Steady...and...action!

Running across an on-location shoot in the Big Apple is hardly a novelty for New Yorkers whose home is a favorite for close-ups, as reported recently in the New York Times. “There is just no better or more versatile character for television than New York City,” Hal Rosenbluth, the president of Kaufman Astoria Studios in Queens, is quoted there in describing the increasing number of TV shows filiming in New York City, including 23 prime time shows slated for the upcoming season.

 
Understandably, the inconveniences of street parking being dislodged or crowds awaiting a glimpse of a favorite performer must become wearisome for residents. But, as a recent visitor to New York City, I must admit it was pretty exciting to walk up on actor Bill Pullman on July 2 filming as part of  Lola Versus.

"7-1-11 Bill Pullman is currently working on the independent comedy "Lola Versus" filming on location in NYC."

Intrigued by the crew's use of the Steadicam which I just had been discussing the previous day with College of Southern Maryland Associate Professor Alan Lifton, it took a moment to focus instead on the person who was being followed as in Pullman rather than the one doing the following as in the Steadicam operator. Now doubly interested, I paused and watched the action steadily unfold. 

Steadicams when introduced in the 1970s are credited with revolutionizing how filming occurred, enabling action scenes to be caught smoothly without jerks, bumps and jolts. The components include a vest worn by the camera operator, an arm  and a sled, which work together to isolate the camera from operator.

CSM's Alan Lifton demonstrates a Steadicam

CSM's Lifton, who is launching the college's new Digital Media Production program with two classes this fall, is somewhat of a pro when it comes to using Steadicams. As he explains, "When I was the senior producer in the Corporate Communications group at Wang Laboratories in Lowell, Massachusetts, the company sent me to a workshop to learn how to be a Steadicam operator, and two weeks later, when I returned to the Boston area, I was bitten. I bought my own Steadicam in 1986 when I was a professor in Idaho, and worked with it for about six years doing commercials and corporate video."

"In all my subsequent positions I've made it a point to obtain at least one Steadicam for teaching and shooting. I've trained hundreds of people in its use. In order to be good enough to use it in a production, one needs to regularly practice. Having a few tips is really counter-productive and won't help. I've presented Steadicam training workshops all over the world and would hope to incorporate Steadicam training into my classes here, as well as offer off-site training and production assistance to others in the local region. Depending on interest, I could easily offer a short-course."

On a smaller scale, many amateur videographers, myself included, would welcome a stabilizing resource when we use our video cameras. Once we eliminate the shaking that can accompany hand-held video shoots, then we could focus on telling the story.

As we enjoy the big-screen visual results of memorable chase scenes or special effect sequences, we can appreciate the technical expertise that Steadicam operators possess. Considering an operator may be manuevering upwards of 60 pounds in equipment, their physical stamina is also amazing. Even more impressive? The endless creativity that becomes possible when the other stuff is under control.