The Phenomenon of the Soviet Cinema by Yuri Vorontntsov and Igor Rachuk

Yuri Vorontntsov and Igor Rachuk. “The Phenomenon of the Soviet Cinema”. Moscow: Progress Publishers, 1980.

This book argues that much of 20th century Russian art, including cinema, as deeply intertwined with the Soviet Revolution where “hitherto unknown paths led to a creation of a fundamentally innovative, revolutionary art.” The authors see much of the 1920s Soviet movies as masterpieces, These movies contained special meanings to uplift the masses.

Russian film began as fairground tent entertainment. Permanent cinema theaters were established first in Moscow and Petersburg These theaters first showed foreign films. A few years later, Russians produced films. The authors blame the capitalist system for not allowing political and social documentary films. The authors do credit camera operators who filmed parts of the Russian Revolution as it occurred. These films, though, were seized by police and are missing.

“Stenka Ravin and the Princess” , also known as A Free Cossack State in Lower Reaches of the Volga”, made by A, Drankow in 1908, is considered the first Russian cinema movie. A musical score was presented to be played during its showing The movie quality was poor, even for its times, yet the novelty of being a Russian made film drew Russian audiences.

The success of the first Russian film attracted others. Aleksandr Khanz was among early Russian feature film producers. The authors argue these films ignored the era’s social and political events. Social themes would be explored beginning with Soviet filmmakers in the 1920s.

Pyotr Chardynin was an early Russian film director who was noted for working well with actors. Famous actors would apply to be in his movies.

The authors argue many early Russian filmmakers had an “underlying cause” to “disorient the mass audience on the eve of social conflicts.” The authors view their fimls as having “a superficial understanding of life and a total lack of realism.”

There were stage actors who felt appearing in a film was undignified. Others saw film as a means to present audiences with more realism.

The authors view the movie “Late Blooming Flowers” directed by Boris Suskevich as a very good early Russian film for its realism and interesting plot.

The authors note many patriotic films were amateurishly made as propaganda for the Tsarist government The authors view these films as “artistically impoverished.”

George Sadoval, a French film historian, notes the rise of Soviet films helped push movies worldwide more towards the working class. Lenin argued art “should be understood and loved by these masses.”

The first Russian film companies were privately owned yet operated under the government’s “ideological and economic control.”  Newsreel and feature movies were made “for propaganda purposes”. Noted writers such as Maxim Gorky, Alexi Tolstoy, and Kornie Chukovsky were hired to write themes for movies. These films met resistance from some movie theater owners and some cinematographers. Some private film producers made films that were “melancholy, pessimistic, and despairing.” Many of these private filmmakers moved to other countries.

The Soviet photographic and cinematographic trade and industry was nationalized by Lenin of August 27, 1919. Lenin wanted to remove movies from “crude speculators who produced movies about murder, sex, perversion, and pathologies that “often perverts the masses for profit at any price.”

1920s Soviet films were noted for their realisms and for “appropriate images of unity and fraternity between working people.” Some Soviet movies were adapted from classic Russian literature. Lenin supported embracing Russia’s “cultural inheritance.”

The Soviet film of the literary classic “Polikastika” was considered one of the best films of 1924 in the United States.

Dziga Vertoz combined newsreel footage with newly shot footage to enhance his films. He also used slow motion accelerated motion, and the stop-camera method for effects.

Agitational films, a.k.a agit-films, began being produced in 1918. These movies told stories of the Soviet Red Army. Critics noted some of these films were simplistic and “too straight forward”. These films were parts of the steps filmmakers used in moving towards full length fictional movies.

A State Film School was created.

Soviet movies were required by the state to have “ideological purposiveness.”

Sergie Eisenstein was an early leader in producing artistic films. Eisenstein’s “Battleship Potemkin” won the American Academy of Cinema’s award as Best Film in 1926.

The Soviet filmmakers lacked the technological skills of American filmmakers who made their movies for profit.

Aleksandr Dovzhenko created the film “Arsenal” to criticize counter-revolutionaries in Ukraine. He showed “the bright glow of historical battles.”

There was much examination of Soviet filmmaking in the 1920. “Socialist realism” was a dominate artistic method used.

Sergei Gerasimas was a film writer and director who had themes of love and future hopes that appealed to audiences. He presented strong women characters that showed that being feminine did not mean being weak.

Soviet comedy movies became popular popular in the 1930s.These movies used “comedy to confirm what was new in socialist society.” Soviet comedies made jokes about “greed, egotism, and injustice rather than traditional comedies that show buffoons.”

Patriotic these were found in many 1930s Soviet movies. Several historical films were made about the October Revolution and the previous Civil War. Some films had anti-fascist presentations. Lenin was the subject of several movies.

(As an aside, there is no mention of what movies presented about fascism during the times the Soviet Union had a treaty with Nazi Germany.)

There were 10 historical Soviet movies released during World War II. These showed the public how previous Russians fought foreign invaders. These movies has strong patriotic themes. Several movies were then made about World War II.

In 1961, the Soviet Party Programme declared that “artistic depiction of line goes hand in hand with the cultivation and development of the progressive traditions of world culture”. Movies depicted collective farming, depicted Soviet military heros, and showed the strength of the Soviet people.

The Union of Soviet Cinematographers was designed to adhere to work as determined by the Communist Party. The Communist Party set moral values.

Soviet realism continued as a major theme in their movies in the 1960s and 1970s.

Rosing of the Petersburg Technological Institute invented electronic television. The
average U.S.family (circa 1980) viewed TV six hours a day while the average Soviet viewed TV two to two and a half hours per day.

Studies showed the productivity of TV viewers who support a winning sports team are 20% to 25% more productive than TV viewers whose sports team lost.

The authors note increased TV viewership led to decreased movie and theatre attendance within the Soviet Union. Some feared TV may “dull the audience’s aesthetic taste leading to a decline in cultural standards” Others observed TV show varied programming from documentaries to serials. Large screen movies offer an attraction that TV can’t. Soviet TV viewers went to the movies one to two times monthly. They also watched movies on TV two to three times weekly. Thus TV increased total viewership of movies.


TV can use “subliminal techniques” that viewers see brief images that implant into the brain.

Parts of the Soviet Union did not receive TV until 1965 through the 1970s. 40% f viewers (in both urban areas and rural areas) watched TV, 40% went to the movies, and 40% read fiction. Over half of those who watched TV watched it daily.

Studies indicated that watching movies on TV did not lessen how often the viewers went to the cinema. Yet is was noticed that cinema attendance decreased as TV viewing increased.

A study by the authors found 20% of TV viewers had a preference for fiction films, 18% had a preference for documentaries, and 48% liked both about the same. They also found 54% prefer watching documentaries on TV rather than in the cinema while 12% preferred watching in the cinema over TV.

A survey found 56% of Soviets preferred TV over the cinema during work days. (The percentage that preferred the cinema was not given.) During days off, 46% preferred the cinema and 42% preferred TV. On holidays, 38% preferred TV and 30% preferred the cinema.

American TV entertained, which the authors noted that an American TV company President called “the lowest common denominator.” The authors argued that when TV is a business it does not serve society.

Soviet TV was designed for news programs, popular literature presentations, theatre, and “the diffusion of knowledge and standards.”

The Soviet audience had “outstanding traits according to the authors, because they received Communist ideals and values. This, the authors believed, improved the Soviet social milieu.

52.5% of Soviets were interested in fictional movies based on actual events. 6.8% preferred movies based on imaginary events. 12% of Soviet audiences preferred “exotic surroundings, unusual characters, and extraordinary events.”

40% of Soviets preferred movies “as life is”, 47.1% allowed for “a bit of intervention”, and 3.6% preferred totally invented films.

Some 1970s movies used allegories, background music, and other artistic means that created discussions yet were accepted by many viewers.

The authors note foreign audiences liked Soviet films. They were different from Western films centered around sex, neuroses and perversion.” Soviet films displayed responsibilities to people.

The authors concluded that “Soviet movies reflected Soviet society: the path of labor, struggle for its ideals, and accomplishments for the good of the people.”

Radio, Television, and Society by Charles A. Sipeman

Charles A, Sipeman. Radio, Television, and Society. New York: Oxford University Press, 1950.

Radio and TV rapidly changed human relations, according to the author. More people obtained the same information instantly than before the days of radio and TV. The author raised questions as to what information should be provided that people need and who gains from providing information as well as whether their interests are good or bad.

KDKA bega broadcasting to a few listeners in 1920. By 1922, there were 600 radio stations. There were no government regulations. Thus, some stations interfered with others’ broadcasts. This problem was so bad that Commerce Secretary Herbert Hoover believed something should be done. Hoover invited the parties involved to a conference. Yet the parties involved in the radio industry could not agree what should be done. In 1923, Hoover, lacking the legal authority to do so, stepped in and assigned frequencies to nearly all station. In 1926, the courts determined Hoover lacked the ability to issue these frequencies and these assignments were nullified. A resulting mess led Congress to create the Federal Radio Commission.

Early radio do not have advertisements. The radio stations existed to sell radios. Over time, these companies realized there were continuing costs of maintaining broadcasts. David Sarnoff, the General Manager of RCA, sought endorsements for radio programs similar to those provided to other cultural institutions. Sarnoff saw radio as a nonprofit entity financed by 2% of sales of RCA, General Electric, and Westinghouse radios and radio equipment.

WNYC researched selling subscriptions to its listeners.

Some broadcast had sponsors beginning with WEAF in 1922. The idea of sponsored programs met with resistance that included Secretary Hoover. Hoover opposed radio becoming “drowned in advertising matter.” Even shows that were sponsored mentioned the sponsor only at the beginning of a show and sometimes at the end.

The Radio Act of 1027 brought Federal government restrictions on the radio industry. The National Association of Broadcasters affirmed that radio should devote broadcasting time for purposes of education, religion, and agriculture.

The Federal Radio Commission moved to restrict advertising. It denied renewing the license of WERW because it mainly used advertising for income.

RCA formed two National Broadcasting networks, the Red and the Blue. It was forced to sell the Blue network in 1942. The Columbia Broadcasting System began in 1927. THe Mutual Broadcasting System began in 1934. Local independent stations gave part of their offerings to a network. Network shows often had sponsors.

Congress passed the Communications Act of 1934 with the stated purpose of protecting the public interest. They created a permanent Federal Communications Commission. The Commissioners were to have no financial stake in the radio industry, have no foreign influence, and were to be non-political. The Commission would control the use of channel transmissions. Thus it was determined air wave lengths were public property. The Commission decided who could use them and had disciplinary powers if regulations were violated. Aliens and foreign governments could not have a radio station. No one could monopolize communications or radio apparatus sales, Political candidates were to receive fair play.

Congress recommended that a quarter of frequencies be given to cultural broadcasters, including colleges, schools, and churches. The Commission decided instead that commercial broadcasters would provide part of the programming for cultural purposes.

The Federal Communications Commission was limited in acting due to its small staff of 1,327 as of September 1949. The FCC regularly monitored that broadcasts were at the proper wavelengths. It searched for illegal broadcasts. The author notes “whatever the cause, the fact is irrefutable that, since its inception in 1934, the FCC used its powers with a discretion that, except in rare occasions, has pleased the industry, as it has provoked the dismay and indignation of radio’s most exacting critics.”

The FCC has the power to revoke or suspend a license. Two licenses had been revoked (as of circa 1950). Neither case concerned programming issues.

The FCC regulates to prevent monopoly. The author in 1950 saw the industry as moving  “toward semi-monopolistic controls.” The Justice Department had failed to act on several “good prima facie cases” that NBC and CBS had controlling interest” and “restrictive” agreements with their affiliates, according to the author. RCA held thousands of patents and its two NCB networks “resisted competition.”

The Mutual Broadcasting System had more stations yet many of their stations has low power that reached fewer customers than did NBC and CBS.

Networks then insisted on territorial exclusivity. If an affiliate declined to carry a network program, that program could not be broadcast by another station in that same broadcast territory. Networks also had the option of placing network programming over local programming time with 28 days notice.

The FCC in 1946 issued a report on Public Service Responsibility of Broadcast Licenses, which was known as the Blue Book.

As of January 1945, 19.7% of broadcast time was for li e and wire service programmig.

A mid-1940s survey found 50% knew government regulated radio stations. 34% did not know this, and 16% believe government had no radio regulations. 22% were aware England had another system. 32% liked program advertising, 31% did not like advertising, and 35% “don’t particularly mind them.”

The author notes Kate Smith’s 1943 8 am to 2 am marathon appeal to buy War Bonds was successful because the public believed Kate Smith had good virtues. Yet she was reading from scripts written by others. The author notes the government’s main impetus on selling the bonds to combat inflation was never mentioned.

Soap operas attracted 20 million regular mostly female listeners. Some stated they enjoyed them for “emotional release” or for “wishful thinking”. These shows provided fictional guidance on what proper behavior was like whereby listeners’ faults were transformed to a “perfect efficient woman who possesses power and prestige” as portrayed by soap opera characters, according to the author.

People in England, Sweden, and the USA were found to have similar programming tastes despite their cultural differences.

The government controlled radio programming in the Soviet Union and Denmark. The government participate without controlling programming in Sweden. England and France had monopolistic radio systems without government determination of programming. The US operated on private enterprise with less government regulations Canada, Australia, and New Zealand had a government station along with commercial stations.

The British Broadcasting Company (BBC) egistered as a private commercial company in 1922. It derived revenues from radio set purchase royalties, It was licensed by the Post Office. Advertising on broadcasts was not permitted although program sponsorship was allowed. In 1927 the government bought out the shareholders. The BBC became a public corporation under a Royal Charter. The Postmaster General had the authority to halt any improper broadcasting. This has happened only once in 1932 when a broadcast of a World War I German submarine commanders and a British officer who had held him prisoner was prevented from airing.

The BBC had a Board of Directors of up to seven members appointed by the Prime Minister, although official appointed by the King. The appointees were nonpolitical. The appointees were mostly public school graduates. The author sees the most bias was from their public school backgrounds.

British radio set owners obtained an annual license from the Post Office. This cost one pound circa 1950. 85% of these fees were given to the BBC. The BBC received supplemental income from selling a weekly publication “Radio Times”. This publication had 7 million circulation in 1948. The publication raised about $1 million pounds annually. BBC operated on about $10 million pounds annually. By comparison, US stations raised ten times this from advertising.

England had the problem of congestion of frequencies from nearly countries. It had an advantage over the USA in that it could have a minimum of stations available to reach 95% of its population

England allowed its five regional stations to offer regional programming in place of BBC programming. The BBC presented more educational, serious drama, and classical music programming than existed in the USA.

In Canada, a radio station was first licensed by the Department of Marine in 1922. Since 80% of Canadians live within 100 miles of the US border,  listening to US stations slowed the creation of new Canadian stations. The Canadian Radio Broadcasting Commission began in 1932 and was replaced in 1936 bu the Canadian Broadcasting Corporation (CBC). Canadians paid $2.50 annual license fees for their radios which produced $5,135,375 in Fiscal Year 1948-9. By comparison, American advertising raised $400 million.

Circa 1950, the CBC owned 18 stations. The Trans-Canada Networks consisted of 14 CBS and 26 private stations the Dominion Network was 1 CBC and 37 private sttions. The French network in Quebec consisted of 3 CBC and 8 private stations.

In Fiscal Year 1948-9, the CBC raised $2,217, 130 from advertising. This represented about 30% of its total income.

The CBC could reach 96% of Canadian families, 80% of programming was produced in Canada. Several American shows were broadcast as well as British and French shows.

The CBC both broadcast and regulated the radio industry. A Minister issued licenses. The CBC could suspect licenses for up to three months. It could buy out or even seize stations in considered redundant.

The concentration of radio station ownership posed a danger of mass communication exploitation of a few delivering messages to many, warned the author.

In 1941, the FCC issued its “Mayflower Decision” in stating the Mayflower Broadcasting Corporation in Boston could not advocate for candidates while not allowing opponents to use its facilities. The FCC sated a license was a public interest and not public property to be used to “advocate”. In 1949, the FCC stated that a station could editorialize so long as an opposing side was similarly treated.

In 1949, there was 103 educational college and university stations. Most broadcast at ten watts to local listeners.

There were 6 TV stations in 1945 and 98 in January, 1950 within the US. In 1945 there were 7,000 TV sets and in 1950 there were over four million TV sets. There were 29 TV set manufacturers in 1947 and there were 100 in 1950.

The FCC briefly stopped approving new TV licenses in 1948 due to interference problems and a backlog in applications As of March 1950 there were 330 applications for TV stations before the FCC

Coaxial cable and microwave relay existed in 1950 between Boston to Richmond and the East Coast to St. Louis. A microwave system existed between New York and Chicago. This helped speed creating TV network programming.

England and France required a better TV picture quality than did the US in 1950.

Airborne television transmission was under consideration in 1950. 33 planes could circle a 20 mile radium at 20,000 to 25,000 feet and transmissions could reach 98.9$ of the US population. There were fears that whoever controlled this Stratovision service could have too much control.

In 1950, some sought to create a system of scrambled images that could be viewed with a corrective electronic signal over a phone wire to the TV that could b purchased, This would be added to the monthly phone bill.

In 1950, it cost about $20,000 to create a one time drama TV show. It cost about $15,000 to create a vaudeville how with bout half paid to the show’s star. The TV rights to broadcast the World Series then cost $140,000.

TV had 23,000 advertisers during January 1950. By comparison there were 1,141 advertisers at the end of 1940 and 236 advertisers in September 1948.

66% of those surveyed stated that watching TV was bringing families together more. 92% stated family members had watched TV together.

Making It BIG In The Movies by Richard Kiel

Richard Kiel. Making it BIG In The Movies. London: Reynolds & Hearn Ltd., 2002.

The 7’2” tall author worked selling cemetery plots. Selling from a memorized sales script essentially was an early acting job. His size led to jobs as a nightclub bouncer which led to an offer, in 1960, of $100 a day to be in a TV pilot where actors should fight him. He impressed some NBC executives who asked Kiel to join the Screen Actors Guild (SAG). The SAG executives advised him that the law allowed him to work 30 days or less in a union job without joining the guild. Yet Kiel thought not joining would hurt his chances in getting an agent so he paid the $300 dues.

Kiel did not recognize Paulette Goddard on the set and stated to her that he did ot believe it was really her. He rehearsed his stunts with other stuntmen on the weekend. He and cast member Alan Nixon created so much laughter when they were filming that they lost their daylight and had to continue fighting the following day. One of the stuntmen was hospitalized after being bitten by a leopard. The pilot, “The Phantom”, was turned down for becoming a series.

Kiel worked with Broderick Crawford on the TV show “Highway Patrol.” Sadly, Crawford’s drinking hurt his acting. Kiel remember those days of literally being a starving actor who sometimes couldn’t afford to buy food for a couple of days.

Kiel had trouble getting an agent Only one, Herman Zimmerman, seemed somewhat interested. Zimmerman asked him to return in six months, which was his way of seeing who was serious. After a few months, Kiel returned to Zimmerman told him he had a SAG card and three jobs he had gotten on his own. Zimmerman was impressed. With a handshake, Zimmerman became Kiel’s agent.

Kiel got a job as a prop man, where his size was a benefit. Yet he was asked to give up acting on the side, so he quit the then higher paid prop work.

Kiel got an acting job requiring wearing a full body rubber suit in the movie “The Phantom Planet”, which took just seven days to film.

Kiel met with Arch Hall to discuss a role. He both rented a room in a building Arch Hall owned and won a role in Hall’s movie Eegah”.

Kiel found the “Eegah” production disorganized. Short end film stock was bought instead of longer playing Eastman Kodak film, requiring more frequent stops to reload cameras. The sound production had problems that required re-dubbing two weeks of filming. Some of the film was gold and the coors required much color correction. “Eeagh” was released as a double feature with “The Choppers” starring Arch Hall’s son Arch Hall, Jr.

Kiel ad libbed some scenes in “Eegah”, such as running into a women’s room and scaring women, bumping into a glass window chasing after a mannequin, and grabbing a roast in a country club. Kiel went on a four state publicity tour that was low budget with dinner at McDonald’s.

Kiel was advised to claim he could ride a horse even though he had only once been on a horse. In most scenes, an actor is seen getting on and off a horse. When he learned he was expected to engage in more extensive horseback riding, he practiced the weekend before.

Kiel worked on several TV shows and movies, including five episodes of “Lassie”.

Kiel went to a voice coach to improve his speaking voice. He learned foreign dialects that helped him obtain movie roles.

Kiel found director Otto Preminger often angrily yelled commands and ever physically pushed someone. Preminger caed people “idiots”, something Kiel never heard another director say.

Director Robert Aldrich used multiple cameras for the same shot in case something went wrong with a camera, hoping another camera got the shot.

Kiel once got $5,000 for one day’s work. Yet that day began at 2 am while filming form 6 am until midnight.

Kiel asked director Arthur Hiller what makes a good director, as Kiel enjoyed working with Hiller. Hiller replied “if you have a good script and a good cast, the rest is pretty easy.”

Kiel had the role of Jaws in the James Bond film “The Spy Who Loved Me”. He played the role so well that he was asked back for another James Bond film, “Moonraker”. Kiel notes that Roger Moore’s ad libs often made it into the films. Numerous film and TV roles followed.

The Steadicam Operator's Handbook by Jerry Holway and Laurie Haybell

Jerry Holway and Laurie Haybell. The Steadicam Operator’s Handbook. 2nd. Ed. New York: Focal Press, 2013.

Steadcam filming allows imaging what a film shot should look like and moving the camera accordingly.

Garrett Brown created the first Steadicam in 1973. It consisted of a t bar made from plumbing pipe attached to a camera. This was supplanted by a parallelogram mini-crne with a fiber optic viewfinder.

The Brown Stabilizer emerged as a prototype. The first movie using a Steadicam was. “Bound for Glory”. “Rocky” followed.

An Oscar in 1978, and am Emmy in 1988, were awarded to Garrett Brown and Cinemax Productions for their technical work.

Wearing a Steadimcam puts pressure onto legs yet allows free movement.

One can not grab a Steadicam’s center of gravity. A mass added allows the operator to control the center of gravity. Once this is done, it moves with little force.

A three axis gimbal balances the Steadicam independently of lifting it. This allows avoiding angular movements while lifting, allows aiming with less force, and remains balanced while carrying.

A mechanical arm minimizes bodily movements and gives the camera spatial isolation.

A cage should allow for easy access to controls, batteries, and video operating.

High mode is when the camera is over the sled. This is the method used most. Low mode is when the sled is upside down. Super Low is when the lens is on the floor. The Missionary position places the camera and operator in the same direction. The Don Juan is when the camera points towards the operator The Goofy Foot is when the camera (usually held on the left side) is held on the right side. The Long Mode is when the post is lengthened. The Hard Mount is when the operator sits on a socket block attached to a vehicle. The Soft Mount is when an operator shoots from a vehicle.

To build a Steadicam, the docking bracket attaches to the study stand. The docking ring slides into the docking bracket. The battery and monitor are added. The force and aft, and the side to side adjustments, are centered with turned stage knobs. The camera is placed on the sled using a dovetail, or camera mounting plate. Note the camera’s center of gravity (c.g.) The dovetail plate is placed in the side to side mark’s center. Add mounting holes with screw(s) and an anti-rotation pin. Position the dovetail in the dovetail grabber. The same force and ft is positioned around 3/4 of an inch behind the center post’s centerline. The camera is locked.

Static balance, which determines how much tilt or roll there will be, is determined by the fore and aft, side to side, and top to bottom. Use knobs to balance the fore and aft. Sliding the gimbal along the central post, or making the post longer, creates top to bottom balance. Place the sled’s components and the camera close into their proper positions.

If he monitor needs to be repositioned, it can be balanced according to the line dance, which involves putting the gimbal 2 inches away from the post’s top and placing the monitor two thirds along the rod. It can be viewed best along a 45 degree upward tilt.

The Steadicam can be balanced while the rig is worn with the docking bracket’s balancing stud, sliding the gimbal handle into the studs and using sand bags to hold thing, For and aft balance is achieved by fine tuning within the fore and aft knob Side to side balance is achieved with the side to side knobs. If side to side balance cant be reached, move the dovetail plate.

Top to bottom balance is achieved by releasing the gimbal clamp. This should only be done when the post is horizontal. The rig should be moved back and forth so that the rig achieves horizontal balance. Once neutral balanced is found with the rig being horizontal, the gimbal should be moved a half inch closer to the stage and clamped. With the rig vertical, move the fore and aft as well as the side to side nobs so the rig in vertical.

A drop test should have the sled drop vertically to the rig’s bottom in two to three seconds. Catch the rig before it reaches the stand. Lowering the gimbal increases the drop time while raising the gimbal increases the drop time, Some fore and aft balance and side to side fine tuning may be necessary.

A flat pan occurs when a rig is in dynamic balance. Dynamic balance is obtained with a long drop time of three to four seconds. A rig should spin in balance. If it does not, change two of three big masses until both achieve static balance and dynamic balance. The camera is moved slightly, and the camera moved in the other direction form the balance. If the battery will not move far enough, either move the monitor or use a heavier batter.

To walk with the Steadicam, accelerate your speed smoothly. Start and stop walking with your weight on one foot.

The operating hand points the camera and keeps the rig level. Grasp the post with the meat of finders and not the fingertips, Te thumb and forefinger are on opposite sides of the post.

Squeeze the thumb and forefinger to begin panning.

Tilot up with the pinkie finger placed in the post’s center and then push tilt down by pulling the post mostly with the second and third fingers holding properly so it doesn’t fall.

Always keep your hand near the c.g. Keep the operating hand on the post. Hold with a light touch and not a death grip. The pinkie finger is always used and should not relax. Do not drop the thumb or put it on the both of the post.

The hand that grasp the gimbal handle, the arm hand, steadies the Steadicam, begins and stops spatial moves, and keeps the camera on path while moving. The arm hand pushes in the desired direction The operator and rig come to an immediate stop together.

To switch form the Missionary to the Don Juan, use a line dance, which is aiming the camera, walking around the camera while keeping the post at a constant angle, and then standing up straight.

The operator has ore control in Missionary.

The arm hand can change the lens height on the same axis or by moving the bam.

Pan with the gimbal.

Visualze what the shot should be before taking it. The Director or DP will often describe it. Know the dialogue and what shot is required accordingly.

The F-bracket reverses the gimbal plus moves the arm where it works with the rig. A high low mode occurs by not the F-bracket. The F-bracket must be installed with a double shear safety pin. Some F-brackets lack a safety pin and thus must be drilled and pinned on.

The Panavision Lightweight II is best for low mode. Also acceptable are the Movie Compact, the Arriflex 435, and other cameras with an integrated low mode mount.

For low mode, the plates should be separated to raise the c.g. of the camera mounting platform. The side to side should be as thin as possible and the fore and aft as long as possiblel.

Sometimes it is easier to shoot low mode upside down and correct it in editing.

Switch to low mode by placing a dovetail plate on the camera’s top, move the monitor upside down, static balance, release the gimbal clamp, and move the gimbal about half an inch away form the camera, tighten the gimbla, clampg, check he drop time, and attach the F-bracket.

Scout a shooting location and determine a correct way to make the needed shots.

A hand tilt can change a view and a bent neck can rotate the field of view so the operator may keep viewing the monitor at all times.

A mark on a floor is often a V. An X is harder to see.

When moving backwards, use holding the gap, where the gap guides camera placemnt Similarly, holding the plane is used to judge shots.

Use visual and tactical clues in assuring the camera is level.

A spirit level that is parallel to the bottom frame line can be adjusted for levelness.

Note that a babble level also measures acceleration, so when accelerating, it will indicate the level is off when it is still level.

Use good posture when operating a Steadicam.

An operator needs to design a shot and configure a rig accordingly. A path is chosen and any obstacles in that path must be removed.

Known what the Point of view is for the shot.

A more rational shot moves through space, and shows spatial relationship. A lock step without a panning shot is less naturalistic and more graphic.

It should be decided if it is better for the camera to be steady as the characters move or it one should move the camera.

Moving a Steadicam involved maintaining balance, using proper tension, noting that focus is achieved with slower moves, and creating the proper space using correct turning and using proper foot placement.

When moving, track shots to make certain the focus on actors is correct, there are no racing backgrounds, watch horizons, maintain top to bottom balance for slow moves, and pull the arm hard for sharp accelerating or deceleration.

Lean with the Steadiam while shooting while walking up stairs. Lean back for shooting while walking down stairs.

When making slow moving shots, use arm movements more and walk to catch up with the shot. Steps have to be very concise.

One should learn to shoot from either side. Shooting from the right side is called “goofy foot” operating. To go goofy, the socket block is flipped and the threads are changed. Be certain there is a bottom screw.

When filing in areas with limited sace, it is advisable to reease the wlak and commit to “muscle memory” the walk.

Spatial movements affect more the foreground while angular moves more affect the background, Booming corrects for background changes.

Steadicam operators consider the frame edges more than the subject when panning. Look at the trailing edge to have time to move and frame precisely.

Matte box rods or straws can help point the camera.

To get a locked frame, be still, and let the camera become still with a loose grip.

A whip pan requires a full but light grip to start it and a hard grip before it stops so it ends with a loose grip. A half circle pan may best use a switch. A body pan is done in Missionary,

Using a longer lens requires more balancing, A motorized stage ay be required.

The zoom control on the gimbal handle can change focal length.

By keeping the center of rotation inside the frame while moving the center of rotation along the frame catches an organized show with low angular change.

Raising the appearing point above center without moving the sides angles the lens downwards. This makes what on the screen seen as being passed over in importance. Moving the side or moving the appearing point slightly higher or lower frames a subject. A moving appearing point makes people look around the frame. A fixed appearing point makes people focus on the frame.

Directors often communicate directly with Steadicam operators. Some Directors of Photography (DP) may feel slighted and should be kept advised on what is happening One’s attitude in communicating with actors and others can make a difference, It is generally advised to speak little and speak when required.

It may be useful to get advice from the A-camera operator on the the DP prefers to frame and on technical issues, Do not consume too much of the A-camera operator’s time as to become an annoyance,

Use a longer arm post to increase lens heights range in high mode,

Raise the socket block and use a slightly short arm post to increase the lens height in low mode.

Lower the lens height’s range 6 to 10 inches using the upside down F-bracket or J-bracket to lower the lens height range.

Superposts are posts 5 feet or longer.

A motorized stage has four buttons for changing the rig balance and moving the stage. Pots set the motor speed. A Level Assist can help level the stage.

If more inertia is needed to move a rig, a small extension can increase inertia. This will increase vibration andWeights or Antlers and gyros can increase inertia.

Kenyon stabilizers are gyros. They are usually used two or three at once. The best way to prevent tilt, roll, and pan and roll is to place one Kenyon unit vertical and another 90 degrees horizontal. A third gyro placed at right angles from the others increases smoothness.

Isoelasticity increases iif the Ride Knob is unscrewed.

An arm post usually should have some friction to better operate the gimbal. Freeing the aro post allows it to not be in the way when squeezing into tight spaces.

When shooting a vehicle from another vehicle, watch the horizons. If shooting on a vehicle, train, boat, us, etc., note that shooting by looking at the horizon gives a human perspective Some movies call for bumps and motion.

A soft mount on a vehicle reduces vibrations.

When filming a moving vehicle, start moving the camera before the vehicle moves and kiss off when the shot ends.

One generally does not lean when filming from a motorcycle discuss this with the motorcycle operation on how to best shift weight.

A camera dolly can be useful Note they can flip over.

Filming on a Western dolly is good if movement precision is not necessary.

Filming on a modified golf cart is quiet. The carts are slow and have a rough acceleration.

Do not step off a crane until it is safe. The crane must land and the bandolier removed from its central column. Practice first at half speed and make certain it is safe.

Skyman is a rigged wire that can absorb vibrations. It can be rigged for use as needed.

Do not use an unmodified snowmobile, It can easily tip over, It is also loud.

It is very dangerous to work on an American Tuli crane. They tend to fall over.

Do not work on the things that easily tip over like cranes, kayaks, rafts, and small boats.

Do not film from a helicopter. The mount would need to be FAA certified. It is hard to shoot in the wind created riding a helicopter. It is hard to hald onto a camera as helicopters bank.

The Segway-for-Steadicam can use a soft mount or hard mount,

In 1985, a Steadicam and accessories cost about $60,000.

Wind can ruins shots. Keep the rig away from shots.

Liquid crystal display screens freeze and don;t wor in below freezing temperatures.

Batteries do not work well below 40 degrees F.

The Steadicam Tango adds two sleds on a central gimbaled spear This creates a wider boom range and horizontal sweep.

The Steadicam is “an instrument infinitely and wonderfully responsive to the will and commitment of the operator, When the operator is inspired and focused, there;s a great image on the screen.”

On the Technique of Acting by Michael Chekhov

Michael Chekhov. On the Technique of Acting. New York: HarperCollins Publishers, Inc., 1991 (originally published in 1942).

Chekhov states an actor needs to “go beyond the playwright or the play” to discover the character’s true nature. Chekhov’s acting technique used a “linguistic approach” using imagery. Stanislavsky told actors to find the “truth” in actual reactions. Chekhov wanted the actors to use their imagination,

Stanislavsky wanted actors to use actual memories to drive their performances. Chekov urged for fictional stimuli to produce the emotions in acting.

Chekhov believed an actor had to leave one’s own character, or ego, and find a Higher Ego for the character being portrayed. He using imagination to do so, instead of the Affected Memory that Stanislavsky urged  be used.

Chekov taught actor to use sensory stimuli from external feelings, called Atmosphere and Qualities, that are added to instincts in order to produce a role. Qualities of feelings would be added to the motions or gestures. The Psychological Gesture would emerge from one’s subconscious into one’s performance.

Actors should use movements, dialogues, ideas, stands, and shapes, or the Composition, to channel their work. Actors need to be aware of the plan’s nature and reality, using a Feeling of Style, as well as opening themselves to a Feeling of Truth, plus with a Feeling of Ease, a Feeling of Beauty, and a Feeling of Entirety that composes a finished performance.  The acting essence involves Radiating acting strength and Receiving performances from other actors. Chekhov urges Improvising when preparing work to explore a character. The actor should recognize other actors in a feeling of Ensemble. The actor should be aware of the Focal Point, which is usually designated by a director s to what should receive the audience’s greatest attention.

Characters have a Objective and a Super-Objective which involves action.

The Atmosphere is the environmental senses an actor feels.

Chekhov write that our imagination and observing our surroundings broaden our awareness and makes us more creative, The actor should develop an instinctive sense of creating a true and logical performance. An actor should have a flexible imagination. He is the Higher Ego that simulates the imagination.

The actor should derive inspiration from Atmosphere. This stimulates Feelings that create the art of acting.

Action and Will shows what happens while Quality and Feelings demonstrate how things happen. Each Action and gesture emerge from a Will-impulse that stimulates the Will. Gestures and Will-impulse are more expressive the more they’re used.

Actors lean he chest’s “Center” is a center of an entire active person, An actor’s body is used constantly when acting.

The Will exists and is expressed in feet and legs. They move the body with a pace that can be varied The entire head is used toward’s expressions, Hands, arms, and the chest show feelings.

An actors’ psychological state carries through in Action or Gesture with correct Qualities and Images. Movement is physical Gesture plus psychological Qualifies and Images. Movement is physical Gesture plus psychological Qualities and Iages, Gesture with Feelings is the Psychological Gesture.

An actor must be dedicated and patient in transforming Transactions to a subconscious that drives the actor.

An actor should find that Psychological Gestures produces power, charm, beauty, and significance.

Actors must observe other characters. The actor changes into a role.

It is an actor’s Objective to show the Will-impulses according to what is required in acting. The Objective can be found from one’s Will or appealing to one’s Will through experiencing the Objective. The Objective is found through the Psychological Gesture.

The actor achieves an awakening and increase in inner Activity through Psychological Gesture, Speech Formation, Objective, and Atmosphere. When they appear human when acting, it can appeal to show simplicity in the character.

With the correct Activity, an actor will Radiate emotions, Will-impulses, Feelings, and Images.

An actor who understands Preparation and Sustaining when acting should give a “significant and harmonious” performance.

An actor must use the correct tempo and pause.

The stages of the creative process are using the Atmosphere to activate the Higher Ego, using imagination and Psychological Gesture, apply Qualities to acting, and inspre the actor with a Divided Consciousness.

The Last Word by Tom Lazarus

Tom Lazarus. The Last Word: Definitive Answers to All Your Screenwriting Questions. Studio CIty, Ca.: Michael Wiese Productions, 2012.

It is important to develop the main “A” story. The story should be hidden. A serious mistake is to concentrate on presenting the backstory, setting up the story, and focusing on presenting the backstory, setting up the story, and focusing on composition. Lazarus recommends presenting the main story upfront before showing the backstory and any necessary exposition.

Actors should be described visually, showing a reader what is shown on the screen.

It is better to have the main character cause events, rather than having events occur independently from the main character or by “acts of God”.

When writing an adaptation, concentrate on the script. Do not sacrifice the script for adhering to the original source. It is better to take “poetic license.”

The antagonist should develop and progressively worsen. The antagonist should have an arc.

Dialogue should be appropriate to the character. Consider the education level, geographic location, and background of the character.

Backstory is often not needed in scripts.

A script has to be true to the original idea and reach the idea’s potential.

Beginning a script with the climax seldom works. The viewer had yet to appreciate the characters.

How shots are filmed are to be left to the director. They are not part of the screenplay. Any descriptions should make sense visually.

Capitalized words in scripts should be used for the first tie when a character is mentioned, for sounds, for opticals, and for titles.

The protagonist has to be the heart and soul of the script.

The main character must undergo changes, evolve from them, and have a character arc.

Avoid having a minor character that take the scene’s center away from the main character.

Write original scripts and avoid cliches. Keep the protagonist proactive throughout the script.

Write face to face discussions rather than conversations by phone, letter, or email.

Characters’ emotions should resonate through the script.

Description should describe what is important.

Dialogue should sound authentic when spoken.

The viewer should learn things as the protagonist leans them, not beforehand.

Dream sequences often make an audience feelIt as if they’ve been fooled.

It should be determined if an establishing shot will be establish any location charge.

The main story must be a part of useful information moving the story forward in every scene. No scene should not be shown that does not accomplish this.

It is better to use an action or dialogue rather than exposition.

Scenes are often better when shorter, often 1 to 2 pages. A key scene could be 3 or more pages. None should be more than six pages.

Do not write something already familiar to audiences.

Scripts should have a narrative pull that keeps readers reading the script.

Avoid writing “on the nose”. Write as people speak, not what they think.

Stories unfolding only around the main character, called a closed story, are usually better than doing otherwise.

The use of parentheses in screenplays is only for explaining dialogue.

Stories should resonate.

“Writing is rewriting.”

The “old model” is to use 30 pages to establish characters, backstory and the environment. Now it should be 3 to 5 pages with 10 pages maximum as audiences should understand that all quickly and appreciate reaching the story.

Write to always be increasing action rather than writing to fit a formula.

The screenplay’s title and the screenwriter’s name should be on page one. Then comes “FADE IN.”

Each scene needs a slugline that include “EXT” or “INT”, the location, and time of day.

Time deadline is often an effective means of increasing drama in action films.

It often takes about ten great scenes to create a good movie.

Celestial Trek by Celeste Yarnall

Celeste Yarnall. Celestial Trek: What Being on Star Treak Taight me. My Publisher. (2012).

The author was Yeoman Martha Landon on the “Star Trek” TV series. Her character dated Chekov. Her character portrayed a strong woman during the 1960s, which was an era where women were being portrayed more often as having strength. She even had a fight scene.

“Star Trek” presented many lessons, Yarnall demonstrates. The show taught hoe it is important to show love towards each other. The need for harmony led the author to explore, research, and write about holistic health care for people and animals.

She believes the show’s slogan “Live long and prosper” applies to our planet. We need to protect and improve our planet. The crew on “Star Trek” were presented as working together. We all need to work together. The show also encourage people to use their imaginations and find new and bette ways of doing things. The show further taught people to be tolerant of others.