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SYSK’s Summer Movie Playlist: How Steadicams Work · Stuff You Should Know

• 0:00
  Speaker 1: Hi, everybody. Chuck here with another intro for our summer
• 0:04
  Speaker 1: movie playlist. Right now, you're about to listen to how
• 0:07
  Speaker 1: Steadycam Works. This one goes all the way back to
• 0:10
  Speaker 1: June twenty sixteen. But this was a pretty good one, everybody,
• 0:13
  Speaker 1: because a steadycam is one of movies great inventions, quite honestly,
• 0:19
  Speaker 1: first used in some of the early movies like Rocky
• 0:21
  Speaker 1: and the Shining. We're gonna talk about how it was made,
• 0:23
  Speaker 1: how it works, and how it works best. So check
• 0:27
  Speaker 1: it out right now. Welcome to Stuff you should know
• 0:32
  Speaker 1: from HowStuffWorks dot com.
• 0:39
  Speaker 2: Hey, and welcome to the podcast. I'm Josh Clark. There's
• 0:42
  Speaker 2: Charles w Chuck Bryant. Jerry's over there. Chuck's wearing a hat,
• 0:47
  Speaker 2: so it's stubby you should know.
• 0:48
  Speaker 3: Yeah, he's still still pretty sad. Yeah, are you really sure?
• 0:53
  Speaker 2: Oh?
• 0:54
  Speaker 1: All right, Pete, you know what I'm getting The Josh
• 0:57
  Speaker 1: is referencing my last chance garage hat that I've talked
• 1:00
  Speaker 1: way too much about. I'm getting the patch remade as
• 1:03
  Speaker 1: we speak. WHOA, I actually found one an eBay that
• 1:07
  Speaker 1: had been sold three months ago, and he's all a
• 1:10
  Speaker 1: big conspiracy?
• 1:11
  Speaker 2: Is that right?
• 1:12
  Speaker 1: Now?
• 1:13
  Speaker 2: Okay?
• 1:14
  Speaker 1: But I found a picture of the patch that I
• 1:15
  Speaker 1: sent to a patch maker who like can digitally reproduce
• 1:19
  Speaker 1: this thing.
• 1:19
  Speaker 2: Nice man.
• 1:20
  Speaker 1: Well then I got to find in the right hat it's.
• 1:22
  Speaker 2: Coming back home. Well that's step one. That's a big
• 1:25
  Speaker 2: step one.
• 1:25
  Speaker 1: Yeah, I'm getting a few patches and a few hats
• 1:27
  Speaker 1: this time.
• 1:28
  Speaker 2: I think that's a good idea. Yeah, you can name
• 1:30
  Speaker 2: them one through eight.
• 1:31
  Speaker 1: That's right.
• 1:33
  Speaker 2: Let's see, Chuck, you worked in the film industry previously.
• 1:38
  Speaker 1: Yeah, so did you technically?
• 1:40
  Speaker 2: Yeah, you did more than I did by far. You
• 1:44
  Speaker 2: worked it in front of and behind the camera.
• 1:47
  Speaker 1: That's right.
• 1:48
  Speaker 2: Did you ever work with a steady cam at all?
• 1:50
  Speaker 1: Yeah?
• 1:51
  Speaker 2: So, like you've seen these things up close?
• 1:53
  Speaker 1: Yep.
• 1:54
  Speaker 2: I don't recall Scott or anybody using one.
• 1:57
  Speaker 1: We did not have one on our show.
• 1:58
  Speaker 2: Okay, they're expensive, Okay, but I mean there is some
• 2:01
  Speaker 2: pretty good equipment on set. It seemed like sure, but
• 2:04
  Speaker 2: there was no steady cam, right, Nope, Because I was
• 2:06
  Speaker 2: trying to recall and I could not, for the life
• 2:09
  Speaker 2: of me remember a moment when there was an awesome
• 2:12
  Speaker 2: like extendo arm camera with like all of the components
• 2:16
  Speaker 2: exploded out into different parts of a poll.
• 2:18
  Speaker 1: That didn't happen because he would have walked in and
• 2:20
  Speaker 1: said what's that right, and everyone would have laughed, and
• 2:23
  Speaker 1: you would have been like, why does everyone make fun
• 2:24
  Speaker 1: of me? Would have all this stuff?
• 2:26
  Speaker 2: Oh uh.
• 2:28
  Speaker 1: Now, we never use one on our TV show for
• 2:31
  Speaker 1: Science Channel because, like I said, it's pricey to rent.
• 2:34
  Speaker 1: And this is a bit of a giveaway, but a
• 2:36
  Speaker 1: person steady cam operator comes with the package, right, with
• 2:42
  Speaker 1: all the equipment. It's a lot of times their own,
• 2:45
  Speaker 1: and it's you know, it's pricey, yeah, to pay for
• 2:48
  Speaker 1: that lady or that dude, right, But.
• 2:52
  Speaker 2: The reason it is price is because it's it has
• 2:56
  Speaker 2: a really good effect. Yeah, and the person who's doing
• 2:59
  Speaker 2: it really knows what they're doing.
• 3:01
  Speaker 1: Yeah.
• 3:02
  Speaker 2: I don't know, but just from researching this, it seemed
• 3:05
  Speaker 2: like they were probably the most skilled trades person on
• 3:09
  Speaker 2: the set at any given time when they were on
• 3:11
  Speaker 2: the set. Is that right?
• 3:12
  Speaker 1: Well, I think it's just a matter of what skill.
• 3:15
  Speaker 1: It's just a different skill.
• 3:17
  Speaker 2: Are they like the highest echelon of camera operators?
• 3:19
  Speaker 1: No, it's just different Okay, like a top niner.
• 3:22
  Speaker 2: Niche Yeah, okay, I got it there.
• 3:24
  Speaker 1: But but you don't just wade into steady cam and
• 3:27
  Speaker 1: start getting work the next day. It does take a
• 3:29
  Speaker 1: lot of work to master. But like a good dolly,
• 3:32
  Speaker 1: grip is just as skilled, right, it just pushing that
• 3:36
  Speaker 1: thing around, But that takes a.
• 3:38
  Speaker 2: Very non herky jerky Well it's not.
• 3:41
  Speaker 1: Gonna be herky jerky anyway, but just to hit the marks, right,
• 3:44
  Speaker 1: and oh I see yeah, I mean all that stuff
• 3:46
  Speaker 1: takes a great amount of skill.
• 3:47
  Speaker 2: Well, let's talk about this because Steadycam, you know, when
• 3:49
  Speaker 2: I came of age, was already invented. It was it
• 3:52
  Speaker 2: was basically became commercially available the year I was born.
• 3:56
  Speaker 2: So I don't really know a world prior to Steady Camp.
• 3:59
  Speaker 2: I've never seen a movie that came out before nineteen
• 4:01
  Speaker 2: seventy six.
• 4:02
  Speaker 3: Funny, and I'm just used to it, right, Yeah, But
• 4:06
  Speaker 3: it's it's it's interesting to look back and see that
• 4:09
  Speaker 3: there there actually is a point in time where this
• 4:12
  Speaker 3: one dude who was actually kind of an outsider of
• 4:15
  Speaker 3: the movie business basically changed it permanently forever for sure.
• 4:21
  Speaker 1: Yeah. His name was Garrett Brown. Is Garrett Brown.
• 4:25
  Speaker 2: Yeah he's still around right.
• 4:26
  Speaker 1: Yeah, And he he was working for well, he was
• 4:30
  Speaker 1: working in TV commercials on Sesame Street, in Philadelphia. Yeah,
• 4:35
  Speaker 1: and he got a little frustrated, as camera people do
• 4:41
  Speaker 1: pre steady cam with not being able to accomplish certain shots.
• 4:45
  Speaker 2: Yeah, there's supposedly there were thirty impossible shots that just
• 4:50
  Speaker 2: based on the equipment of the day, you just couldn't
• 4:54
  Speaker 2: do right.
• 4:55
  Speaker 1: Yeah.
• 4:56
  Speaker 2: Well, and a lot of it had to do with
• 4:57
  Speaker 2: like rough terrain. Sure, staircases were big one. Yeah, and
• 5:01
  Speaker 2: the recent these shots were impossible. It's not like you
• 5:03
  Speaker 2: couldn't lug a camera around up and down the stairs,
• 5:05
  Speaker 2: but the movement that the camera recorded would be so
• 5:08
  Speaker 2: jarring that it would render the film like that that
• 5:11
  Speaker 2: it would be unusable.
• 5:13
  Speaker 1: Yeah, and this was in the day before I mean
• 5:16
  Speaker 1: there were shaky cam shots and like Cassavettis and all
• 5:19
  Speaker 1: these early indie filmmakers did a lot of like avant
• 5:22
  Speaker 1: garde handheld stuff. But it was known as avant garde
• 5:25
  Speaker 1: right cause it looked different and people were used to
• 5:28
  Speaker 1: kind of smoother looking things in mainstream movies at the time.
• 5:31
  Speaker 2: Yeah, it had like a real frenetic energy to it.
• 5:34
  Speaker 1: Yeah, which you see all the time now. It's like
• 5:36
  Speaker 1: a bona fide thing.
• 5:38
  Speaker 2: But it wasn't just like picking up the movements of
• 5:41
  Speaker 2: the camera. It was like telegraphing them as far as
• 5:44
  Speaker 2: the human brain's concerned, because we take it for granted,
• 5:47
  Speaker 2: but we have in our own brains a pretty complex system.
• 5:51
  Speaker 1: Yeah.
• 5:51
  Speaker 2: That involves the inner ear coordinating with the movement of
• 5:55
  Speaker 2: the retina so that it offsets the movement and the
• 6:00
  Speaker 2: motion and the jarring impact of like just walking.
• 6:04
  Speaker 1: Yeah.
• 6:05
  Speaker 2: Like if we didn't have that, we wouldn't be able
• 6:07
  Speaker 2: to focus on anything while we were moving around.
• 6:09
  Speaker 1: Yeah, people wouldn't jog. They would get sick and vomit
• 6:12
  Speaker 1: every time they.
• 6:13
  Speaker 2: Jog, exactly right, And you certainly wouldn't be able to
• 6:15
  Speaker 2: read US Magazine while you were jogging or something like that.
• 6:18
  Speaker 2: The fact that you can, Yeah, it really is. It
• 6:21
  Speaker 2: really shows how incredibly complex and well developed the system is. Right, Yes,
• 6:26
  Speaker 2: that's what the steady cam that Garrett Brown created sought
• 6:31
  Speaker 2: to recreate and he did it. He nailed it, like
• 6:34
  Speaker 2: on the first time out.
• 6:35
  Speaker 1: Basically, Yeah, because we mentioned a dolli. That is, people
• 6:39
  Speaker 1: that know film know this stuff is like pretty rudimentary information,
• 6:42
  Speaker 1: But a lot of people don't know what a dolli is.
• 6:44
  Speaker 1: And they see the word dolly grip in the movie.
• 6:47
  Speaker 1: They just think it sounds funny. But the DOLLI is
• 6:50
  Speaker 1: how you typically would get a smooth shot. It's just
• 6:52
  Speaker 1: a big, super super heavy sled with wheels right that
• 6:57
  Speaker 1: the camera sits on and the camera operator sits on.
• 7:00
  Speaker 1: And it's either on a very smooth floor, it's on
• 7:02
  Speaker 1: a piece of track like a little railroad car, and
• 7:05
  Speaker 1: it pushes along and that's how you get those nice
• 7:07
  Speaker 1: smooth shots.
• 7:09
  Speaker 2: So that's a dolly. The problem with the dolly is
• 7:11
  Speaker 2: is you can't really lay that track over a rocky
• 7:15
  Speaker 2: terrain if you're filming on Mars or something like that.
• 7:18
  Speaker 1: No, and like you said, you can't push it up
• 7:20
  Speaker 1: and downstairs. It just had its limitations.
• 7:22
  Speaker 2: Right, it did. So Garrett Brown said, I'm sick of
• 7:25
  Speaker 2: these limitations. I'm so tired of being limited by dolly
• 7:28
  Speaker 2: stupid dollies. I'm going to invent something better. And so
• 7:32
  Speaker 2: he tinkered around with his what was called the Brown
• 7:37
  Speaker 2: Stabilizer at first, Yeah, he later renamed the steady Cam. Yeah,
• 7:41
  Speaker 2: and to show off, like at first he was just
• 7:45
  Speaker 2: using him in commercials, and he was like, this is
• 7:47
  Speaker 2: way bigger than just commercials. Yeah, I'm going to make
• 7:50
  Speaker 2: a sizzle reel, and he made a sizzle reel of
• 7:53
  Speaker 2: the thirty impossible shots that you just couldn't do before,
• 7:57
  Speaker 2: and he did it with the steady cam, but he
• 7:59
  Speaker 2: didn't show how it was done.
• 8:01
  Speaker 1: Yeah, and you can. He was able to save ten
• 8:04
  Speaker 1: of those shots and digitize them, and a couple of
• 8:08
  Speaker 1: years ago he finally released online ten of those so
• 8:11
  Speaker 1: you can actually go see this original reel. Yeah, it's
• 8:13
  Speaker 1: pretty cool.
• 8:15
  Speaker 2: His wife and his best friend like just doing stuff,
• 8:17
  Speaker 2: while just doing stuff, like, you know, like one of
• 8:19
  Speaker 2: them was swimming. You can't run alongside somebody swimming, apparently
• 8:23
  Speaker 2: was an impossible shot. I'm not quite sure why.
• 8:26
  Speaker 1: Well, you just couldn't run alongside someone doing anything.
• 8:29
  Speaker 2: Oh, okay, that's what it was, even with a dolly.
• 8:33
  Speaker 1: Well, no, you could have. You could have laid dolly
• 8:35
  Speaker 1: track down the link of a swimming pool.
• 8:36
  Speaker 2: Shirt, right, That's why I didn't understand that one was
• 8:38
  Speaker 2: an impossible shot. But to show off, he goes question
• 8:42
  Speaker 2: he goes around a slide just to kind of show.
• 8:47
  Speaker 1: Maybe maybe that was the impossibility of it.
• 8:50
  Speaker 2: But then his buddy gets out of the pool and
• 8:51
  Speaker 2: like walking like he pivots around him, and I'm sure
• 8:55
  Speaker 2: when he put this reel together and he sent it out.
• 8:58
  Speaker 2: The directors are like, this is magic sorcery.
• 9:02
  Speaker 1: Well, it was mind blowing, and some people say it
• 9:05
  Speaker 1: was the first viral video because it was shared around
• 9:09
  Speaker 1: Hollywood literally in a matter of days. Everybody in Hollywood
• 9:13
  Speaker 1: was saying what in the world, Like you said, what
• 9:16
  Speaker 1: is this sorcery?
• 9:17
  Speaker 2: Right?
• 9:17
  Speaker 1: This Garrett Brown has bestowed upon us.
• 9:19
  Speaker 2: Yeah, it was a bit of a mic drop as
• 9:22
  Speaker 2: far as that reel goes.
• 9:23
  Speaker 1: And Stanley Kubrick being Stanley Kubrick sent a message to
• 9:28
  Speaker 1: Garrett Brown that said, if you are really concerned about
• 9:31
  Speaker 1: protecting its design before you fully patent it, I suggest
• 9:35
  Speaker 1: you delete the two occasions on the reel where the
• 9:37
  Speaker 1: shadow on the ground gives a skilled counter intelligence photo
• 9:40
  Speaker 1: interpreter a fairly clear representation of a man holding a
• 9:43
  Speaker 1: pole with one hand, with something or other at the
• 9:45
  Speaker 1: bottom of the pole, which appears to be slowly moving.
• 9:48
  Speaker 1: All of that is Stanley Kubrickian for, Hey, there's a
• 9:51
  Speaker 1: shadow in one of your shots of the steady camop.
• 9:56
  Speaker 2: Yeah, which was pretty cool of him to do. Sure,
• 9:59
  Speaker 2: because I'm sure there were plenty of people in Hollywood
• 10:01
  Speaker 2: who would have been like Okay, I think I kind
• 10:03
  Speaker 2: of get the idea of what this was, because there
• 10:05
  Speaker 2: was no suggestion whatsoever of what what Garrett Brown had
• 10:10
  Speaker 2: used to get these shots except in those shadows. So
• 10:12
  Speaker 2: he went eat and went and immediately cut those, yeah,
• 10:16
  Speaker 2: those I think fourteen seconds out of his reel and
• 10:18
  Speaker 2: then released the second edition.
• 10:20
  Speaker 1: And it looked pretty good. I mean, it's it's rough
• 10:22
  Speaker 1: compared to today's standard, sure, but the time it was
• 10:26
  Speaker 1: it was like unbelievable, right.
• 10:27
  Speaker 2: It changed everything? Oh yeah. And one of the shots
• 10:32
  Speaker 2: that he got was his wife Ellen. He said, dear,
• 10:36
  Speaker 2: why don't you put on your most seventies bell bottoms
• 10:39
  Speaker 2: you can find? And I'm going to run up behind
• 10:42
  Speaker 2: you as you run up the steps to the Philadelphia
• 10:44
  Speaker 2: Museum of Art, and maybe when you get to the top,
• 10:47
  Speaker 2: you can raise your hands in triumph and I will
• 10:51
  Speaker 2: spin around you. And if that shot sounds familiar, it
• 10:55
  Speaker 2: actually attracted a guy, a director named John what is
• 11:00
  Speaker 2: the Avilson?
• 11:01
  Speaker 1: Yeah, John G. Avelson, who said I.
• 11:03
  Speaker 2: Like this, I'm going to use it in this little
• 11:05
  Speaker 2: film I'm directing called Rocky.
• 11:07
  Speaker 1: Yeah.
• 11:08
  Speaker 2: And I didn't get whether or not this was the case,
• 11:10
  Speaker 2: but did they did? They locate Rocky in Philadelphia because
• 11:16
  Speaker 2: of those steps. No, because he said, how did you
• 11:19
  Speaker 2: do that? And where are those steps?
• 11:22
  Speaker 1: I don't think so, man, because I wondered that too, like, like,
• 11:26
  Speaker 1: did he not have a scene written where Rocky just
• 11:28
  Speaker 1: runs up those steps? Right? I mean Stallone wrote it.
• 11:32
  Speaker 1: I think they just have to ask him.
• 11:34
  Speaker 2: Okay, hey, Sly, I was wondering if that was pretty good.
• 11:41
  Speaker 1: I answered in that little moment. Someone will have to
• 11:43
  Speaker 1: interpret that. Great movie though. Man, I rewatched that Rocky. Yeah,
• 11:49
  Speaker 1: like this year, from beginning to end, just phenomenal movie.
• 11:53
  Speaker 1: I'm trying to get Emily to watch it.
• 11:55
  Speaker 2: Has she never seen the original? No, it's its own
• 11:58
  Speaker 2: thing for sure, Like it's it's much like the sequel.
• 12:01
  Speaker 1: No, really, it's a love story for the most part.
• 12:03
  Speaker 2: It's a love story and like the triumph of the
• 12:07
  Speaker 2: Little Guy.
• 12:07
  Speaker 1: Yeah story for sure, Yeah, featuring boxing.
• 12:10
  Speaker 2: Right, that's exactly right. Yeah, But two and three and
• 12:14
  Speaker 2: on onward, it's like a totally different thing.
• 12:17
  Speaker 1: Yeah, but those are good too.
• 12:18
  Speaker 2: Yeah. They said, let's take your story, take out the
• 12:20
  Speaker 2: heart and insert cocaine instead.
• 12:23
  Speaker 1: Insert mister t I don't get the cocaine reference.
• 12:28
  Speaker 2: Oh, it's just the eighties in Hollywood got hands on sure,
• 12:31
  Speaker 2: you know what I mean, I gotcha.
• 12:33
  Speaker 1: Uh yeah, that's a good question, though I wonder about
• 12:36
  Speaker 1: that if he surely they didn't remake it for Philadelphia
• 12:39
  Speaker 1: just for that.
• 12:40
  Speaker 2: Well, But the point is is Garrett Brown created on
• 12:44
  Speaker 2: this sizzle reel the one of the most iconic shots
• 12:48
  Speaker 2: in filmmaking history, for sure, and he sent that reel
• 12:51
  Speaker 2: out and within that year, I believe nineteen seventy six,
• 12:56
  Speaker 2: three Major Motion Pictures hired him to operate his steady
• 12:59
  Speaker 2: camp for it. There was Rocky Yep, there was what
• 13:03
  Speaker 2: was the one about Woody Guthrie.
• 13:05
  Speaker 1: Bound for Glory? Yeah, I think that one came out first,
• 13:08
  Speaker 1: So that was the first actual like h and that
• 13:11
  Speaker 1: one the steady came up was Garrett Brown, I think
• 13:15
  Speaker 1: for all these because he was the only guy that
• 13:17
  Speaker 1: knew how. He got a lot of work early on.
• 13:18
  Speaker 2: Yeah, and I think the operation, I think the patent
• 13:20
  Speaker 2: was still pending until nineteen seventy seven, so I'm sure
• 13:22
  Speaker 2: he don't play the thing out of everybody closed your
• 13:25
  Speaker 2: eyes while I shoot this.
• 13:26
  Speaker 1: But on Bound for Glory, he was on a crane
• 13:29
  Speaker 1: even that lowered down, stepped off the crane. So people
• 13:34
  Speaker 1: had seen crane shots, but then for the crane to
• 13:37
  Speaker 1: go down, down, down, and then all of a sudden
• 13:38
  Speaker 1: start following this guy. Everyone was like, what.
• 13:40
  Speaker 2: In the world, right, there would have been a cut, Yeah,
• 13:42
  Speaker 2: after the crane stopped, and then before you know, they
• 13:45
  Speaker 2: would have cut and he would have gotten a position
• 13:47
  Speaker 2: and then started up again. This is one smooth shot.
• 13:50
  Speaker 1: One smooth shot, yeah, and then.
• 13:51
  Speaker 2: The other one was Marathon Man. So right out of
• 13:54
  Speaker 2: the blue, this guy who was a commercial director and
• 13:56
  Speaker 2: made short films for Same Street, changed filmmaking single handedly.
• 14:01
  Speaker 1: Yeah, and won an Academy Award nineteen seventy eight for
• 14:04
  Speaker 1: Technical Achievement. I got that patent in seventy seven. And well,
• 14:11
  Speaker 1: that's it. That's the history of the steadycam.
• 14:13
  Speaker 2: That's it. Everybody, good night.
• 14:15
  Speaker 1: But we're gonna should we take a break and tell
• 14:18
  Speaker 1: everyone how this thing works.
• 14:19
  Speaker 2: Let's do it man, all right, Chuck, So the Steadi Camp.
• 14:38
  Speaker 2: Do you remember when we did our episode on breathalyzers.
• 14:41
  Speaker 1: Oh boy, that was a long time ago, and we.
• 14:43
  Speaker 2: Found out that the breathalyzer is one of the most
• 14:45
  Speaker 2: complicated machines.
• 14:47
  Speaker 1: Yeah, on the planet. I kind of hated that one.
• 14:50
  Speaker 2: Like there were crystals involved somehow I hated that one too,
• 14:54
  Speaker 2: dark crystals. This is a bit like that, like if
• 14:59
  Speaker 2: you really dive in the steadycams. Like this article on
• 15:02
  Speaker 2: how stuff works, does it's labyrinthine talk about the dark crystal? Yeah,
• 15:07
  Speaker 2: we're talking labyrinth instead.
• 15:09
  Speaker 1: Yeah. But we're gonna simplify it because you don't need
• 15:12
  Speaker 1: to break this thing apart and look at every component
• 15:14
  Speaker 1: like this article does.
• 15:16
  Speaker 2: I mean, it really gets involved.
• 15:18
  Speaker 1: What you should do is look at a picture of
• 15:19
  Speaker 1: someone operating one. Yeah, and just because when you look
• 15:22
  Speaker 1: at it, you go, it all makes a lot more sense.
• 15:25
  Speaker 2: Right, And there's really just three main parts to the
• 15:28
  Speaker 2: whole thing. There's a vest, there's an arm that's attached
• 15:31
  Speaker 2: to the vest, and then the other end of the
• 15:33
  Speaker 2: arm is attached to what's called the sled, yeah, which
• 15:36
  Speaker 2: is what the camera and its components are mounted on. Right.
• 15:39
  Speaker 1: Yeah, And that arm, I mean just picture yourself wearing
• 15:43
  Speaker 1: a like a baby Bjorn baby carrier, except for instead
• 15:49
  Speaker 1: of the baby at your sternum, there's a mechanical arm
• 15:53
  Speaker 1: coming out.
• 15:53
  Speaker 2: Like a spring arm lamp.
• 15:55
  Speaker 1: Yeah, like accordion arm or a spring arm lamp.
• 15:58
  Speaker 2: Right, and it's virtually the same thing.
• 16:00
  Speaker 1: Well, yeah, and you guess who made one of these
• 16:03
  Speaker 1: by himself before they started making them for at home people.
• 16:06
  Speaker 2: Who? Casey?
• 16:07
  Speaker 1: No, who my brother of course? Oh?
• 16:09
  Speaker 2: Did he really? Yeah?
• 16:10
  Speaker 1: Yeah, my brother made one of these in like the
• 16:12
  Speaker 1: early nineties.
• 16:12
  Speaker 2: Did he really?
• 16:13
  Speaker 1: Out of door hinges and rubber bands and springs?
• 16:16
  Speaker 2: Does he still have it? Is it in the Smithsonian?
• 16:19
  Speaker 1: I don't know, it's in the Scotsonian, nice, which is
• 16:22
  Speaker 1: where all his early mentions.
• 16:24
  Speaker 2: With all his pinball machines.
• 16:25
  Speaker 1: Yeah, but he made one. He basically did the same thing.
• 16:27
  Speaker 1: He looked at it and looked at these uh swing
• 16:30
  Speaker 1: arm lamps and accordion arm lamps, and it's like, well,
• 16:33
  Speaker 1: it's the same thing. I'll just make a version of that.
• 16:35
  Speaker 2: It is, and it worked pretty good. It's virtually the
• 16:37
  Speaker 2: same thing.
• 16:38
  Speaker 1: Yeah.
• 16:38
  Speaker 2: So the whole point of a steady cam is that
• 16:41
  Speaker 2: it basically simulates or the arm at least simulates a
• 16:45
  Speaker 2: human arm right to where it can move around very easily. Yeah,
• 16:48
  Speaker 2: And it redistributes the weight of the camera, which can
• 16:52
  Speaker 2: be up to like seventy pounds I imagine probably more.
• 16:54
  Speaker 1: Yeah, the whole unit is pretty heavy, and it's not
• 16:57
  Speaker 1: easy to operate, but it hold a wear you out.
• 16:59
  Speaker 2: It holds it flessly, and it holds it in place.
• 17:01
  Speaker 2: This arm does and it does it by using springs.
• 17:05
  Speaker 2: And you can adjust the tension of the springs by
• 17:07
  Speaker 2: using a cable and pulley system. Yes, so that it
• 17:10
  Speaker 2: offsets the balance of the camera and holds it in
• 17:13
  Speaker 2: space in front of the camera operator basically so that
• 17:17
  Speaker 2: they can move it effortlessly up down to the side.
• 17:21
  Speaker 2: You can put the camera on top of the sled
• 17:24
  Speaker 2: so that you get high shots. You can switch it
• 17:26
  Speaker 2: so it goes on the bottom so you can get
• 17:27
  Speaker 2: low angle shots.
• 17:28
  Speaker 1: Yeah. The traditional it's called high mode and low mode.
• 17:31
  Speaker 1: And high mode is it doesn't mean it's high. It
• 17:34
  Speaker 1: just means it's on the top of the unit. And
• 17:37
  Speaker 1: then low mode is when it's on the bottom. So
• 17:39
  Speaker 1: if you wanted to film a mouse running across the floor,
• 17:42
  Speaker 1: you would put it in low mode, right, if you
• 17:43
  Speaker 1: want to film a human, you'd put it in high mode.
• 17:45
  Speaker 2: Yeah, And the camera itself is broken out into pieces,
• 17:49
  Speaker 2: which is kind of an ingenious trick that I guess
• 17:52
  Speaker 2: Garrett Brown came up with himself. I think he did.
• 17:56
  Speaker 2: And this is the third part the camera sled right.
• 18:01
  Speaker 1: Yes, the slid is what holds all the equipment.
• 18:03
  Speaker 2: Right, And it's basically a pole with a little bit
• 18:06
  Speaker 2: at the top called the stage, and that's where the
• 18:10
  Speaker 2: camera goes, or it could be at the bottom wherever
• 18:12
  Speaker 2: the camera is. The camera's mounted to the stage. Yes,
• 18:15
  Speaker 2: then you get the pole itself and then the I
• 18:19
  Speaker 2: guess the arm is connected to the pole by a gibble.
• 18:24
  Speaker 1: A gimbal.
• 18:24
  Speaker 2: A gimbal, that's right. And that's like an old technology.
• 18:28
  Speaker 2: It's basically something that uses basically a gyroscopic action to
• 18:33
  Speaker 2: take the movement of whatever is seeking to move, whatever
• 18:37
  Speaker 2: you want to hold still and getting rid of it.
• 18:39
  Speaker 2: Like everything around it moves except for the thing that
• 18:42
  Speaker 2: you want to hold still.
• 18:43
  Speaker 1: Yeah, it's pretty neat.
• 18:44
  Speaker 2: It's super neat. And that's just the one arm that's
• 18:46
  Speaker 2: connected to the pole. Yes, So you can see how
• 18:49
  Speaker 2: complicated this thing is. That this guy sat back and
• 18:52
  Speaker 2: I think in a hotel room somewhere he put it together.
• 18:55
  Speaker 2: Garrett Brown, the first one. There's just the ingenuity it
• 18:58
  Speaker 2: took to put this together. It's pretty pretty in depth
• 19:03
  Speaker 2: as far as inventions go.
• 19:04
  Speaker 1: Yeah, and there's a little science to it. There's something
• 19:07
  Speaker 1: called moment of inertia. It's basically how much that camera
• 19:11
  Speaker 1: is resistant to rotation. So if you want the camera
• 19:14
  Speaker 1: to be still, you want to increase that resistance to
• 19:16
  Speaker 1: the rotation. And this is determined by a couple of
• 19:19
  Speaker 1: different things. How much mass there is to the object,
• 19:23
  Speaker 1: and how far that mass is from its own axis
• 19:26
  Speaker 1: of rotation. So by spreading the camera out, he basically
• 19:29
  Speaker 1: took the little cameras come with a monitor now so
• 19:32
  Speaker 1: you can see what's going on, and a big heavy battery.
• 19:34
  Speaker 1: He took the monitor off of the camera. He took
• 19:37
  Speaker 1: the battery off of the camera and redistributed that up
• 19:40
  Speaker 1: and down the pole. So what he ended up doing
• 19:43
  Speaker 1: was spreading out that mass, which takes away the center
• 19:47
  Speaker 1: of gravity from the camera itself.
• 19:49
  Speaker 2: Yeah, because like with a regular camera where all the
• 19:51
  Speaker 2: components are in one single unit, that center of gravity's
• 19:54
  Speaker 2: inside the camera. Yeah, so it's easy to rotate. But
• 19:58
  Speaker 2: since he exploded it out into various components, he made
• 20:02
  Speaker 2: that center of gravity land somewhere on the pole, right,
• 20:05
  Speaker 2: and the gimbal attaches to the pole just above the
• 20:08
  Speaker 2: center of gravity, so that the camera operator holds the
• 20:11
  Speaker 2: pole and manipulates the camera at the center of gravity,
• 20:15
  Speaker 2: which makes it very easy to balance keep balance.
• 20:18
  Speaker 1: Yeah, And they do a good job in this article.
• 20:20
  Speaker 1: If you'd like, just take a broomstick and you find
• 20:23
  Speaker 1: that center of gravity with your finger. You can hold
• 20:25
  Speaker 1: it with your finger and lift it up and down.
• 20:27
  Speaker 2: Right and it just it's balance on your finger because
• 20:30
  Speaker 2: you're hitting that center of balance.
• 20:31
  Speaker 1: That's right, it's the same principle. Yeah. And in fact,
• 20:34
  Speaker 1: if you took if you took that same broomstick and
• 20:38
  Speaker 1: cut it off and you just had three feet of
• 20:40
  Speaker 1: broomstick and just took your SLR camera and screwed that
• 20:45
  Speaker 1: broomstick into the bottom of your camera instead of a tripod,
• 20:49
  Speaker 1: that would function. You could walk around with that and
• 20:52
  Speaker 1: it would be steadier than if you just had it
• 20:53
  Speaker 1: in your hand.
• 20:55
  Speaker 2: I could see that because of the change of the
• 20:57
  Speaker 2: center of gravity.
• 20:58
  Speaker 1: Change of the center of gravity, and if you put
• 21:00
  Speaker 1: little counterweight at the bottom, that would make it even
• 21:02
  Speaker 1: more steady. Yeah, And that's the whole concept of the
• 21:04
  Speaker 1: steady cam sled. Then attach that to an arm, that
• 21:09
  Speaker 1: accordion arm, and you're cooking with gas.
• 21:12
  Speaker 2: Yeah, Because you were saying like, if you walk around
• 21:13
  Speaker 2: with just the pole holding or the broomstick cut off
• 21:16
  Speaker 2: broomstick and you're holding it just with your hand. Yeah,
• 21:21
  Speaker 2: it's steady. The point of the arm is it's taking
• 21:23
  Speaker 2: your hand out of the equation and replacing it with
• 21:26
  Speaker 2: something that can isolate movement even more. Yeah, so that
• 21:30
  Speaker 2: your movement of you walking just gets lost within the
• 21:34
  Speaker 2: arm before it ever gets to the camera and could
• 21:36
  Speaker 2: shake it.
• 21:37
  Speaker 1: Yeah, like if you did it with a broomstick. Your
• 21:39
  Speaker 1: arm is the same thing as a steady cam orm right,
• 21:41
  Speaker 1: except it's better.
• 21:42
  Speaker 2: The steady cam arms.
• 21:43
  Speaker 1: Is better than your human arm, right, yes, exactly.
• 21:46
  Speaker 2: Pretty neat stuff.
• 21:47
  Speaker 1: It is neat stuff.
• 21:49
  Speaker 2: And I think that's it for the science man. We
• 21:51
  Speaker 2: made it through it.
• 21:53
  Speaker 1: Yeah, I mean it's all got to be very precisely balanced.
• 21:56
  Speaker 1: You don't just throw the stuff on the pole, willy
• 21:58
  Speaker 1: nilly no.
• 21:59
  Speaker 2: And they point out that the balance of the camera
• 22:01
  Speaker 2: can actually change during filming, Yeah, just from the film
• 22:04
  Speaker 2: moving from one end of the camera to the other
• 22:07
  Speaker 2: as it records.
• 22:08
  Speaker 1: Well, yeah, in the old days when they use film,
• 22:10
  Speaker 1: for sure. Nowadays it's just that digital card. Yeah, well
• 22:14
  Speaker 1: not always.
• 22:15
  Speaker 2: Quentin Tarantino's camera operators have to deal.
• 22:17
  Speaker 1: With this, Yeah, and if you've ever been on a
• 22:19
  Speaker 1: job with a steady caam, there are a lot of uh,
• 22:21
  Speaker 1: there's a lot of breaks where I mean you can
• 22:24
  Speaker 1: adjust him on the fly more now, but I remember
• 22:26
  Speaker 1: there just being a lot of breaks with a steadycam.
• 22:29
  Speaker 1: Up would say hold on, you know, I need five minutes,
• 22:32
  Speaker 1: and they go over and they have a little stand
• 22:34
  Speaker 1: that they put it on to take because you know,
• 22:36
  Speaker 1: it takes the weight off to a certain degree, but
• 22:39
  Speaker 1: it's still a lot of weight to be carrying on
• 22:41
  Speaker 1: a vest on your chest.
• 22:42
  Speaker 2: Yeah, and running and moving and doing all sorts of stuff.
• 22:46
  Speaker 1: Yeah, it's it's a tough gig.
• 22:48
  Speaker 2: Like there's a pretty amazing video. Did you watch it
• 22:50
  Speaker 2: of that Eurovision shot? No, there's a guy from I
• 22:54
  Speaker 2: think Baylarus singing and they showed they showed him. He's
• 22:58
  Speaker 2: like they they showed the shot and then they showed
• 23:02
  Speaker 2: what somebody filming the shot being done and the guy
• 23:06
  Speaker 2: with the SETI cam wearing the vest rides down the
• 23:09
  Speaker 2: aisle on a segue.
• 23:12
  Speaker 1: Is that what he's on?
• 23:12
  Speaker 2: Yeah, hops off, runs up this ramp and then starts
• 23:16
  Speaker 2: circling around the guy who's singing, And it's a pretty
• 23:20
  Speaker 2: amazing thing. It's a great shot, but then when you
• 23:23
  Speaker 2: see how it's done, Yeah, wow, that guy deserved a
• 23:26
  Speaker 2: standing ovation.
• 23:27
  Speaker 1: It would have been more impressive had it not like
• 23:29
  Speaker 1: the subject matter have been more interested in the video
• 23:32
  Speaker 1: quality but better pretty bad, Like if it was a
• 23:35
  Speaker 1: Scorsese movie, you'd be like, wow, sure, but it was
• 23:37
  Speaker 1: this you know, kind of corny. Well, I mean it
• 23:40
  Speaker 1: looked like an American idol or something.
• 23:41
  Speaker 2: It was, but it was American idol. If you took
• 23:45
  Speaker 2: American idol at its peak and then spread it out
• 23:48
  Speaker 2: over Eurasia and like it was popular over that that
• 23:53
  Speaker 2: large of a population, that's what Eurovision is.
• 23:57
  Speaker 1: That's right.
• 23:58
  Speaker 2: So you want to talk about some of the shots
• 24:00
  Speaker 2: when we come back after a break.
• 24:02
  Speaker 4: Please, Okay, all.
• 24:16
  Speaker 2: Right, so Chuck. In addition to that Rocky shot and
• 24:19
  Speaker 2: that Eurovision shot, there are some other very famous shots,
• 24:24
  Speaker 2: classic shots of all time.
• 24:26
  Speaker 1: Yeah, that had to.
• 24:28
  Speaker 2: Do with steady cam. They couldn't have been done without
• 24:30
  Speaker 2: steady cam.
• 24:31
  Speaker 1: Well, the Shining is the first one that pops into
• 24:33
  Speaker 1: most people's minds because, like we said, Kubrick was a
• 24:37
  Speaker 1: big fan of this invention and immediately started talks with
• 24:42
  Speaker 1: Garrett Brown on how to help him out with this movie,
• 24:45
  Speaker 1: The Shining, that he was making, and apparently they kind
• 24:49
  Speaker 1: of battled one another quite a bit on the set
• 24:52
  Speaker 1: of The Shining, and Garrett Brown later admitted he said
• 24:54
  Speaker 1: a lot of that was probably what do you call it,
• 24:57
  Speaker 1: like inventor's pride or something kind of getting in the
• 25:00
  Speaker 1: way of this like brilliant all tour. So Kubrick already
• 25:04
  Speaker 1: had his own ideas on how to best use this
• 25:06
  Speaker 1: thing that this other guy invented. And you know, the
• 25:09
  Speaker 1: Shinings classic example, those tricycle shots, the famous maze chase
• 25:14
  Speaker 1: at the end YEP, very iconic in motion picture history.
• 25:19
  Speaker 2: Yeah, and I mean the the how did they do?
• 25:23
  Speaker 2: You know how they did that shot behind Danny on
• 25:25
  Speaker 2: his little big wheel.
• 25:27
  Speaker 1: They probably just went into low mode and.
• 25:30
  Speaker 2: Like walked behind him or yeah, ran down the hall
• 25:31
  Speaker 2: after him. That's really impressive.
• 25:33
  Speaker 1: Yeah, So The.
• 25:34
  Speaker 2: Shining's a big one. Sure, Rocky's a big one. Goodfellows
• 25:38
  Speaker 2: is another classic example too, classic where Rayleioda and Lorraine
• 25:42
  Speaker 2: Brocco are going into the Copa Cabana, but they go
• 25:45
  Speaker 2: through the back yeah, and they're followed like throughout like
• 25:48
  Speaker 2: the backstairs into the kitchen and then they finally come
• 25:51
  Speaker 2: out into their table and it's like one uninterrupted, like
• 25:55
  Speaker 2: five minute shot or something.
• 25:57
  Speaker 1: It's amazing, and it's I think when you see the
• 26:00
  Speaker 1: you're you might see it and not be a discerning
• 26:04
  Speaker 1: film viewer and just say well that I didn't notice anything,
• 26:07
  Speaker 1: which is probably good, or you might be a fan
• 26:10
  Speaker 1: in steady cam and just say, man, that was amazing.
• 26:13
  Speaker 1: Then you have to step back and look at lighting
• 26:15
  Speaker 1: and realize that how incredibly hard it is to light
• 26:18
  Speaker 1: a shot like that that takes place over I don't
• 26:21
  Speaker 1: know how many hundreds of feet.
• 26:23
  Speaker 2: But without seeing the lights in the shot.
• 26:25
  Speaker 1: Well that or just consistent lighting and having it look good.
• 26:29
  Speaker 1: I mean that's just usually you light for like a
• 26:30
  Speaker 1: room or something, or a hallway, but to light all
• 26:34
  Speaker 1: those different rooms and hallways and just incredibly I can't
• 26:38
  Speaker 1: imagine how long it took to set that shot.
• 26:40
  Speaker 2: You know, they were like, wait, what do you want
• 26:42
  Speaker 2: to do?
• 26:42
  Speaker 1: Yeah, it'll be great, don worry about it, stay with me.
• 26:47
  Speaker 1: You know, he's making another gangster movie.
• 26:51
  Speaker 2: No I didn't know that.
• 26:52
  Speaker 1: Yeah, and it may be like the some folks are saying,
• 26:57
  Speaker 1: it's like, you know, his last big gangster movie. Yeah,
• 27:00
  Speaker 1: but it's got de Niro again. Okay, he hadn't worked
• 27:03
  Speaker 1: with him in a long time. Paccino and Joe pesci
• 27:07
  Speaker 1: Is coming out of retirement.
• 27:08
  Speaker 2: I didn't even know he was retired. I just thought
• 27:10
  Speaker 2: he wasn't doing stuff anymo. Man, he retired, I didn't
• 27:12
  Speaker 2: know that.
• 27:13
  Speaker 1: Yeah, so's he's got the three heavyweights and supposedly Harveycattail.
• 27:17
  Speaker 1: Of course you got to throw him in there. Sure,
• 27:19
  Speaker 1: but I'm just like giddy thinking about this.
• 27:21
  Speaker 2: Yeah, I'm glad he is because his last one was departed, right.
• 27:26
  Speaker 1: No, he's made movies since then, like Wolf of Wall Streets, Yeah,
• 27:30
  Speaker 1: which I thought was great. I know you didn't love it.
• 27:33
  Speaker 1: I thought it was awesome.
• 27:34
  Speaker 2: I thought everything. But what Jack Nicholson did was was
• 27:37
  Speaker 2: pretty good.
• 27:38
  Speaker 1: Yeah, like his performance.
• 27:39
  Speaker 2: No, I really didn't.
• 27:41
  Speaker 1: Well, sorry Jack, He'll forgive that, all right, because you
• 27:46
  Speaker 1: like him as an actor, right, Yeah?
• 27:47
  Speaker 2: Okay, uh, who's a git? Come on.
• 27:53
  Speaker 1: Return of the Jedi nineteen eighty three, the famous speeder
• 27:59
  Speaker 1: bike chase scene.
• 28:01
  Speaker 2: And find the indoor.
• 28:03
  Speaker 1: Yeah, California's Redwood National Park doubled his indoor and that
• 28:07
  Speaker 1: was Garrett Brown walking and they sped it up.
• 28:12
  Speaker 2: Yeah, but and you're just like, wow, who cares. The
• 28:16
  Speaker 2: reason why it's such an iconic steady cam shot is
• 28:19
  Speaker 2: because he walked very slowly. Yeah, and when you speed
• 28:23
  Speaker 2: film up the tiny movements involved their telegraphed, they just
• 28:27
  Speaker 2: become much more exaggerated.
• 28:28
  Speaker 1: Yeah.
• 28:29
  Speaker 2: So without a setikam, when they sped the film up again,
• 28:32
  Speaker 2: it would have been just so blurry and just jarring.
• 28:34
  Speaker 2: It would have been unusable.
• 28:35
  Speaker 1: Yeah.
• 28:35
  Speaker 2: The fact that you can see the trees and stuff,
• 28:38
  Speaker 2: and even at that high speed, it's all steady cam.
• 28:42
  Speaker 1: Yeah, and people, I think it's just so easy to
• 28:44
  Speaker 1: take it for granted now in movies when you see
• 28:46
  Speaker 1: these shots. But to pioneer these these things and this
• 28:50
  Speaker 1: equipment was remarkable. Yeah, and nowadays you can they're all
• 28:56
  Speaker 1: manner of at home steady cam. You don't have to
• 28:59
  Speaker 1: do like Myra and build one out of spare parts
• 29:02
  Speaker 1: and door hinges. No, you can buy one for not
• 29:05
  Speaker 1: too much. Yeah, you can. You spend one hundred dollars
• 29:09
  Speaker 1: on a on a decent enough little home steady cam.
• 29:13
  Speaker 2: This article says that the steady cam curve, which was
• 29:17
  Speaker 2: made for GoPros, it was like one hundred bucks.
• 29:20
  Speaker 1: Yeah. Well those are teeny tiny.
• 29:22
  Speaker 2: And there's one for the iPhone called what's it called
• 29:27
  Speaker 2: the Smoothie. That one is like it's like, I think,
• 29:29
  Speaker 2: even less than a hundred bucks and it's just like
• 29:32
  Speaker 2: a handheld camera stabilizer that works pretty well from what
• 29:35
  Speaker 2: I can gather.
• 29:36
  Speaker 1: Yeah, we should have had Casey, our video producer, Casey.
• 29:39
  Speaker 1: He's in France right now though YE live in the
• 29:41
  Speaker 1: high life, right he should We should have had Casey
• 29:44
  Speaker 1: in here just given thumbs up, her thumbs down to
• 29:47
  Speaker 1: each one of these brands that we mentioned, and I
• 29:50
  Speaker 1: would trust that is like the gospel truth, right, But
• 29:53
  Speaker 1: Casey's not here, so we're just gonna say read online reviews.
• 29:57
  Speaker 2: I also saw that there's like a lot of gimbal
• 30:01
  Speaker 2: based drone steady cams. Yeah, they are just not not
• 30:07
  Speaker 2: that expensive.
• 30:09
  Speaker 1: They're changing the game again, sure, because then you can
• 30:12
  Speaker 1: do a shot where you follow someone by the swimming
• 30:15
  Speaker 1: pool and then fly up into outer space with them
• 30:17
  Speaker 1: if you want, in one continuous motion.
• 30:20
  Speaker 2: Like the Cisp Monster, the what the Cisp monster? You
• 30:24
  Speaker 2: remember the alien from Cisp Cereal?
• 30:26
  Speaker 1: Do remember Crisp?
• 30:28
  Speaker 2: Remember the weird alien?
• 30:29
  Speaker 1: Sort of? I didn't eat Cuisp. Wasn't that a Captain
• 30:32
  Speaker 1: Crunch knock offer. Was it different?
• 30:34
  Speaker 2: It was different because they were saucer shaped rather than
• 30:37
  Speaker 2: square waffle cut.
• 30:39
  Speaker 1: Gotcha, same thing though, yeah, same thing.
• 30:41
  Speaker 2: It was good. It didn't cut the tongue like Captain
• 30:44
  Speaker 2: Crunch did.
• 30:45
  Speaker 1: Yeah, the roof of the mouth. I'll suffer through that still.
• 30:49
  Speaker 4: Uh.
• 30:49
  Speaker 1: And then of course Steady Cam is a name brand,
• 30:53
  Speaker 1: right do. Yeah, it's made who makes it?
• 30:57
  Speaker 2: Tiffin? Tiffin, Now that's what Yeah, I think Tiffin does.
• 31:01
  Speaker 2: They have a pretty good site, like if you are
• 31:03
  Speaker 2: at all interested in this, like they've got a great
• 31:05
  Speaker 2: site and they have all of their Steadycam models with
• 31:08
  Speaker 2: a real like in depth overview of them and yeah,
• 31:11
  Speaker 2: pretty uh. I think it's got all their manuals and
• 31:14
  Speaker 2: everything just right there for you to read.
• 31:15
  Speaker 1: Yeah, there's other companies making them. Uh, there's one called
• 31:18
  Speaker 1: Glidecam and Vara Zoom. Yeah, but you know, Steadycam is
• 31:21
  Speaker 1: still probably the giant. It's like dollies. There's only two
• 31:24
  Speaker 1: dolly makers. Well, well there may be more now, but
• 31:28
  Speaker 1: it's like Chapman and Fisher and each you know, every.
• 31:31
  Speaker 2: Dolly grip has the dolly makers.
• 31:33
  Speaker 1: Yeah, the Chapman dollies are Fisher dollies.
• 31:36
  Speaker 2: It's kind of like kind of holding Jamison or bush mills. Yeah,
• 31:40
  Speaker 2: you know, Budweiser cores neither.
• 31:43
  Speaker 1: Uh.
• 31:44
  Speaker 2: And then Garrett Brown, as if the steady cam wasn't
• 31:47
  Speaker 2: enough as far as revolutionizing filming goes, he later on
• 31:51
  Speaker 2: invented something called the skycam, Yeah, which like if you
• 31:55
  Speaker 2: watch any kind of sporting event now especially, it's especially
• 31:59
  Speaker 2: useful for football and in football where like there's just
• 32:03
  Speaker 2: cables above the field and there's cameras hanging down that
• 32:08
  Speaker 2: are just like doing overhead shots following the action. Like
• 32:11
  Speaker 2: it's nothing.
• 32:11
  Speaker 1: It's pretty neat.
• 32:12
  Speaker 2: Garrett Brown invented that too.
• 32:14
  Speaker 1: I got one more little thing for you. There are
• 32:17
  Speaker 1: two positions, not high mode. Low mode positions are like
• 32:21
  Speaker 1: how you're operating the camera. But if you are pointing
• 32:25
  Speaker 1: forward as the operator and your camera is pointing forward,
• 32:29
  Speaker 1: you're just walking. It's called missionary no. And then if
• 32:33
  Speaker 1: you are if the operator is forward and the camera
• 32:37
  Speaker 1: is backward, they call that don juan. So leave it
• 32:40
  Speaker 1: to film set goons to think of sexual names for
• 32:46
  Speaker 1: sex it up camera positions. Don Juan, Yeah, I never
• 32:49
  Speaker 1: heard of that one.
• 32:50
  Speaker 2: I hadn't either. Well, if you want to know more
• 32:53
  Speaker 2: about steady cams, including a really really fine grain involved
• 32:57
  Speaker 2: look at the physics of how the steady cam arm works.
• 33:03
  Speaker 2: You should go type steadycam into the search part HowStuffWorks
• 33:06
  Speaker 2: dot com. Since I said search parts, time for a
• 33:09
  Speaker 2: listener mail.
• 33:12
  Speaker 1: I'm going to call this encouragement from a Christian listener. Okay,
• 33:16
  Speaker 1: Hey guys, I was listening to the Easter Show and
• 33:18
  Speaker 1: was compelled right in. As a Christian, I've always appreciated
• 33:21
  Speaker 1: how you make a solid effort to not rail on
• 33:23
  Speaker 1: the church too hard. I found it humorous and simultaneously
• 33:26
  Speaker 1: sad when you felt you had to tiptoe around the
• 33:28
  Speaker 1: pagan traditions that have been integrated with the Resurrection. I
• 33:32
  Speaker 1: find it disheartening to think that other believers can't find
• 33:34
  Speaker 1: anything better to do than wait to be offended by
• 33:37
  Speaker 1: something than jump all over you for it. But based
• 33:39
  Speaker 1: on your years of experience and careful treatment of the subject,
• 33:42
  Speaker 1: it must be the case a lot of the time. Personally,
• 33:45
  Speaker 1: I just want to say, I can't think of anything
• 33:46
  Speaker 1: you've ever said to offend me. I think you've done
• 33:48
  Speaker 1: a stand up job with sensitive subjects like satanic panic
• 33:52
  Speaker 1: in particular. It's also nice just to hear you talk
• 33:54
  Speaker 1: about things directly related to my beliefs without sneering like
• 33:59
  Speaker 1: many others. That's nice. Dane in Minnesota.
• 34:02
  Speaker 2: Yeah, for real thing. If you want to get in
• 34:05
  Speaker 2: touch with this like Dane did and be a super
• 34:07
  Speaker 2: cool person, you can tweet to us at s y skpodcast.
• 34:11
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• 34:14
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• 34:19
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• 34:21
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• 34:24
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• 34:27
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• 34:29
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• 34:31
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• 34:38
  Speaker 1: For more on this and thousands of other topics, visit
• 34:40
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