handheld with the DVCPro

Annie Wengenroth · November 9, 2004

Before anyone answers, "Steadicam" or "Glidecam"...yes, that would probably be the best choice here but we couldn't get access to a Steadicam operator nor could we get the Glidecam for a weekend. So here's my scenario. I will be shooting a friend's class project on a DVCPro (not the 50, the older model! With the gaff-taped viewfinder, ha ha!) and he wants most of it to be handheld.

Yikes! I mean, I can lift a decent amount of weight for my size (I'm about 95 lbs and 5'5", yeah I'm a shrimp) but still, this is going to be a shaky setup! So my question is, does anyone have any ideas on how to minimize camera shake? I was thinking of using some sort of padded brace and wrapping it around my right shoulder or maybe even stabilizing my right wrist somehow by wearing one of my skateboarding wrist guards or something. If anyone has any better ideas, I would be pleased to hear them. I'm comfortable lifting and maneuvering the camera, it just seems notoriously tricky to keep it smooth. Thank you in advance!

-Annie

Phil Rhodes · November 10, 2004

Hi,

I assume you mean some kind of betacam-style ENG type camera; there's lots of DVCPRO cameras, but they're largely similar to operate.

The only tip I can think of, other than application of skill (!), is to ensure the thing is balanced fore and aft. Often with modern very lightweight battery systems and upscale mattebox assemblies, you can end up with a camera that's very nose heavy, forcing you to push upward with your right arm the whole time you're operating. This quickly gets very wearing and affects the stability of your shot through fatigue if nothing else. It's better to strap some more stuff on the back - may not be a problem if you're carrying radio mic, video transmitter etc - and bear the extra weight so as to be able to pretty much hang your arm off the lens. Much more comfortable.

But really, the rest of it comes down to what you want it to look like. Handheld is an aesthetic all of its own. If you want it to look smooth, go for wide-angle lenses, but that's rather TV-news-looking - moving back and zooming in while handheld is a look popular since things like "Saving Private Ryan" and can be interesting. What's the subject, what do you want it to look like? If you want it to look like steadicam, then handheld is the wrong choice - track and dolly is more like good steadicam than handheld is, or consider renting a jib. I think they have more bang for the buck than steadicam.

Phil

Annie Wengenroth · November 10, 2004

Well I talked to the director today and got my copy of the script and the piece is a comedy about 2 actors who audition for the same part. So he wants kind of a goofy feel to it. As far as balance goes, I played around today with putting a towel on my right shoulder (see "Hitchhiker's Guide", always know where your towel is! haha) to cushion the camera better, and then instead of an Anton Bauer trimpak battery I used a Frezzi brick, which seemed to balance the camera more towards the rear. I've also found if I hold it by the top handle and not the velcro handgrip, and then sort of curl my forearm against the body of the camera, it provides more stability (at least for me, I don't know if anyone else works this way). Then I put my other hand on the viewfinder and as long as I keep my legs about shoulder-width, I think I'll be okay. Plus, I have GATORADE AND POWERBARS! GO CAMERA OPERATOR GO! :-)

Phil Rhodes · November 11, 2004

Hi,

> I've also found if I hold it by the top handle and not the velcro handgrip, and then sort of curl my

> forearm against the body of the camera, it provides more stability (at least for me, I don't know if

> anyone else works this way). Then I put my other hand on the viewfinder..

Argh, sounds excruciating! Which hand are you focusing with?

Usual procedure is to grasp the handgrip with your right hand, leaving your left free for lens control. I certainly wouldn't grip the viewfinder - they're not usually bolted on that rigidly.

Phil

Annie Wengenroth · November 12, 2004

Well, I don't grab the viewfinder itself, just the point where it bolts to the camera, if you can picture that. I wish I had a visual aid. This is not for the whole shot, just when I'm trying to frame it up and get ready to go. So when I'm actually rolling, I still focus with my left hand. It's not that bad. I actually cinched the handgrip WAY down so that it was really tight (I have small hands) and found that it made things a lot easier for my right hand. Hell, I'll get the hang of it. Does anybody know if they make any sort of grip that you can mount on the left side of the camera, like on the base of the body? I could have sworn that there's a spot for an additional handgrip, some sort of metal shoe, but maybe I'm thinking of a different camera. Bear in mind I'm still not that familiar with this one. But it gives me an excuse to wear football shoulder pads and walk funny, so there you go. B) And I do love those heavy batteries.

Edited November 12, 2004 by SpikeyAnnie

Phil Rhodes · November 12, 2004

Hi,

You could probably bolt on many varieties of film camera style handgrips. I've seen this done where people put an LCD monitor on one of those bendy arms, and operated without using a direct viewfinder. You'll need a focus puller (or a deep stop and wide lens) to do it this way, but it's a bit more feature-production style.

Phil

Don Bachmeier · November 12, 2004

Having your lens as wide as possible is a huge help. Elbows in or down, not sticking out like wings. Keep the camera firm to your head (this most often precludes headphones). This makes the camera part of your body. For a reference of the amount of movement watch how the image moves compared to the static edge of the viewfinder frame. A few deep breaths before the shot, then very shallow breathing for the duration. Disguise the shake in a slow zoom or other deliberate camera move. Holding a static shot on a long lens is the worst. Use your people skills to encourage a change in the shot.

Additional padding on the shoulders seems to make the camera more unstable. It seems even more top-heavy.

For broad pan shots that can be planned or antisipated, turn your body to the end position and start the shot slightly twisted. This way you end on a more stable footing and can hold the end shot a bit longer. Of course you would have to modify the technique to the situation.

The advice on the camera being in balance is important. Generaly a basic camera/lens/battery combination is pretty centered. And the shoulder pads on most modern cameras are somewhat adjustable. As mentioned it is the add-ons that can make simple operation challenging.

Practice and rehearse of course.

don

Annie Wengenroth · November 12, 2004

Thank you! You have all been very helpful.

Annie Wengenroth · November 13, 2004

An update on the handheld DVCPro shoot: We wrapped about 4 hours ago and things went well. Both my arms are still firmly attached, I don't feel too tired, and I could have easily kept going for another few hours at least. Oddly enough the only part of me that feels sore is between my right thumb and index finger, I guess from the handgrip. But I got used to the weight of the camera pretty quickly and by the end of the night, it felt stranger to NOT have the camera on my shoulder.

Phil Rhodes · November 14, 2004

Hi,

Amusingly, last night I shot a club night hosted by a famous-to-English-college-kids DJ going by the name Spikey Annie.

Phil

Annie Wengenroth · November 15, 2004

Nice...it's sort of an old nickname, as my hair is no longer spikey! And I'm a DJ too so it's pretty funny. Anyway, I probably spoke too soon about how the shoot went because it was really intense on the second day (yesterday). The first day was good and I felt like I was hanging in there pretty well. The second day, the director decided to rearrange both the script and the furniture (arrgh!), so I had to re-light (and rethink) everything. What can ya do. Student films..yeah...

We shot for 12 hours, some of this was outside and it's a miracle I kept the damn camera steady because it was very cold and windy (the camera probably kept me from blowing away! heh). The interiors were a b!tc# because we didn't have much to work with as far as lights went, so what we DID have was kind of crowded and there were reflectors and scrims all over the place in this little area. So I was tapdancing all over trying not to trip on a c-stand and go sprawling. It was quite the workout.

But, by the last two hours or so of shooting, I barely noticed the weight of the camera anymore; it's really not that heavy once you get used to it...I think they weigh in at about 15 pounds or so. This was the first time I'd ever shot on one of these cameras and ours was an older model (the AJ700). I would have liked to shoot on one of the newer ones, but I did what I could with what I had. And the director is happy, so there ya go. He also said my handheld footage looked "pretty damn steady". That's always good.

Yeah. I'm going to bed now....the funny thing is I had a great time doing this and I'd do it again in heartbeat, probably even with the same camera. Either I'm a sucker for punishment (likely), or I just love making movies (more likely). :-)