Steadicam
A steadicam allows the camera to be easily supported and stabilizes the apparatus allowing fluid movement for the camera operator, this in essence isolates it from the operators movements so the shot produced is not 'shakey' or 'jerky' under any circumstances. To execute low-angled priority takes, the camera itself or the sled architecture attached to the operator for mechanical support can be rotated in a vertical fashion, this places the camera on the bottom and sled on top (this can also be viewed as a 'low mode' operation) This particular shot would be ideal for the construction of my documentary as a low angled portrayal of an individual suffering from anorexia could help conform to the audience just how powerful of a hold it has upon the host and how they are virtually incapable of controlling it.
The smallest steadicam avaiable for use with a support arm is the Merlin variety which can essentially carry any camera technology up to a combined weight of 3.2kg. With reference to my documentary it is necessary for me to be able to manouver efficiently throughout the continuity of the footage, if the machinery was too heavy then it would be difficult to keep up with the subjects focused upon in the film. That is why I'm taking into consideration the mass of the equipment I have selected - for my film footage to run as smooth to a professional standard as I desire it is a necessity for me to ideally be able to keep the appliance as stable as what can effectuate to recreate the intended effect. This will be indispensible for the serious one to one interviews over seen in the documentary as if there was to be constant movement throughout the length with the subject continually disorientated from the viewing publics eye then this would not create the authentic convention I am asserted to gain.
Essentially there are two choices in the camera stabilizing system the director can debate upon when initiating a traditional 'tracking' shot
Either : The technology could potentially be mounted upon a wheeled stabilizing system (camera dolly for instance), this becomes operational through the use of levelled balls attached with wheels, however it is an extremely time consuming operation to stage and for many situations involving takes, this method is impractical to set in motion.
Or : The camera operator may hold the apparatus in a hand held grasp. There are several advantages to this choice of methology as it grants an increased amount of speed and overall flexibility as there are no restriction through the use of a moving platform where the camera becomes incapacitated and impossible to deviate in the direction the camera man yearns.
For my documentary I intend to use a combination of customary hand held shots (these will be incorporated in the realistic 'movement' scenarios when the camera tails the subject by foot) and sustained stablized takes when a competent moment in the filming is fixated upon (an interview or a serious moment perhaps) In regards to the dolly, due to me enrolled in college it will be troublesome to be granted access to the equipment so I may have to settle with an ordinary stablizer for the poised, unwavering shots. I believe I will benefit most graciously by incorporating steadicam technology into the final filming stages of my documentary (especially in the interviewing scenarios) which will allow a more serious tone to be created, emphasising significantly the words and opinions of the interviewees themselves. Hopefully this will personify their feelings more clearly to the audience.
The smallest steadicam avaiable for use with a support arm is the Merlin variety which can essentially carry any camera technology up to a combined weight of 3.2kg. With reference to my documentary it is necessary for me to be able to manouver efficiently throughout the continuity of the footage, if the machinery was too heavy then it would be difficult to keep up with the subjects focused upon in the film. That is why I'm taking into consideration the mass of the equipment I have selected - for my film footage to run as smooth to a professional standard as I desire it is a necessity for me to ideally be able to keep the appliance as stable as what can effectuate to recreate the intended effect. This will be indispensible for the serious one to one interviews over seen in the documentary as if there was to be constant movement throughout the length with the subject continually disorientated from the viewing publics eye then this would not create the authentic convention I am asserted to gain.
Essentially there are two choices in the camera stabilizing system the director can debate upon when initiating a traditional 'tracking' shot
Either : The technology could potentially be mounted upon a wheeled stabilizing system (camera dolly for instance), this becomes operational through the use of levelled balls attached with wheels, however it is an extremely time consuming operation to stage and for many situations involving takes, this method is impractical to set in motion.
Or : The camera operator may hold the apparatus in a hand held grasp. There are several advantages to this choice of methology as it grants an increased amount of speed and overall flexibility as there are no restriction through the use of a moving platform where the camera becomes incapacitated and impossible to deviate in the direction the camera man yearns.
For my documentary I intend to use a combination of customary hand held shots (these will be incorporated in the realistic 'movement' scenarios when the camera tails the subject by foot) and sustained stablized takes when a competent moment in the filming is fixated upon (an interview or a serious moment perhaps) In regards to the dolly, due to me enrolled in college it will be troublesome to be granted access to the equipment so I may have to settle with an ordinary stablizer for the poised, unwavering shots. I believe I will benefit most graciously by incorporating steadicam technology into the final filming stages of my documentary (especially in the interviewing scenarios) which will allow a more serious tone to be created, emphasising significantly the words and opinions of the interviewees themselves. Hopefully this will personify their feelings more clearly to the audience.
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