Jerry Holway has been a Steadicam operator for 30 years, with many feature film credits including Donnie Brasco, As Good as it Gets, Rounders, The Apostle, All the Pretty Horses, and Reign Over Me. Over the past 18 years, Jerry has been the head instructor at more than 60 week-long Steadicam workshops worldwide. He is generally regarded-along with Garrett Brown, inventor of the Steadicam-as one of the premier Steadicam workshop instructors in the world. Laurie Hayball has been a Steadicam operator and workshop instructor for 15 years. She earned a degree in Motion Picture and Television from UCLA's School of Fine Arts. Her training as a cinematographer brings a comprehensive understanding of all aspects of media production, especially as it pertains to visual storytelling. Laurie is the author of The Infrared Photography Handbook, The Advanced Infrared Photography Handbook, and How to Photograph Your Baby's First Year, all published by Amherst Media.
INTRODUCTION, Cut. Print. Great. The history of the Steadicam is pretty well known, How to begin SECTION ONE: the Steadicam® and its parts, Wearing the Steadicam®,Basic Physics, Getting to know the rig: Basic Steadicam terms, Build the Steadicam, Four balancing acts, Static balance, Dynamic balance, SECTION TWO: getting started SECTION THREE: beyond the basics SECTION FOUR: Steadicam® and filmmaking SECTION FIVE: movement techniques SECTION SIX: framing techniques SECTION SEVEN: getting to work SECTION EIGHT: extending the range of movement SECTION NINE: extending the range of options Steadicam® and vehicles SECTION TEN: the business side of Steadicam SECTION ELEVEN: unique environments and requirements SECTION TWELVE: the experienced operator CONCLUSION.
INTRODUCTION
Cut. Print. Great. The history of the Steadicam is pretty well known
How to begin SECTION ONE: the Steadicam® and its parts
Wearing the Steadicam®
Basic Physics
Getting to know the rig: Basic Steadicam terms
Build the Steadicam
Four balancing acts
Static balance
Dynamic balance
SECTION TWO: getting started SECTION THREE: beyond the basics SECTION FOUR: Steadicam® and filmmaking SECTION FIVE: movement techniques SECTION SIX: framing techniques SECTION SEVEN: getting to work SECTION EIGHT: extending the range of movement SECTION NINE: extending the range of options Steadicam® and vehicles SECTION TEN: the business side of Steadicam SECTION ELEVEN: unique environments and requirements SECTION TWELVE: the experienced operator CONCLUSION.
