TECHNOLOGY FEATURE VIDEO GUIDE
other films and even TV series. But in the right hands, such as those of veteran cinematographer Conrad L Hall, who shot Sam Mendes’ Road to Perdition (2002) in which the technique is used effectively for the first appearance of Jude Law, it can still work. The vertical equivalent of
the dolly is the crane. At its most basic a crane is a big camera trolley fitted with an extending arm or boom, also known as a jib. Some cranes support just the camera, while others are big enough for the camera operator, camera assistant, and sometimes the director as well. The first crane for movie making was reportedly developed for the 1929 film Broadway. Cranes have been used to achieve startling angles ever since. JL Fisher, Super Technocranes, and Technocrane are among the leading suppliers to the film business. A variation on the crane is to mount cameras on wires to give a sense of flight or speed. Back on the ground what
many directors and cinematographers wanted was for the camera to move like a person walking, particularly on small, confined sets. Handheld cameras came close to achieving this but tend to give a documentary feel to a shoot. A breakthrough came in the 1970s with the development of harnesses attached to the camera operator. These contain gimbals that keep the camera steady but which can be moved in most directions. The pioneering example of what became known as the moving point of view shot was John Carpenter’s Halloween (1978). This used the Panaglide, a stabilisation system of two articulated, shock-absorbing arms attached to a vest worn by the operator. The Panaglide later gave way to the Steadicam, which is similar but has a single arm, a series of counterbalances and a free- floating gimbal to support the camera. The Steadicam range has grown over the years to
PRODUCTFOCUS
BlackcamSystem B40
Remote-controlled camera tracking system
www.blackcamsystem.com
Track specifications: • Dimensions: 30cm wide 12cm high • Weight: 4kg/m (8.82Ibs/3.28ft) • Standard lengths: 4m, 2m, 1m, 50cm (custom lengths are available) • Curves: minimum inner radius: 1m
The Blackcam model B40 is a full-sized tracking system that is able to accommodate a variety of cameras, including the ARRI Alexa M, Red Epic and Scarlet, and Sony F5, F55, and HDC-P1. It is also compatible with 3D mirror rigs. Blackcam systems include a camera cradle, dolly, track, production cabling, and remote-control system. The track comes in linear or curved segments. The dolly attaches to the inner sides of the tracks with several lateral guide rollers and optional safety bars. The unit can be powered using AC or batteries, with an average run time of at least two hours per charge.
The black anodised track is relatively lightweight (only 4kg/m or 2.68lbs/ft) so one person can quickly set up the rig. Remote operation can be done using either a joystick or Piezo stick. The rack can be set up with two monitors and intercom, among other components.
accommodate cameras of different sizes and weights and is used for TV sports coverage as well as films. Rival systems include the HandyMan from ABC Products, which also produces cranes and dollies.
The Ben Wilson–designed Fig Rig is now manufactured by Manfrotto
A smaller support that allows full movement is the Fig Rig, which was designed to meet the needs of director Mike Figgis, who is noted for his use of small DV (digital video) cameras in features and wanted a
camcorder support that allowed greater
movement. The Fig Rig was designed by Ben
Wilson, who describes it as a low-tech handle, and is now manufactured by tripod company Manfrotto. Also during the 1970s
hardware was combined with computer technology to produce motion control systems. In these a camera is mounted on a remotely
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controlled pedestal running on tracks, which can be programmed to repeat pre-set movements. This is especially effective for scenes that will feature visual effects but the technology is also used to create seamless moving camera shots. Leading motion control
companies include Mark Roberts Motion Control (MRMC), Kuper, and Mo-Sys. An early standout example of the technology is David Cronenberg’s Dead Ringers (1986), which used software in conjunction with General Lift booms, arms, and supports to have two Jeremy Irons on screen at the same time. All this hardware
continues to play a key role in filmmaking – from big blockbusters to low-budget indies – in creating specific looks and emotional feels.
REFERENCES The Complete Film Dictionary second edition by Ira Kongigsberg, Penguin Reference 1997
October 2013 49
“The moving camera has long been an integral part of filmmaking, something that all sound recordists have to either work with or around.” Kevin Hilton
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