The Art of Steadicam Operating in Cinema

Peter Robertson is one of the world's most distinguished Steadicam operators, receiving the 'historical shot' award for the Dunkirk Beach steadicam sequence on “Atonement”. In this episode, he discusses his philosophy behind what makes a successful steadicam shot and when to use it effectively.

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Cooke Optics TV



Filmed with a Sony FS5 and Cooke Mini S4/i Lenses.

[dictionaryofwords]

Wow! That last sentence in general rings so true. SO MANY shots you show up to shoot don't need to be shot on steadicam, yet they want steadicam for the production value or whatever their perception is. It takes major balls to say "this isn't a steadicam shot". Huge props if you can actually have the trust with a director to have that discussion. Some of us are just glad for the work ;)

[AllThingsFilm]

I think this goes for gimbals, too. It's not a matter of how steady the shot is, it's whether or not it supports the story. Story is the ultimate gauge for the tools you use in filmmaking.

[joyoffilming]

What a great discussion! Coudn't swith off until the end!

[steadygumsteadygum]

Listening to these men, one can clearly see that they are indeed very experienced. Carrying heavy cameras around is not easy the back and shoulder pain soon becomes chronic. I am glad Steadgyum is helping camera operators around the world to take off the weight and also get better stability and balance without affecting movement.

[albertcurielx]

This is soooo informative. Thank you so much for these wonderful videos!

[cornetto]

Why was the video assist for the panavision steadicam Green?

[joescho]

This old dude just needs to do some muscular endurance training

[rudyamisano]

Dopo IL MAESTRO Garrett Brown, negli anni 80 c'erano Larry McConkey e Steve St.John ... due grandissimi op. Stedycam...e anche James Muro. Qui in puffolandia c'erano solo Massimo Vitali, Nicola Pecorini, Vachy Bellamy e Bob Scheaffer. Anni 80/88 . Poi, se ne è fatto un po' un uso sbagliato ed esagerato. Dai produttori sopratutto.Giravano tutto con la Steady x risparmiare tempo. Perché un carrello messo giù alla perfezione, richiedeva troppo tempo e quindi si rischiava di sforare e sai quanti registi, anche validi, hanno bestemmiato x questo. Lo strumento era nato x rendere fluida l'immagine in situazioni disagiate e non con pavimenti lisci . Perché un carrello ben fatto, ha sempre un altro effetto. Chiedete a Mr. Brown. Non parliamo poi dei registi " malati" di Stdy...quelli che imitando quel regista là o quella famosa scena, volevano tutto con la Stdy...orrendi. E quanti. Troppi. Tutto un vorrei, ma non posso. Oggi poi tra GIMBAL, GLIDE e DRONI e cazzate simili...🤢🤢🤢🤢🤮🤮🤮🤮🤮. Che noia. 🥱🥱🥱🥱🥱🥱. 🎥.