What’s In My Bag, Part 2
Behind the Scenes of SOC’s NAB Training

By Gretchen Warthen, SOC

In the fast-paced world of filmmaking, handheld camera operating requires skill and technique to achieve smooth and steady footage. In this article we will explore three essential tips for successful handheld camera operating.

First, finding the right balance is crucial to minimize camera shake, so we’ll discuss techniques for maintaining stability and reducing fatigue. Second, we’ll delve into the importance of using support gear such as shoulder rigs or stabilizers to enhance control and precision while lowering the chance of injury. Lastly, we’ll emphasize the significance of active listening to anticipate movements and capture the essence of the scene. By mastering these three techniques, you’ll be well on your way to achieving professional-looking handheld shots.

Before we get into support gear, I think it is important to address the key to all handheld, and that is balance. A well-balanced camera build is the key to stable shots and fewer injuries. To know if a camera is well balanced, an operator should be able to simply let go of the camera and it should not fall forward, backward, or sideways off the shoulder.

A centered and balanced build will rest easily on the shoulder and allow the operator to intentionally tilt up or down. If a camera is front-heavy, the simple physical action of pushing the camera up will add instability. If the camera tips/lists to the right because too much support gear has been added to the side, the simple act of pushing the camera back to a level position on the shoulder will cause instability. Instability adds up and can be seen in the shot, especially when the operator begins to fatigue. Instability is quite often not a reflection of an operator’s skill but rather a reflection of a poorly balanced camera.

A handheld camera should be thought of just like a camera on a tripod. The sliding baseplate is used to balance the camera on the tripod head so it will not tip forward or backward. We would never allow an operator to shoot with an unbalanced head. Why then would we ever allow an operator to shoot with an unbalanced handheld build? Think of the tripod head the same as the shoulder and balance that camera!

STABILITY

Six points of contact. The more points of contact between the operator and the camera, the more stable the shot will become. Point-counterpoint. The weight of the camera coming down is met by the shoulder pushing up. The right hand holding a zoom rocker has a natural push which is met by the left hand holding the barrel for focus. I move my viewfinder so my head rests against the camera and counter push in with my right shoulder. (Yes, my right shoulder is pushing up and in.) When these six points of contact are in place, a shot will be more stable.

Shooting from the hip. I rarely take a knee or sit on an apple box. The human body’s one-point or center of balance is the belly button. When shooting from the shoulder, the balance is 50/50, when taking a knee it drops to 35/65, when shooting from the hip stability increases to 100% of the potential. This is accomplished using a HipShot, AC Pouch, or anything else at waist level to rest the camera.

Stability aids. Support rigs like the EasyRig, Ergorig, monopods, and Cine saddle-style bags can help add stability for long takes.

SUPPORT RIGS
EasyRig vs. HipShot vs. Ergorig

Perhaps the oldest camera support system is the EasyRig. This system is a vest which suspends the camera from a cable running through an arm. The EasyRig shifts the weight of the camera to the operator’s hips. Depending on the adjustment of the arm, the weight of the camera can still partially be left on the shoulder for the look and feel of traditional handheld. Besides redistribution of the full weight of the camera off of the right shoulder, the EasyRig also allows the operator to put the camera at exact heights easily. The downside of the EasyRig is that without special attachments, once an operator begins to move or walk with the rig, the shot can become unstable. The arm also has the tendency to hit low doorways and become caught in low hanging branches, decorations, and other obstacles. This rig is used primarily for narrative, competition reality, or unscripted series where scenes unfold slowly and more predictably.

The second oldest support is the HipShot. Designed 20 years ago by a handheld run-and-gun operator for the grueling world of reality television and follow docs where shooting 5 to 10 handheld hours a day, every day is expected. The HipShot is exactly what it sounds like—a camera support for shooting from hip level. The HipShot takes the weight of the camera off of the shoulder and puts it on the right hip. The body’s center of balance is the belly button and this device gets the camera as close as a camera can be to an operator’s most stable position. The HipShot is perfect for shooting low angles, people sitting at tables, soaking in a hot tub, swimming in a pool, or many other positions lower than standing height. The HipShot folds quickly out to use and away to store when shifting from shooting from the shoulder to the hip. This rig is used primarily in unscripted and documentary where the use of apple boxes, butt dollies, and simply taking a knee are not possible.

The newest of these three go-tos is the Ergorig, which was designed by Jesse Feldman, an operator who, due to an injury, had to stop operating handheld. Jesse’s love of operating led him to create the Ergorig so he could once again run with a camera on his shoulder. The Ergorig is a vest system which distributes the weight of the camera to the hips. Depending on the adjustment of the shoulder piece, part of the weight of the camera can still be kept on the shoulder for haptic interaction between the camera and operator. The Ergorig is perfect for traditional shoulder-mounted shooting where the operator will be backpeddling, moving quickly, or needing to shoot “live” a lot. Another plus to the Ergorig is that a HipShot can be mounted to the side for capturing those stable low angles easily. The downside is that, depending on the camera build, it can be impossible to use the HipShot and the eyepiece at the same time. A monitor mounted to the top of the camera for hip-level shooting would be needed.

SHOULDER PADS
Camera Comfort Cushion (CCC) vs. Letus vs. Holzier

The oldest of these three shoulder pads is the Camera Comfort Cushion. Its adjustable strap keeps the pad firmly in place on the operator’s body. The foam construction makes long periods of handheld more friendly to the shoulder, especially when the shoulder rig system is not well thought out. The downside of this shoulder pad is that the straps can be uncomfortable over time, especially for women.

The Letus 35 Pad attaches via Velcro directly to the bottom of the camera and is not attached to the operator. This is often more comfortable for operators than straps. The leather cover makes the pad comfortable when it contacts the skin on a shoulder and helps keep the camera from slipping. The downside is the foam construction does squish down during long takes.

The newest pad on set is the Holzier Pad. What makes this pad unique is the three-layer construction which includes a layer of steel. The top layer is leather, which mimics human skin and helps keep the camera from sliding off of the shoulder. The second layer is steel, which distributes the weight across the shoulder and never squishes down over time. The third layer, which contacts the shoulder, is a firm foam layer for comfort. The pad arrives in the mail flat and you will need someone to help you bend it to the shape of your shoulder. Once this is finished, the pad straps to the operator much like the CCC. This is the answer for narrative camera builds, which are tripod builds without shoulder pads. I know, I know, why assemble a handheld build without proper padding options? Quite often this comes down to poor design by the manufacturers who focus more on chip design than actual user-friendly builds (don’t get me started).

LISTENING EAR PIECES & HEADPHONES

But, before we get into gear to help listening, let’s talk about dialogue-driven coverage.

I always start any conversation about documentary and reality shooting with a lecture on “dialogue-driven” content. In dialogue-driven unscripted and reality productions, the camera operator’s role extends beyond just capturing visuals. They must also be an active listener to the ongoing conversations and interactions. Here’s why it’s important:

Anticipation. By actively listening, the camera operator can anticipate who is going to speak next or react, allowing them to position the camera accordingly and capture the moment effectively.

Capturing Reactions. Often, the reactions to what is being said are as important as the dialogue itself. By listening, the operator can swiftly capture these reactions, adding depth to the narrative.

Understanding the Story. Active listening helps the camera operator understand the unfolding story better. This understanding is crucial to make informed decisions about what to focus on and when to change angles or shots.

Maintaining Continuity. In unscripted and reality shows, conversations can take unexpected turns. By listening, the camera operator can ensure continuity and coherence in the visual storytelling despite the unpredictability.

Enhancing Drama. The operator can use the camera to heighten the drama or emphasize certain aspects of the dialogue. This can only be done effectively if they are actively listening to the conversation.

Avoiding Mistakes. If the operator misses a crucial piece of dialogue, they might also miss an important shot or reaction. Listening helps avoid such mistakes.

In essence, a camera operator in dialogue-driven unscripted and reality productions must be as engaged in the conversation as the participants themselves to effectively capture the essence of the narrative.

EAR PIECES & HEADPHONES

To achieve the greatest flexibility while listening, 99.99% of my career is spent wearing a surveillance-style headset—the small, low-profile, comfortable, hardly noticeable in-ear style made by Arch Wireless. The version with the coiled cable works best because it adjusts as I move quickly from shoulder to hip to floor with no problem. I can also wear this style of earpiece under over-the-ear HME/PL/Helecopter headsets if needed.

Over-the-ear headphones are great if you are a one-person-band and doing both audio and camera. In these situations being able to hear audio in stereo in both ears is critical. Over-the-ear headphones are also great when shooting in a noisy environment like a nightclub, assembly line, sporting event, or concert. I prefer low-profile Bose headphones because they don’t interfere with my comfort while the camera is on my shoulder.

Hunting headphones are perfect when you need to stay on walkie and listen to cast audio while shooting in loud environments like a concert, near a helicopter, or in a nightclub. Walker’s Razor Slim or ProHear make great low-profile options which don’t interfere with handheld operating. Both have versions with microphones that are built into the headset to allow the operator to hear what is around them if needed, or turn completely off. They also have headphone jacks so I can plug cast audio into them and hear dialogue.

BUTT DOLLIES

Honestly, price matters for smoothness but all will get the job done when it comes to shooting from the shoulder and moving smoothly while shooting “live.” The nicer butt dollies appear on narrative shoots and usually come from the Key Grip. In unscripted the butt dollies usually belong to operators and are mechanics’ butt dollies from Harbor Freight or an automotive supply store. These butt dollies are perfect for unscripted environments and competition reality where the action is limited to a specific space like a workroom, stage, or other flat-surfaced areas like sports floors.

The custom-made CineStisles slider is limited in movement and only goes side-to-side, which is perfect to protect the over. These butt dollies are perfect for narrative environments where action is controlled. More information about the CineStisles slider can be obtained by emailing cinestisles@gmail.com.

SELECTED GEAR LIST

Step into the world of handheld camera operating with confidence by exploring the gear featured in “What’s In My Bag” and used in the SOC handheld class. This list showcases the must-have tools our instructors use to help them get the shot and is complete with item names, descriptions, and convenient website links for further information or purchase. Get ready to elevate your handheld game with gear trusted by industry professionals and take your handheld operating skills to new heights.

SHOULDER PADS

Camera Comfort Cushion by Alan Gordon Enterprises

This cushion-style shoulder pad provides exceptional comfort and support, ensuring a comfortable fit for extended periods of shooting.

HolzerPad

Handmade in the USA, the HolzerPad features foam, steel, and leather layers that distribute the weight of the camera evenly across your shoulder. Its malleability allows for a customized fit, providing comfort and protection. The leather layer that contacts the camera allows for movement but not slippage.

Letus Master Cinema Series Shoulder Pad

This cushion-style shoulder pad features memory foam padding and genuine leather, providing a comfortable and secure fit. Its wedge shape matches the contour of your shoulder, ensuring maximum comfort. The center section can be removed if needed.

CAMERA SUPPORT SYSTEMS

EasyRig by Camera Support Systems distributed in the US by 16×9

The EasyRig is a camera-support vest which provides excellent support by redistributing the weight of the camera to your body, reducing strain and fatigue. Its customizable options cater to various camera sizes and shooting styles. The EasyRig comes in both male and female versions and is customizable depending on the weight of the camera and style of operating.

Ergorig created by operator Jesse Feldmanand distributed in the US by Cinema Devices

The Ergorig is a camera-support vest which offers exceptional stability and comfort, allowing for smooth camera movements. Its ergonomic design allows an operator to operate handheld like they would traditionally, without affecting the camera’s movement or balance. All the weight is transferred from your shoulder and back to your hips, bypassing your spine entirely.

HipShot created by operator Andrei Cranach

The HipShot is a tool for professional handheld camera operators that offers a stable waist-high video camera support platform. It is contoured to fit all pro-format shoulder-mounted cameras as well as DSLR rigs. Stable camera operation is possible with just one hand, and it’s ideal for long scenes with seated subjects, low-angle interviews, or where on-the-fly operation is desired. HipShot’s positive auto-lock keeps cameras safely supported and when not in use, HipShot easily folds down out of the way.

HEADSETS FOR LISTENING TO CAST AUDIO

Astra Radio Communications T20035L Surveillance Earpiece (listen only)

Ultra low-profile surveillance earpiece with coiled cable and in-ear earpiece.

Honeywell Impact Sport Sound Amplification Electronic Shooting Earmuff

Low-profile shooting earmuffs with audio input jack to run cast audio directly into headphones.

Walker’s Razor Compact Earmuffs

Low-profile hunting earmuffs to put over surveillance and walkie earpieces to help hear in loud environments.

KNEE PADS

Black Diamond Telekneesis Kneepads (Low-profile hard)

These hard kneepads provide excellent protection and support, allowing you to comfortably kneel, crawl, or slide during shoots.

McDavid Adults’ Hexforce Knee/Elbow/Shin Pads (Low-profile soft)

These soft kneepads offer superior cushioning and flexibility, ensuring optimal comfort and protection during demanding shoots.

NoCry Professional Kneepads (Higher-profile hard)

Professional kneepads for work with adjustable unique double-thigh and shin straps.

BUTT DOLLIES

Rolling Creeper Garage Shop Pneumatic Height Adjustable Mechanic Stool

Low-cost butt dolly to help smooth out moving shots when handheld.

8 Ball Professional Cinema Butt Dolly

Professional-level butt dolly specifically built for camera operating.

Creeper Professional Cinema Butt Dolly

Professional-level butt dolly specifically built for camera operating.

ACCESSORIES

HeroClip Medium

Hook, hang, and carry your gear wherever you need to (pop-up tents, on your belt, dolly, behind set walls, anywhere). The 360 swivel hook nests in a durable carabiner with a rubber foot that can hang off any surface.

Ahhh… Bottle Opener S-Biner

S-Biner to clip cables, kneepads, shoulder pads or other at-hand items to your belt.

Clip-on Free Diver/Scuba Diver Weights

Low-profile, clip-on diver weights to help balance the camera. Available from Diver’s Supply and Mako Spearguns.

Weight-adjustable Ankle Weights

Medium-profile ankle weights with ability to adjust the weight to help balance the camera.

SHOES

New Balance 880 v13

Shoes for those with an higher arch.

Brooks Adrenaline GTS 22 or 23

Shoes for those with an average arch and no history of ankle sprains.

Find the right shoe at the Hruska Clinic shoe list. Updated at least twice a year, the Hruska Clinic shoe list is utilized by practitioners across the globe when trying to find appropriate shoes for their patients and clients.

Camera Operator Spring 2024

Above photo: Gretchen Warthen, SOC

What’s In My Bag, Part 2
Behind the Scenes of SOC’s NAB Training

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What’s In My Bag, Part 2Behind the Scenes of SOC’s NAB Training

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SPECIAL THANKS TO OUR ADVERTISERS

What’s In My Bag, Part 2
Behind the Scenes of SOC’s NAB Training