember Quisp.
Remember the weird alien?
Sort of. I didn't eat Quisp.
Wasn't that a Captain Crunch knockoff, or was it different?
It was different because they were saucer -shaped rather than square waffle cut.
Gotcha. Same thing, though, yeah.
Same thing. It was good.
It didn't cut the tongue like Captain Crunch did.
Oh, yeah, the roof of the mouth.
I'll suffer through that still.
And then, of course, Steadicam is a name brand.
Right, like Seeing Eye Dog.
Yeah, it's made... Who makes it?
Tiffin? Tiffin now.
Yeah, I think Tiffin does.
They have a pretty good site.
If you are at all interested in this, they've got a great site, and they have all of their Steadicam models with a real in -depth overview of them.
I think it's got all their manuals and everything just right there for you to read.
Yeah, there's other companies making them.
There's one called Glidecam.
Embarazum. Yeah, but Steadicam's still probably the giant.
It's like dollies. There's only two dolly makers.
Well – Or there may be more now, but it's like Chapman and Fisher.
And each – every dolly grip has their preference.
Those are the dolly makers?
Yeah, Chapman dollies or Fisher dollies.
Kind of like – Kind of holding it down.
Jameson or Bushmills.
Yeah. Budweiser or Coors?
Neither. And then Garrett Brown, as if the Steadicam wasn't enough as far as revolutionizing filming goes, he later on invented something called the Skycam.
Yeah. Which, if you watch any kind of sporting event now, it's especially useful for football and football, where there's just cables above the field, and there's cameras hanging down that are just doing overhead shots following the action.
It's nothing. It's pretty neat.
Garrett Brown invented that, too.
I've got one more little thing for you.
There are two positions, not high mode and low mode.
Positions are how you're operating the camera, but if you are pointing forward as the operator and your camera is pointing forward you're just walking it's called missionary no and then if you are if the operator is forward and the camera is backward they call that Don Juan so leave it to film set goons to think of sexual names for camera positions Don Juan?
yeah I never heard of that one I hadn't either there well if you want to know more about steady cams including a really really fine grain involved look at the physics of how the steady cam arm works you should go type steady cam into the search bar at howstuffworks .com since i said search bar it's time for listener mail uh i'm gonna call this uh encouragement from a christian listener okay hey guys i was listening me to do the Easter show and was compelled to write in.
As a Christian, I've always appreciated how you make a solid effort to not rail on the church too hard. I found it humorous and simultaneously sad when you felt you had to tiptoe around the pagan traditions that have been integrated with the resurrection.
I find it disheartening to think that other believers can't find anything better to do than wait to be offended by something, then jump all over you for it.
But based on your years of experience and careful treatment of the subject, it must be the case a lot of the time.
Personally, I just want to say I can't think of anything you've ever said to offend me i think you've done a stand -up job with sensitive subjects like satanic panic in particular it's also nice just to hear you talk about things directly related to my beliefs without sneering uh like many others will uh that's nice dane in minnesota yeah for real thing if you want to get in touch with us like dane did and be a super cool person you can tweet to us at SYSK Podcast. You can also follow the behind the scenes action of Chuck's In My Life at SYSK Podcast on Instagram.
You can join us on Facebook .com stuffyoushouldknow for the Hurt and you can send us an email to stuffpodcast at howstuffworks .com In the meantime, while you're doing all this hang out with us at our home on the web stuffyoushouldknow .com For more on this and thousands of other topics, visit HowStuffWorks .com.
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