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Steady as she goes. Tiffen Steadicam Training Course

Every camera operator has been there at one time. Watching a film subconsciously examining every frame in an effort to see how a shot was put together. Anyone involved in visual production is always looking for a way to improve their skills and increase the perceived production value of their projects. Just as an actor will have their own favourite performance by an idol in mind, most camera operators and DP's have their own benchmark for which to aim for. In the last 32 years or so in cinema one device in particular has made possible many of those aspirational shots. A device that owes its inspiration to an anglepoise lamp!

After becoming frustrated with the weight of equipment needed to create smooth camera movement an inventor by the name of Garrett Brown started to look into ways that the camera could be isolated from the movements of its operator. In 1973 the first Steadicam was born, taking on its first successful assignment in a commercial. After much refinement and a deal with Cinema Products to develop it further Garrett started using the new equipment to create cinematic history in films such as Bound For Glory and Rocky. Filmmaking would never be the same again.

The role of Steadicam operator is often viewed with the same kind of reverence as a character in Star Wars might look upon a Jedi Knight. The Steadicam is a curious device indeed and steeped in much mystery. To an onlooker an experienced Steadicam operator is a performer of miracles, gracefully guiding the camera and moving around the rig with often balletic footwork. They make it look easy.

This combination of highly desirable cinematography and highly marketable skill level are two good reasons why many people in the industry would like to learn how to use a Steadicam. For any budding new operator though there are a few hurdles standing in the way of fulfilling their dreams. A brand new Steadicam that has the flexibility to take some of the heavier television broadcast cameras costs a minimum of £13k, without all the extras. Prices go up from there. The second hurdle is that in order to be of any use with a Steadicam you have to practice, a lot. Steadicam is the martial art of the film world, and just like a martial art it requires daily practice in order to be effective. Add to that the possibility that you might just discover that Steadicam isn't for you and things start to become a bit risky financially.

Luckily for us then that those nice people at Tiffen, now the owners of the Steadicam trademark, organise regular training camps for those that wish to dabble in this most skillful of visual arts. Tiffen very kindly granted me access to one of these courses at the BBC's Wood Norton training facility in Evesham to take a look at what is taught, and what potential operators might gain from taking part in one.

The courses run for three days and are taught by Tiffen representative Robin Thwaites. They are aimed at people who have had little or no previous experience of operating and are therefore ideal for testing the waters. I should also add at this point that although the workshop is run by Tiffen, Robin feels very strongly that the course shouldn't be a product sales pitch. As a result, although official Steadicam equipment is used, the course is run from a manufacturer neutral viewpoint.

Upon arriving at the venue I met up with my fellow classmates. Some were camera operators, others were highly experienced camera assistants. One had even flown in from Dubai especially for the course. All were looking for a new string to add to their bow, or a new horizon to look forward to in their careers.

We started the day with a brief explanation of how a Steadicam works. Robin was adamant throughout the course that the best way to learn about Steadicam is by actually using one. After some important notes on safety it wasn't long before he rigged each of us up and had us taking our turn at having a go with a brand new top of the line Ultra 2 system.

The first thing that strikes you when you first suit up is how tight the vest needs to be. It shouldn't be so tight that you can't breathe, but it can feel constrictive. It is very important though. The second thing that strikes you is the sheer weight of the rig. We only had a basic Digibeta camera mounted on the sled, but it was incredible how heavy it felt. A fully kitted out F900/3 or indeed a 35mm film camera would weigh far, far more. At this point you might be thinking that my vision of balletic footwork and graceful movement I mentioned earlier on would be shattered. Not so, the first lesson to be learnt about Steadicam is that operator skeletal structure rules the day. It is worth noting that there are a few female Steadicam operators around the world that can handle a fully laden Ultra rig far more easily than some of the big guys who try to muscle it.

It is this idea of skeletal balance and structure that is the first key to operating. Robin pointed out that first time operators are not used to the camera floating out in front of them in such a way, and that often they try to compensate for the weight of the rig and its various forces by leaning the body or bending the legs. This is not only bad for operating, but with the weight of the equipment involved could do permanent damage to the operators body as well.

Fundamentally we were taught that by a correct combination of vest adjustment and body alignment it should be possible to handle a large heavy rig without any unnatural strain on the body. That is not to say that it is easy however! The full weight of the rig is still being supported by the operator, and as a result Steadicam operating is extremely physically demanding.

After our brief stint with the Ultra 2 Robin got down to the nitty gritty stuff. We were taken through the full details of how to suit up and the various adjustments on the arm. Steadicams can carry a massive amount of forward momentum so setting up the rig precisely is of paramount importance. We were also taken through the correct way to mount the sled on the arm, after which we were split into groups of three to practice on the other rigs that Robin had brought along.

We were given a series of exercises to perform, the most basic of which was starting and stopping walking in a straight line. Simple you say? Not exactly. Like an aircraft a Steadicam can function with minimal input from the operator. In fact successful operation relies on this fact. One hand controls the height of the supporting arm, while the other controls the direction of the sled with a feather touch on the sled post just below the gimbal.

This is the most difficult part of Steadicam operation. When you hand hold or shoulder mount a camera the reason why the picture looks so shaky and violent is because the camera is rotating around a fulcrum point. A Steadicam not only isolates the camera from the operators body, but because any movement is actually along a vertical or horizontal line, as opposed to rotation, the movement is less apparent on screen.

The skill of operating a Steadicam lies in being able to direct the camera in the direction that you want, as well as keeping a perfect frame, adjusting for actors movements etc while avoiding the reintroduction of rotational camera movement. In the case of Steadicam operation the highest risk of introduction rotational movement is around the vertical axis (horizontal panning). Because one hand needs to fine tune camera direction by touching the sled post averting this is easier said than done!

The paradox of operating such a device is that while a lengthy shot might require the endurance of an athlete, the operator needs to maneuver the camera around with a deft touch to avoid introducing any unwanted camera movement. Of course practicing in a studio with nice smooth flooring is one thing. Using a Steadicam on a real film or television set is quite another.

The real world is full of obstacles such as steps, inclines, and rough surfaces. A set offers additional issues to look out for such as lighting and other equipment. Remember that a Steadicam can move a camera in all possible directions within the same shot. This makes planning and choreography of a sequence absolutely paramount.

With this in mind Robin set us more complicated challenges such as following an actor up and down steps, along corridors and around corners, as well as 360 degree tracking shots. These exercises not only involved constant attention to framing and movement anticipation, but they also demonstrated the need for peripheral vision while operating. Because of this it was emphasised that using a spotter while operating is essential for safety.

Steadicam operation is a highly specialised area of work. It is unique in that it combines the skills of a director, a director of photography, and camera operation into one job. It is certainly one of the few areas whereby a camera operator can have the opportunity exercise a good degree of creative control over the shots that are performed. With this in mind Robin gave us some useful advice with regard to the politics of Steadicam operation on a film set.

Although camera stabilising devices can be incredibly expensive it became clear that there is a market demand for good operators. With that in mind I can highly recommend the Tiffen Steadicam Workshops as a way to find out if this is an area of work that you might be interested in. I would also recommend them highly to new owners of stabilising devices who have not used them before and may wish to learn more about the various techniques for smooth operation.

For more information about Steadicam courses in the UK go to the Steadicam Forums or www.thesteadicamworkshops.com> (mainly US).

(This article originally appeared in Showreel Magazine)

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