SYSK’s Summer Movie Playlist: How Steadicams Work

Summary

Podcast Summary: "SYSK’s Summer Movie Playlist: How Steadicams Work"

Episode Information:

• Title: SYSK’s Summer Movie Playlist: How Steadicams Work
• Hosts: Josh Clark and Charles "Chuck" Bryant
• Release Date: June 27, 2025
• Description: In this episode, Josh and Chuck delve into the fascinating world of Steadicams, exploring their invention, functionality, and pivotal role in some of cinema's most iconic scenes.

---

1. Introduction to Steadicams

Timestamp: [01:35] - [03:00]

The episode begins with Jerry introducing the topic of Steadicams, highlighting their significance in filmmaking since their inception in the mid-1970s. The hosts express their excitement to unpack how this remarkable invention revolutionized cinematic techniques.

Notable Quote:

Jerry: "The Steadicam is one of movie's great inventions, quite honestly."

2. Garrett Brown: The Inventor

Timestamp: [05:37] - [06:08]

Josh and Jerry discuss Garrett Brown, the visionary behind the Steadicam. Brown's frustration with the limitations of traditional camera equipment led him to innovate, ultimately creating a tool that would forever change how movies are shot.

Notable Quote:

Josh Clark: "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."

3. The Invention and Early Demonstrations

Timestamp: [06:09] - [09:35]

The conversation delves into the early challenges Brown faced and his determination to overcome them. Brown's initial device, the Brown Stabilizer, showcased the potential of smooth, dynamic camera movements without the constraints of dollies and tracks.

Notable Quote:

Jerry: "The Steadicam operator comes with the package, right? With all the equipment, it's a lot of times their own. And it's pricey to pay for that lady or that dude."

4. The Steadicam Sizzle Reel

Timestamp: [09:35] - [12:05]

Brown created a sizzle reel demonstrating 30 "impossible shots" to showcase the Steadicam's capabilities. This reel quickly gained traction in Hollywood, leading to widespread adoption despite initial skepticism from filmmakers like Stanley Kubrick.

Notable Quote:

Jerry: "He was able to save 10 of those shots 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."

5. Steadicam's Impact on Iconic Films

Timestamp: [12:05] - [36:39]

Josh and Jerry explore how the Steadicam was employed in legendary films such as "Rocky," "The Shining," and "Goodfellas." They discuss specific scenes that became iconic due to the smooth, uninterrupted shots made possible by the Steadicam.

Notable Quotes:

Josh Clark: "Rocky is a big one. Goodfellas is another classic example, too."

Jerry: "The Shining's classic example, those tricycle shots, the famous maze chase at the end."

6. Technical Breakdown of the Steadicam

Timestamp: [19:00] - [26:40]

In a more technical segment, the hosts break down how a Steadicam operates. They explain its three main components: the vest, the mechanical arm, and the sled holding the camera. The discussion covers the physics behind the device, including moments of inertia and the importance of balancing the camera to ensure smooth footage.

Notable Quote:

Josh Clark: "The whole point of a Steadicam is that it basically simulates... the arm, at least simulates a human arm. So it can move around very easily."

7. Modern Evolution and Accessibility

Timestamp: [36:39] - [39:43]

The episode transitions to how Steadicams have evolved with technology, making them more accessible to hobbyists and indie filmmakers. The hosts mention affordable alternatives and the integration of gimbal technology, expanding the Steadicam's application beyond professional sets.

Notable Quote:

Jerry: "Nowadays you can buy one for not too much. You can spend $100 on a decent enough little home Steadicam."

8. Listener Engagement and Anecdotes

Timestamp: [40:00] - [42:16]

Listeners are invited to engage with the podcast through various platforms. Additionally, Jerry shares a humorous anecdote about unconventional naming conventions for camera positions on set, highlighting the camaraderie and light-heartedness among film crews.

Notable Quote:

Jerry: "If you are pointing forward as the operator and your camera is pointing forward, you're just walking. It's called missionary. And then if you are pointing forward as the operator and the camera is pointing backward, they call that Don Juan."

9. Conclusion and Final Thoughts

Timestamp: [42:16] - [44:18]

Josh and Jerry wrap up the episode by reflecting on the Steadicam's enduring legacy in filmmaking. They emphasize how Garrett Brown's ingenuity continues to influence modern cinematography, making dynamic and fluid shots a staple in both blockbuster and independent films.

Notable Quote:

Josh Clark: "The fact that you can see the trees and stuff, and even at that high speed, it's all Steadicam. It really shows how incredibly complex and well-developed the system is."

---

Key Takeaways:

• Innovation: Garrett Brown's Steadicam revolutionized filmmaking by allowing smooth, dynamic camera movements without traditional constraints.
• Impact on Cinema: Iconic scenes from "Rocky," "The Shining," and "Goodfellas" owe their fluidity and dynamism to the Steadicam.
• Technical Mastery: The Steadicam's effectiveness lies in its balanced design and the operator's skill, mimicking the natural movement of the human arm.
• Evolution and Accessibility: Advances in technology have made camera stabilization tools more accessible, expanding their use beyond professional settings.
• Enduring Legacy: The Steadicam remains a vital tool in modern cinematography, continually influencing how stories are visually told on screen.

---

This episode provides an in-depth exploration of the Steadicam, blending technical explanations with historical insights and personal anecdotes. Whether you're a film enthusiast or curious about cinematic technology, Josh and Chuck offer a comprehensive understanding of how Steadicams work and their pivotal role in shaping memorable moments in film history.

Transcript

[Josh Clark]

This is an iHeart podcast.

[Charles W. Chuck Bryant]

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[Jerry]

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[Jerry]

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. Now we're going to talk about how it was made, how it works and how it works best. So check it out right now. Welcome to Stuff youf should know from howstuffworks.com.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

Still. Still pretty sad.

[Jerry]

Yeah.

[Josh Clark]

Are you really sure? Oh, rip.

[Jerry]

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.

[Josh Clark]

Whoa.

[Jerry]

Actually found one on ebay that had been sold three months ago and it's all a big conspiracy.

[Josh Clark]

Is that right?

[Jerry]

No, no.

[Josh Clark]

Okay.

[Jerry]

But I found a picture of the patch that I sent to a patch maker who like, can digitally re produce this thing.

[Josh Clark]

Nice, man.

[Jerry]

Well, then I got to find the right hat.

[Josh Clark]

It's coming back home. Well, that's step one. That's a big step one.

[Jerry]

Yeah. I'm getting a few patches and a few hats this time.

[Josh Clark]

I think that's a good idea.

[Jerry]

Yeah.

[Josh Clark]

You can name them 1 through 8.

[Jerry]

That's right.

[Josh Clark]

Let's see. Chuck, you worked in the film industry previously.

[Jerry]

Yeah. So did you. Technically, yeah.

[Josh Clark]

You did more than I did by far. You worked in front of and behind the camera.

[Jerry]

That's right.

[Josh Clark]

Did you ever work with a Steadicam at all?

[Jerry]

Yeah.

[Josh Clark]

So like you've seen these things up close?

[Jerry]

Yep.

[Josh Clark]

I don't recall Scott or anybody using one.

[Jerry]

We did not have one on our show.

[Josh Clark]

Okay.

[Jerry]

They're expensive.

[Josh Clark]

Okay. But I mean, there is some pretty good equipment on set, it seemed like to me. But there was no Steadicam, right?

[Jerry]

Nope.

[Josh Clark]

Because I was trying to recall and I could not for the life of me remember a moment when there was a awesome like extendo arm camera with like all of the components exploded out into different parts of a pole.

[Jerry]

That didn't happen because he would have walked in and said, what's that?

[Josh Clark]

Right.

[Jerry]

And everyone would have laughed and you would have been like, why does everyone make fun of me? I don't know all this stuff.

[Josh Clark]

I'll be in my dressing room.

[Jerry]

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. Steadicam operator comes with the package, Right. With all the equipment, it's a lot of times their own. And it's, you know, it's pricey to pay for that lady or that dude.

[Josh Clark]

Right. But the reason it is pricey is because it has a really good effect.

[Jerry]

Yeah.

[Josh Clark]

And the person who's doing it really knows what they're doing. Yeah, I don't know. But just from researching this, it seemed like they were probably the most skilled tradesperson on the set at any given time when they were on the set. Is that right?

[Jerry]

Well, I think it's just a matter of what skill. It's just a different skill.

[Josh Clark]

Are they like the highest echelon of camera operators?

[Jerry]

No, it's just different.

[Josh Clark]

Okay.

[Jerry]

Like a top notch niche. Yeah.

[Josh Clark]

Okay, I got it then.

[Jerry]

But. But you don't just wade into Steadicam and start getting work the next day. It does take a lot of work to master, but, like, a good dolly grip is just as skilled at just pushing that thing around.

[Josh Clark]

But that takes a very non herky jerky.

[Jerry]

Well, it's not gonna be herky jerky anyway, but just to hit the marks. Right. And.

[Josh Clark]

Oh, I see.

[Jerry]

Yeah. I mean, all that stuff takes a great amount of skill.

[Josh Clark]

Well, let's talk about this, because Steadicam, you know, when I came of age, was already invented. It was. It was basically became commercially available the year I was born. So I don't really know a world prior to Steadicamp. I've never seen a movie that came out before 1976.

[Jerry]

Funny.

[Josh Clark]

And I'm just used to it. Right.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

For sure.

[Josh Clark]

Yeah.

[Jerry]

His name was Garrett Brown. Is Garrett Brown.

[Josh Clark]

Yeah. He's still around, right?

[Jerry]

Yeah. And he was working for. Well, he was working in TV commercials and on Sesame street in Philadelphia.

[Josh Clark]

Yeah.

[Jerry]

And he got a little frustrated, as camera people do pre Steadicam, with not being able to accomplish certain shots.

[Josh Clark]

Yeah. There's supposedly there were 30 impossible shots that just based on the equipment of the day, you just couldn't do. Right.

[Jerry]

Yeah.

[Josh Clark]

And a lot of it had to do with, like, rough terrain.

[Jerry]

Sure.

[Josh Clark]

Staircases were a big one.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

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.

[Josh Clark]

Right.

[Jerry]

Because it looked different and people were used to kind of smoother looking things. Mainstream movies at the time.

[Josh Clark]

Yeah. It had, like, a real frenetic energy to it.

[Jerry]

Yeah. Which you see all the time now. It's like a bona fide thing.

[Josh Clark]

But it wasn't just like, picking up the movements of the camera. It was like 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 impact of, like, just walking.

[Jerry]

Yeah.

[Josh Clark]

Like, if we didn't have that, we wouldn't be able to focus on anything while we were moving around.

[Jerry]

Yeah, you wouldn't. People wouldn't jog. They would get sick and vomit every time they jog.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

It really is a. It really shows how incredibly complex and well developed the system is. Right.

[Jerry]

Yes.

[Josh Clark]

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.

[Jerry]

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. Right. That the camera sits on and the camera operator sits on, and it's either on a very smooth floor, it's on a piece of track, like a little railroad car, and it pushes along, and that's how you get those nice, smooth shots.

[Josh Clark]

Right. So 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.

[Jerry]

No. And like you said, you can't push it up and down stairs. It just had its limitations.

[Josh Clark]

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 gonna invent something better. And so he tinkered around with his. What was called the Brown stabilizer at first.

[Jerry]

Yeah.

[Josh Clark]

Which he later renamed to the Steadicam.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Yeah. And you can. He was able to save 10 of those shots 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.

[Josh Clark]

Yeah. His wife and his best friend, like, just doing Stuff. Just doing stuff like, you know, like one of them was swimming. You can't run alongside somebody. Swimming apparently was an impossible shot. I'm not quite sure why.

[Jerry]

Well, you just couldn't run alongside someone doing anything.

[Josh Clark]

Oh, okay. That's what it was. Even with a dolly.

[Jerry]

Well, no. You could have laid dolly track down the length of a swimming pool.

[Josh Clark]

Sure.

[Jerry]

Right.

[Josh Clark]

That's why I didn't understand that one was an impossible shot. But to show off he goes. He goes around a slide just to.

[Jerry]

Kind of show maybe that was the impossibility of it.

[Josh Clark]

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, this is magic sorcery.

[Jerry]

Well, it was mind blowing. And some people say it was the first 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?

[Josh Clark]

Yeah, it was a bit of a mic drop as far as the reel goes.

[Jerry]

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 counter intelligence 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 of the Steadicam mop.

[Josh Clark]

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 of what. What Garrett Brown had used to get these shots, except in those shadows. So he went eek. And went. And immediately cut those.

[Jerry]

Yeah, those.

[Josh Clark]

I think 14 seconds out of his reel and then released the second edition.

[Jerry]

And it looked pretty good. I mean, it's. It's rough compared to today's standard.

[Josh Clark]

Sure.

[Jerry]

But for the time, it was. It was like unbelievable.

[Josh Clark]

Right? It changed everything.

[Jerry]

Oh, yeah.

[Josh Clark]

And one of the shots that he got was his wife Ellen. He 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. And maybe when you get to the top, you can raise your hands in triumph and I will spin around you. And if that shot sounds familiar, it actually attracted a guy, a director named John. What is it? Avildson?

[Jerry]

Yeah. John G. Avildson.

[Josh Clark]

Who said, I like this. I'm going to use it in this little film I'm directing called Rocky.

[Jerry]

Yeah.

[Josh Clark]

And I didn't get whether or not this was the case, but did they. Did they locate Rocky in Philadelphia because of those steps? No, because he said, how did you do that? And where are those steps?

[Jerry]

I don't think so, man. Because I wondered that too. Like, like, did he not have a scene written where Rocky just runs up those steps?

[Josh Clark]

Right.

[Jerry]

I mean, Stallone wrote it, Right?

[Josh Clark]

I think they asked.

[Jerry]

We'll just have to ask him.

[Josh Clark]

Okay.

[Jerry]

Hey, Sly.

[Josh Clark]

I was wondering if you. That was pretty good.

[Jerry]

I answered in that little moment. Someone will have to interpret that. Great movie though, man. I rewatched that.

[Josh Clark]

Rocky.

[Jerry]

Yeah. Like this year, from beginning to end. Just phenomenal movie.

[Josh Clark]

Yeah.

[Jerry]

I'm trying to get Emily to watch it.

[Josh Clark]

Has she never seen the original? No, it's its own thing for sure. Like it's not.

[Jerry]

It's not a boxing movie. No, really, it's a love story for the most part.

[Josh Clark]

It's a love story and like the triumph of the little guy.

[Jerry]

Yeah.

[Josh Clark]

Story for sure. Yeah.

[Jerry]

Featuring boxing, right?

[Josh Clark]

That's exactly right.

[Jerry]

Yeah.

[Josh Clark]

But two and three and up on onward, it's like a totally different thing.

[Jerry]

Yeah, but those are good too.

[Josh Clark]

Yeah. They said, let's take your story, take out the heart and insert cocaine instead.

[Jerry]

Insert Mr. T. I don't get the cocaine reference.

[Josh Clark]

Well, it's just the 80s and Hollywood got their hands on it.

[Jerry]

Sure.

[Josh Clark]

You know what I mean?

[Jerry]

I gotcha. Yeah. That's a good question, though. I wonder about that if he surely didn't remake it for Philadelphia just for that.

[Josh Clark]

Well, but the point 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. And within that year, I believe this.

[Charles W. Chuck Bryant]

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[Jerry]

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[Josh Clark]

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[Jerry]

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[Josh Clark]

76. Three major motion pictures hired him to operate his Steadicam. For it, there was Rocky, there was. What was the one about Woody Guthrie?

[Jerry]

Bound for Glory. Yeah, I think that one came out first. So that was the first actual like. And that one, 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 on.

[Josh Clark]

Yeah. And I think. 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.

[Jerry]

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?

[Josh Clark]

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 started up again. This is one smooth shot.

[Jerry]

One smooth shot.

[Josh Clark]

Yeah. And then the other one was Marathon Man.

[Jerry]

Another great movie.

[Josh Clark]

Right out of the blue, this guy who is a commercial director and made short films for CE Sesame street, changed filmmaking, like, single handedly.

[Jerry]

Yeah. And won an Academy Award 1978 for technical achievement. Got that patent in 77 and. Well, that's it. That's the history of the Steadicam.

[Josh Clark]

That's it, everybody. Good night.

[Jerry]

But we're gonna. Should we take a break and tell everyone how this thing works?

[Josh Clark]

Let's do it. Study. All right, Chuck. So the study camp. Do you remember when we did our episode on breathalyzers?

[Jerry]

Oh, boy, that was a long time ago.

[Josh Clark]

And we found out that the Breathalyzer is one of the most complicated machines on the planet.

[Jerry]

I kind of hated that one.

[Josh Clark]

Like there were crystals involved somehow. I hated that one, too.

[Jerry]

Dark crystals.

[Josh Clark]

They were. This is a bit like that. Like if you really dive into Steadicams, like this article on how stuff works does. It's labyrinthine. Talk about the dark crystal. Yeah, we're talking labyrinth instead.

[Jerry]

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.

[Josh Clark]

I mean, it really Gets involved.

[Jerry]

What you should do is look at a picture of someone operating one.

[Josh Clark]

Yeah.

[Jerry]

And just. Because when you look at it, you go. It all makes a lot more sense.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

Which is what the camera and its components are mounted on. Right.

[Jerry]

Yeah. And that arm, I mean, just picture yourself wearing a. Like a Baby Bjorn baby carrier, except for instead of the baby at your sternum, there's a mechanical arm coming out.

[Josh Clark]

Like a spring arm lamp.

[Jerry]

Yeah. Like accordion arm or a spring arm lamp.

[Josh Clark]

Right. And it's virtually the same thing.

[Jerry]

Well, yeah. And guess who made one of these by himself before they started making them for at home people.

[Josh Clark]

Who? Casey? No, who?

[Jerry]

My brother, of course.

[Josh Clark]

Oh, did he really?

[Jerry]

Yeah, yeah. My brother made one of these in, like, the early 90s.

[Josh Clark]

Did he really?

[Jerry]

Out of door hinges and rubber bands and springs.

[Josh Clark]

Does he still have it? Is it in the Smithsonian?

[Jerry]

I don't know. It's in the Scottsonian.

[Josh Clark]

Nice.

[Jerry]

Which is where all his earliest mentions.

[Josh Clark]

With all his pinball machines.

[Jerry]

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 it's like. Well, it's the same thing. I'll just make a version of that.

[Josh Clark]

It is.

[Jerry]

And it worked pretty good.

[Josh Clark]

It's virtually the same thing.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

And it redistributes the weight of the camera, which can be up to like £70, I imagine. Probably more.

[Jerry]

Yeah. The whole unit is pretty heavy and it's not easy to operate, but it'll wear you out.

[Josh Clark]

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.

[Jerry]

Yes.

[Josh Clark]

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.

[Jerry]

Yeah. The traditional. It's called high mode and low mode. And High mode is. It 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.

[Josh Clark]

Right.

[Jerry]

If you want to film a human, you put it in high mode.

[Josh Clark]

Yeah. And the camera itself is broken out into pieces, which is kind of an ingenious trick that I guess Garrett Brown came up with himself. I think he did. And this is the third part. The camera sled, right?

[Jerry]

Yes. The sled is what holds all the equipment.

[Josh Clark]

Right. And it's basically a pole with a little bit at the top called the stage.

[Jerry]

Yeah.

[Josh Clark]

And that's where the camera goes. Or it could be at the bottom. Wherever the camera is, the camera is mounted to the stage.

[Jerry]

Yes.

[Josh Clark]

Then you get the pole itself, and then the. I guess the arm is connected to the pole by a gibble.

[Jerry]

A gimbal.

[Josh Clark]

A gimbal, that's right. And that's like an old technology. 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.

[Jerry]

Yeah.

[Josh Clark]

Like everything around it moves except for the thing that you want to hold still.

[Jerry]

Yeah. It's pretty neat.

[Josh Clark]

It's super neat. And that's just the one arm that's connected to the pole.

[Jerry]

Yes.

[Josh Clark]

So you can see how complicated this thing is that this guy sat back and I think in a hotel room somewhere, he put it together. Garrett Brown, the first one. There's just the ingenuity it took to put this together. That's pretty. Pretty in depth as far as inventions go.

[Jerry]

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 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.

[Josh Clark]

Right.

[Jerry]

And a big, heavy battery.

[Josh Clark]

Yeah.

[Jerry]

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.

[Josh Clark]

Yeah. Because like with a regular camera, where all the components are in one single unit, that center of gravity is inside the camera.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Right.

[Josh Clark]

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.

[Jerry]

Yeah. And they do a good job in this article. If you, like, 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.

[Josh Clark]

Right. And it's balanced on your finger because you're hitting that center of balance.

[Jerry]

That's right. It's the same principle. 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.

[Josh Clark]

I could see that. Because of the change of the center of gravity.

[Jerry]

Change of the center of gravity. And if you put a little counterweight at the bottom, it would make it even more steady.

[Josh Clark]

Yeah.

[Jerry]

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.

[Josh Clark]

Yeah. Because you were saying, like, if you walk around with just the pole holding or the broomstick. Cut off broomstick, and you're holding it just with your hand.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

So that your movement of you walking just gets lost within the arm before it ever gets to the camera and could shake it.

[Jerry]

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 better than your human arm, Right?

[Josh Clark]

Yes, exactly. Pretty neat stuff.

[Jerry]

It is neat stuff.

[Josh Clark]

And I think that's it for the science man. We made it through it.

[Jerry]

Yeah. I mean, it's all got to be very precisely balanced. You don't just throw the stuff on the pole willy nilly.

[Josh Clark]

No. And they point out that the balance of the camera can actually change during filming.

[Jerry]

Yeah.

[Josh Clark]

Just from the film moving from One end of the camera to the other as it records, Right?

[Jerry]

Well, yeah, in the old days when they used film for sure. Nowadays it's just that digital card.

[Josh Clark]

Yeah, I'm sure.

[Jerry]

Well, not always.

[Josh Clark]

Quentin Tarantino's camera operators have to deal with this.

[Jerry]

Yeah. And if you've ever been on a job with a Steadicam, there are a lot of. There's a lot of breaks where, I mean, you can adjust them on the fly more now. But I remember there just being a lot of breaks where the Steadicam app 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 to take 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.

[Josh Clark]

Yeah. And running and moving, doing all sorts of stuff.

[Jerry]

Yeah, it's a tough gig.

[Josh Clark]

Like, there's a pretty amazing video. Did you watch it? Of that Eurovision shot?

[Jerry]

No.

[Josh Clark]

There's a guy from, I think Belarus singing and they show. They showed him, like he's like. They showed the shot and then they showed what somebody filming the shot being done. And the guy with the Steadicam wearing the vest rides down the aisle on a Segway.

[Jerry]

Is that what he's on?

[Josh Clark]

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, wow, that guy deserved a standing ovation.

[Jerry]

It would have been more impressive had it not like the subject matter been more interesting and the video quality been better.

[Josh Clark]

Pretty. Pretty bad.

[Jerry]

Like if it was a Scorsese movie.

[Josh Clark]

We'D be like, wow, sure.

[Jerry]

But it was this, you know, kind of corny. Well, it looked like American Idol or something.

[Josh Clark]

It was, but it was American Idol. If you took American Idol at its peak and then spread it out over Eurasia and like it was popular over that. That large of a population. That's what Eurovision is.

[Jerry]

That's right.

[Josh Clark]

So you want to talk about some of the shots when we come back after a break, please. Okay.

[Charles W. Chuck Bryant]

This July 4th, celebrate freedom from spills, stains and overpriced furniture with Annabe, the only machine washable sofa inside and out where designer quality meets budget friendly pricing. Sofas start at just $699, making it the perfect time to upgrade your space. Annabe's pet friendly, stain resistant and interchangeable slipcovers are made with high performance fabric that's built for real life. You'll love the cloud like comfort of hypoallergenic high resilience foam that never needs fluffing and a durable steel frame that stands the test of time. With modular pieces you can rearrange anytime. It's a so that adapts to your life. Now through July 4th, get up to 60% off site [e-mail] Every order comes with a 30 day satisfaction guarantee. If you're not in love, send it back for a full refund. No return shipping, no restocking fees. Every penny back. Declare independence from dirty outdated furniture. Shop [e-mail] Offers are subject to change and certain restrictions may apply.

[Jerry]

This episode of Stuff youf Should Know is brought to you by Human Footprint Season 2 on PBS. The PBS app the Emmy nominated series returns to reveal the global impact of Earth's most ingenious and most destructive humans.

[Josh Clark]

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[Josh Clark]

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. Yeah, that had to do with Steadicam. They couldn't have been done without Steadicam.

[Jerry]

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.

[Josh Clark]

Right.

[Jerry]

And apparently they kind of battled one another quite a bit on the set of the Shining. And Garrett Brown later admitted 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.

[Josh Clark]

Right.

[Jerry]

And you know the Shining's classic example, Those tricycle shots, the famous maze chase at the end.

[Josh Clark]

Yep.

[Jerry]

Very iconic in motion picture history.

[Josh Clark]

Yeah. And I mean, the. The. How did they. Do you know how they did that? That shot behind Danny on his little big wheel?

[Jerry]

They probably just went into low mode.

[Josh Clark]

And, like, walked behind him or.

[Jerry]

Yeah. Ran down the hall after him.

[Josh Clark]

That's really impressive.

[Jerry]

Yeah.

[Josh Clark]

So the Shining is a big one.

[Jerry]

Sure.

[Josh Clark]

Rocky's a big one. Goodfellas is another classic example, too.

[Jerry]

Classic.

[Josh Clark]

Where Ray Liotta and Lorraine Bracco are going into the Copacabana. But they go through the back.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

It's amazing. And I think when you see this, you might see it and not be a discerning film viewer and just say, well, I didn't notice anything. Which is probably good. Or you might be a fan of the Steadicam and just say, man, that was amazing. 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.

[Josh Clark]

What, without seeing the lights in the shot?

[Jerry]

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?

[Josh Clark]

Yeah, yeah.

[Jerry]

But to light all those different rooms and hallways and just incredibly, I can't imagine how long it took to set that shot up.

[Josh Clark]

You know, they were like, wait, what do you want to do?

[Jerry]

Yeah, it'll be great. Don't worry about it. Stay with me. You know he's making another gangster movie.

[Josh Clark]

No, I didn't know that.

[Jerry]

Yeah. And it may be like the. Some folks are saying it's like, you know, his last big gangster movie.

[Josh Clark]

Yeah.

[Jerry]

But it's got De Niro again.

[Josh Clark]

Okay.

[Jerry]

He hadn't worked with him in a long time. Pacino.

[Josh Clark]

Nice.

[Jerry]

And Joe Pesci is coming out of retirement.

[Josh Clark]

I didn't even know he was retired. I just thought he wasn't doing stuff anymore.

[Jerry]

No, man, he retired.

[Josh Clark]

Didn't know that.

[Jerry]

Yeah. So he's. He's got the three heavyweights and supposedly Harvey Keitel, of course. You got to throw him in there.

[Josh Clark]

Sure.

[Jerry]

But I'm just, like, giddy thinking about this.

[Josh Clark]

Yeah. I'm glad he is, because his last one was the Departed, Right.

[Jerry]

No, he's made movies since then, like Wolf of Wall Street.

[Josh Clark]

Gangster movie.

[Jerry]

Yeah. Which I thought was great. I know you didn't love it. I thought it was awesome.

[Josh Clark]

I thought everything but what Jack Nicholson did was. Was pretty good.

[Jerry]

Yeah.

[Josh Clark]

Yeah.

[Jerry]

Like his performance.

[Josh Clark]

No, I really didn't. Well, sorry, Jack.

[Jerry]

He'll forgive that.

[Josh Clark]

All right.

[Jerry]

Because you like him as an actor, right?

[Josh Clark]

Yeah.

[Jerry]

Okay.

[Josh Clark]

As good as it gets. Come on.

[Jerry]

Return of the Jedi, 1983. The famous speeder bike chase scene in indoor. Yeah. California's Redwood national park doubled as indoor. And that was Garrett Brown walking. And they sped it up.

[Josh Clark]

Yeah, but. And you're just like, wow, who cares? The. The. The reason why it's such an iconic Steadicam shot is because he walked very slowly.

[Jerry]

Yeah.

[Josh Clark]

And when you speed film up, the tiny movements involved are telegraphed. They just become much more exaggerated.

[Jerry]

Yeah.

[Josh Clark]

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.

[Jerry]

Yeah.

[Josh Clark]

The fact that you can see the trees and stuff, and even at that high speed, it's all Steadicam.

[Jerry]

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. These things and this equipment was remarkable.

[Josh Clark]

Yeah.

[Jerry]

And nowadays you can. 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.

[Josh Clark]

No.

[Jerry]

You can buy one for not too much. You can. You spend $100.

[Josh Clark]

Yeah.

[Jerry]

On a. On a decent enough little home Steadicam.

[Josh Clark]

The. This article says that the Steadicam curve, which is made for GoPros, is like a hundred bucks.

[Jerry]

Yeah. Well, those are teeny tiny.

[Josh Clark]

There's one for the iPhone called. What's it called?

[Jerry]

The Smoothie.

[Josh Clark]

That one is like. It's like, I think even less than 100 bucks. And it's just like a handheld camera stabilizer that works pretty well. From what I can gather.

[Jerry]

Yeah. We should have had Casey, our video producer. Casey. He's in France right now though, living the high life.

[Josh Clark]

Baguettes.

[Jerry]

We should have had Casey in here just giving thumbs up or thumbs down to each one of these brands that we mentioned. And I would trust that as like the gospel truth.

[Josh Clark]

Right.

[Jerry]

But Casey's not here, so we're just gonna say read online reviews.

[Josh Clark]

I also saw that there's like a lot of gimbal based drone Steadicams that are just not. Not that expensive.

[Jerry]

Well, drones. They're changing the game again.

[Josh Clark]

Sure.

[Jerry]

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.

[Josh Clark]

Yeah.

[Jerry]

In one continuous motion.

[Josh Clark]

Yeah. Like the Quisp monster.

[Jerry]

The what?

[Josh Clark]

The Quisp monster. You remember the alien from Quisp cereal?

[Jerry]

Do you remember Quisp?

[Josh Clark]

Remember the weird alien? Sort of.

[Jerry]

I didn't eat Quisp. Wasn't that a Captain Crunch knockoff or was it different?

[Josh Clark]

It was different because they were saucer shaped rather than square. Waffle cut.

[Jerry]

Gotcha.

[Josh Clark]

Same thing though.

[Jerry]

Yeah, same thing.

[Josh Clark]

It was good. It didn't cut the tongue like Cap' N Crunch did.

[Jerry]

Yeah. The roof of the mouth. I'll suffer through that still. And then of course, Steadicam is a name brand, right.

[Josh Clark]

Seeing Eye Dog.

[Jerry]

Yeah. It's made. Who makes it?

[Josh Clark]

Tiffin.

[Jerry]

Tiffin now?

[Josh Clark]

Yeah, I think, I think Tiffin does. They have a pretty good site. Like if you are at all interested in this, like they've got a great site and they have all of their Steadicam models with a real like in depth overview of them and. Yeah, pretty. I think it's got all their manuals and everything just right there for you to read.

[Jerry]

Yeah. There's other companies making them. There's one called Glidecam.

[Josh Clark]

Inverazoom.

[Jerry]

Yeah. But you know, 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, you know, every dolly grip has.

[Josh Clark]

Those are the dolly makers.

[Jerry]

Yeah. Chapman dollies or Fisher dollies.

[Josh Clark]

Kind of like kind of holding Jameson or Bushmills.

[Jerry]

Yeah.

[Josh Clark]

You know, Budweiser or Coors.

[Jerry]

Neither.

[Josh Clark]

And then Garrett Brown. As if the Steadicam wasn't enough as far as revolutionizing filming goes, he later on invented something called the sky cam.

[Jerry]

Yeah.

[Josh Clark]

Which like, if you watch any kind of sporting event now especially, it's especially useful for football. And in football where like it's there's just cables.

[Jerry]

Yeah.

[Josh Clark]

Above the field. And there's cameras hanging down that are just like doing overhead shots, following the action like it's nothing.

[Jerry]

It's pretty neat.

[Josh Clark]

Garrett Brown invented that too.

[Jerry]

I got one more little thing for you. There are two positions. Not high mode. Low mode positions are like 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.

[Josh Clark]

No.

[Jerry]

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 film set. Think of sexual names for sex it up. Camera positions.

[Josh Clark]

Don Juan.

[Jerry]

Yeah. I never heard of that one.

[Josh Clark]

I had neither. Well, if you want to know more about Steadicams, including a really, really fine grain involved look at the physics of how the Steadicam arm works. You should go type Steadicam into the search bar. Howstuffworks.com Since I said circle search bar, it's time for listener mail.

[Jerry]

I'm going to call this encouragement from a Christian listener. Hey guys, I was listening to 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 to be offended by something than 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 like many others will. That's nice. Dane in Minnesota.

[Josh Clark]

Yeah. For real Dane. If you want to get in touch with us like Dane did and be a super cool person, you can tweet to us@SYSKpodcast. You can also follow the behind the scenes action of Chuck's in my life@syskpodcast on Instagram. You can join us on facebook.com stuffyou should know for the hurt and you can send us an email the stuff podcastowstuffworks.com in the meantime, while you're doing all this, hang out with us at our home on the web stuffyou should know.com.

[Jerry]

For more on this and thousands of other topics, visit howstuffworks.com.

[Charles W. Chuck Bryant]

This July 4th celebrate freedom from spills, stains and overpriced furniture with Annabe, the only machine washable sofa inside and out where designer quality meets budget friendly pricing. Sofas start at just $699, making it the perfect time to upgrade your space. Annabe's pet friendly, Stain resistant and interchangeable slipcovers are made with high performance fabric that's built for real life. You'll love the cloud like comfort of hypoallergenic high resilience foam that never needs fluffing and a durable steel frame that stands the test of time. With modular pieces you can rearrange anytime. It's a sofa that adapts to your Life. Now through July 4th get up to 60% off site [e-mail] Every order comes with a 30 day satisfaction guarantee. If you're not in love, send it back for a full refund. No return shipping, no restocking fees. Every penny back. Declare independence from dirty outdated furniture. Shop [e-mail] Offers are subject to change and certain restrictions may apply.

[Jerry]

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