AudioMedia - December 2008 - (Page 59) video guide A Sound Pro’s Guide To Video Camera Support & Movement: Part 2 The Mo-Sys system was designed to be Slick M over straightforward so the DoP and supporting Technology has given cameras crew could concentrate on their main jobs, and even greater movement, and During this year’s IBC Mark Roberts Motion not spend too much time making the motion in recent years, much of that Control expanded its range with the SFHhas come from computer- control work. The company also develops track head pan tilt head, featuring new tools ing systems for broadcast, and a 3D inserter, and driven hardware in the form and operator controls. This was joined of motion control systems. has approximately ten motion control units in by a motion-controlled linear motor, Hollywood right now. A camera is mounted on a Motion control systems require additional which is designed to work with highremotely controlled pedestal equipment, such as booms and head controllers. running on tracks, either on the speed cameras. This can reach speeds of floor or suspended from the ceil- MK-V, founded by Steadicam operator Howard J four metres per second, and combines Smith, manufacturers camera support systems, ing, which can be programmed high-speed camera shooting with motion to repeat pre-set movements. including shed platforms for Steadicams, and control. Also on show were the Modula the Revolution, a gimbal device that comes in a This is especially useful for scenes and Talos rigs and the Ulti-Head. number of models, including Powered and featuring visual effects, but the Manual, which can work in conjunction with technology is also used to create motion controllers. The RevolveR from Jackson seamless moving camera shots. Woodburn is a mechanical head that allows > Russian-made film with the continuous opening The first motion control a standard camera unit to become a motion shot in which the camera was passed from systems were developed during the mid-1970s control system. Offering gear ratios from 99:1 person to person. for effects heavy films directed by technologically down to 1:30 up, in 0.1 steps, RevolveR can Handheld cameras give a sense of intimacy, aware directors. The Dykstraflex was designed by achieve eight axes of movement, with transparimmediacy, and of being MORETON IN MARSH SSR Dykstra and his 8:18 pm atPage 1 Light part of the action – John 16/10/08 colleagues Industrial both for documentaries like DA Pennebaker’s and Magic for George Lucas’ Star Wars (1977), ent interfacing to Preston lens systems. Camera supports and the movement they Dylan profile Don’t Look Back (1967) and while another visual effects pioneer, Douglas bring have given filmmakers great freedom over Cinematographer-turned-Director Haskell Trumball, worked with Future General Corporation the years and been behind numerous outstandWexler’s doc-style drama, shot on location at on the Icebox system, used for Steven Spielberg’s political conventions, Medium Cool (1969) – but Close Encounters of the Third Kind (also ‘77). ing cinematic moments, but they are in many the danger is that the uneven movement can Coming in the wake of this pair, both techni- respects the gilding on more fundamental skills. Next month the Video Guide will look at light, overwhelm the story and leave the viewer feeling cally and artistically, was Disney’s The Black Hole the medium with which cinematographers annoyed or seasick – or both. (1979), which featured ACES (Automatic Camera create pictures. ∫ Effects System). R eady Steady Among the leadThe ideal was something that mimicked a person ing exponents of the walking but which produced a rock-solid picture. technology today are The breakthrough came with the development Mark Roberts Motion of harnesses worn by the camera operator. Control (MRMC), Kuper, These contain gimbals that keep the camera a n d M o - Sys. M R M C The Institute of Broadcast Sound steady but can be moved in most directions. s y s t e m s a p p e a r e d The pioneering example of what became during the 1980s, and known as the fluid camera was John Carpenter’s the range now includes Halloween ( ), which used the Panaglide, motion controlled cama stabilisation system of two articulated, eras, cranes, and dollies. shock absorbing arms attached to a vest worn The Milo system is in by the operator. everyday use for comThis was superseded by the all-conquering mercials and feature Steadicam, which first appeared in 1976, and is films. American develsimilar, but has a single arm, a series of counter- oper Kuper, produces The Fire Service Training College balances, and a free-floating gimbal supporting a software program for Moreton-in-Marsh, Gloucestershire the camera. Shots using this device are largely motion control, which associated with the horror genre – Kubrick’s The is supported in the UK If you want to continue your professional development Shining is a chilling example – but it is used for and mainland Europe in sound, the annual IBS CPD weekend is the place to be. any type of subjective shot and is now a standard by Te c h M e c h s F X . This year the subjects covered will include part of television sports coverage. The Denham-based The Steadicam range has grown over communications systems, recording in surround, company offers a range the years to accommodate cameras of differ- of motion control packdrama and Foley, production workflows, ent sizes and weights, down to DV camcorders. ages that run under the monitoring and metering, digital radio mics and RF. Rival systems have appeared, including Kuper software and are All accommodation and meals are included. the Glidecam and the HandyMan from ABC often used in conjuncProducts, which also produces cranes and dollies. tion with General Lift To book online and for more details go to www.ibs.org.uk Director Mike Figgis is noted for his use of DV in booms, arms, and supfeatures and wanted a camcorder support that ports. These were used You can also book by phone by calling allowed greater movement. Figgis had a picture on Dead Ringers (1986), 0300 400 8427 (Option 1) in his head of what he wanted, which was realised another outstanding by industrial designer Ben Wilson, who had made example of motion helmet camera supports for shooting skater films. control, which allowed The Fig Rig was born. Wilson says the intention two Jeremy Irons to be was not for the Fig Rig, which is produced com- convincingly on screen mercially by Manfrotto, to be a ‘junior Steadicam’ at the same time. but for it to be a ‘low-tech handle’ for a camera. ne w s Residential Training Weekend 16 to 18 January 2009 AUDIO MEDIA DECEMBER 2008 59 http://www.ibs.org.uk http://www.ibs.org.uk
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