Steadicam as an Elegant Camera Platform

(Or: Steadicam vs. Dolly)

I’ve really tried to build my career on my Steadicam work blending seamlessly into a film or show, and my work being visually indistinguishable from dolly or crane work. (And on some days, I even go so far as to achieve this goal!)

I would say that a professional, seasoned Steadicam operator should be able to perform shots that are elegant, simple, and are small movements, rather than just big tracking shots. And I agree that the Steadicam is often a very elegant way of executing simple shots, often much more efficiently than other methods. However, the big caution here is that doing small movements and slow moves is often the hardest thing for a Steadicam operator to do. So, how well the Steadicam can execute dolly-like movements will depend entirely upon the skill level of your operator. A newbie operator can often pull off a walk and talk on a reasonably wide lens, but pulling off delicate closeups on an 85 will often be nigh impossible. And different operators will have different skill sets that may play in here. For instance, I am the type of operator who loves gentle, elegant work, but I’m not a fan of running or stunt-y work, and I know many operators who are the opposite. This is something you should be screening for as you interview operators, and it may cost you quite a bit to get an operator of the appropriate skill level.

I will also say this, having been on indie films where they did cut the dolly budget upon having me on - I would under no circumstances think of replacing a dolly with a Steadicam. Doing locked off still work on a Steadicam is not only painful physically, it can be infuriating. Every moment the operator is in the rig is stress being put on their joints and muscles, and you’re decreasing their performance for the rest of the day, when you really might need them to be in top form. The dolly is such a fundamental tool that I can’t imagine not using one at all, unless the film is specifically choreographed with that in mind. Even on a very Steadicam heavy film, being able to do a lockoff or a very long lens shot or even an establishing shot is dolly work, and being able to easily adjust the camera position and height on a dolly (instead of going to a tripod) saves an incredible amount of time on set. I also would let your operator have input on which camera platforms you are looking to use per shot. A good operator who is invested in your aesthetic will understand when you will gain something from using the Steadicam, and when the look will be identical or worse on Steadicam, and you will want to use a dolly instead. In an ideal world, the tool should be chosen to serve the shot, rather than an edict before production.