2015Operating forum
Strategies for deciding when to use low mode stabilization and how to manage director/DP expectations about switching modes on set
DisputedParticipants disagreed and reached no conclusion. Read the findings as positions, not as an answer.
What the thread found
- Operators should decide whether to use high or low mode based on what creates the best shot composition rather than asking permission, since directors and cinematographers typically prioritize the visual result over technical considerations.
- The transition to low mode can be accomplished much faster than directors initially expect, often taking less than two minutes or even under sixty seconds with practiced technique, which can overcome their concerns about production delays.
- When directors request a specific lens height in the mid-range between high and low mode capabilities, operators can achieve it through hybrid approaches such as adding longer arm posts, using low mode brackets while staying in high mode, or adjusting posture rather than switching modes completely.
- Communicating mode changes to the camera department and video village should focus on the desired lens height and final appearance rather than technical terminology about switching modes.
- Multiple strategies can reduce transition time, including preparing a second monitor plate for low mode so the rig can be flipped without requiring separate monitor repositioning, and coordinating with the camera department so monitor setup happens simultaneously with rig adjustment.
- Lens height affects actor perception of flattering angles, with some preferring the camera at or slightly above eye level while others are unconcerned with lens height relative to their face.
Depends on
- The ease and speed of mode switching varies significantly depending on the specific stabilizer model being used, with modern rigs like Titan and G70 arms offering more flexibility than older models.
- Discussion focuses primarily on Steadicam equipment and techniques; other stabilization methods may have different capabilities and limitations.
- Strategies for managing time estimates are based on individual operator experience and vary depending on production circumstances.
- The claim about actors' preferences regarding lens height is based on anecdotal experience and may not be universally applicable.
Gear in this thread
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