Bamboopictures
Senior Member
There's been quite a number of questions on motion stabilisers for cameras of late and I suspect there's a general misconception that a steadicam/sled style stabiliser is a magical panacea to shaky handheld shots.
Unfortunately, this class of stabilisers are in fact THE MOST DIFFICULT TO USE compared to gimbal-less stabilisers and brushless motor stabilisers. I have not used gyroscopic stabilisers so I will not make comparisons to those.
But let's analyse the science behind dynamic stabilisation.
A gimballed stabiliser will maintain rotational equilibrium when the centre of gravity of the camera+sled systen sits in the centre of the gimbal. However calibration of the systen is usually performed in stasis. Even so, to achieve static equilibrium already takes up half an hour if one is lucky. Once the static equilibrium is achieved, further compensation needs to be made for real world forces of starting, stopping acceleration and for user percularities such as grip angle and body momentum. And we haven't even factored in wind.
All things considered, a freely rotating gimbal is the most unforgiving of all stabiliser design. Once the system is off-balanced, you can expect swaying in one or more axis. For tromboning lens barrel, even the act of focusing can throw the delicate balance off.
The advent of brushless motor gimbal stabilisers had dslr shooters migrating in droves to more IT assisted convenience and for good reasons. Because the motors can now generate torque in up to three axis, there is more tolerance for minor deviation in forces due to acceleration or rotation. The horizon can now be maintained horizontal to a fault. Calibration is also more 'systematic' in that is software and hardware assisted. Of course, the cost of brushless motor stabilisers is significantly higher than sled stablisers and may not make much sense to hobbyists - which brings me to simpler alternatives.
1. The famous $14 'steadicam' http://littlegreatideas.com/stabilizer/diy/
This DIY blueprint shifts the CG into the centre of the users grip and the side-arm buffers panning forces otherwise transmitted to the wrist. You can also use a monopod, ankle weight straps, drill grip, and a cheeseplate for a stage.
2. Fig-rig.
This design makes the maintaining the horizon much easier.
3. The Comodo Orbit: This is loosely based on picavet's balloonist rig but does not seem to produce any better results than a fig rig.[video=youtube;yS4Et3HHNwg]https://www.youtube.com/watch?v=yS4Et3HHNwg[/video]
4. Software solutions: Adobe warp stabiliser, Coremelt Lock&Load, Muvee Turbo: these solutions will require some rendering time and will crop your framing according to the severity of the shakes.
5. Snoricam effect: A snoricam rig does not stabilise a shot in the traditional sense but having a foreground subject locked in frame gives the illusion of a stability to otherwise very shaky shots. You can get creative with your locked foreground. Experiment with action-figures, spectacle frames, hnadphone screen, handlebars and other POV cues.
Finally, freehand. Yes, it's possible to get usable shots if you use a wide angle lens and practice, practice, practice. No physical stabiliser can totally eliminate up-down bobbing in your gait. It's up to steadicam operators to walk in a deliberate ninja-style gait to cushion the camera. Activate your shoulders and arms to buffer against your steps by continuously pulling and pushing your camera slowly towards /away from you as you walk. If you freeze up your shoulder muscles, the vibration of your steps will just transmit through the arms and into your shot.
Attaching a spirit level to your camera can also focus your mind to maintain better balance.
Unfortunately, this class of stabilisers are in fact THE MOST DIFFICULT TO USE compared to gimbal-less stabilisers and brushless motor stabilisers. I have not used gyroscopic stabilisers so I will not make comparisons to those.
But let's analyse the science behind dynamic stabilisation.
A gimballed stabiliser will maintain rotational equilibrium when the centre of gravity of the camera+sled systen sits in the centre of the gimbal. However calibration of the systen is usually performed in stasis. Even so, to achieve static equilibrium already takes up half an hour if one is lucky. Once the static equilibrium is achieved, further compensation needs to be made for real world forces of starting, stopping acceleration and for user percularities such as grip angle and body momentum. And we haven't even factored in wind.
All things considered, a freely rotating gimbal is the most unforgiving of all stabiliser design. Once the system is off-balanced, you can expect swaying in one or more axis. For tromboning lens barrel, even the act of focusing can throw the delicate balance off.
The advent of brushless motor gimbal stabilisers had dslr shooters migrating in droves to more IT assisted convenience and for good reasons. Because the motors can now generate torque in up to three axis, there is more tolerance for minor deviation in forces due to acceleration or rotation. The horizon can now be maintained horizontal to a fault. Calibration is also more 'systematic' in that is software and hardware assisted. Of course, the cost of brushless motor stabilisers is significantly higher than sled stablisers and may not make much sense to hobbyists - which brings me to simpler alternatives.
1. The famous $14 'steadicam' http://littlegreatideas.com/stabilizer/diy/
This DIY blueprint shifts the CG into the centre of the users grip and the side-arm buffers panning forces otherwise transmitted to the wrist. You can also use a monopod, ankle weight straps, drill grip, and a cheeseplate for a stage.
2. Fig-rig.
3. The Comodo Orbit: This is loosely based on picavet's balloonist rig but does not seem to produce any better results than a fig rig.[video=youtube;yS4Et3HHNwg]https://www.youtube.com/watch?v=yS4Et3HHNwg[/video]
4. Software solutions: Adobe warp stabiliser, Coremelt Lock&Load, Muvee Turbo: these solutions will require some rendering time and will crop your framing according to the severity of the shakes.
5. Snoricam effect: A snoricam rig does not stabilise a shot in the traditional sense but having a foreground subject locked in frame gives the illusion of a stability to otherwise very shaky shots. You can get creative with your locked foreground. Experiment with action-figures, spectacle frames, hnadphone screen, handlebars and other POV cues.
Finally, freehand. Yes, it's possible to get usable shots if you use a wide angle lens and practice, practice, practice. No physical stabiliser can totally eliminate up-down bobbing in your gait. It's up to steadicam operators to walk in a deliberate ninja-style gait to cushion the camera. Activate your shoulders and arms to buffer against your steps by continuously pulling and pushing your camera slowly towards /away from you as you walk. If you freeze up your shoulder muscles, the vibration of your steps will just transmit through the arms and into your shot.
Attaching a spirit level to your camera can also focus your mind to maintain better balance.
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