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How Steadicams Work · Stuff You Should Know

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