What invention of Garrett Brown that 'smoothens' movie viewing experience saw its debut in Bound for Glory and subsequently in the chase scenes of Marathon Man?
"Garrett Brown Garrett Brown (born April 6, 1942) is an American inventor, best known as the creator of the Steadicam. Brown's invention allows camera operators to film while walking without the normal shaking and jostles of a handheld camera. The Steadicam was first used in the Hal Ashby film ""Bound for Glory"" (1976), receiving an Academy Award (Best Cinematography), and since used on such films as ""Rocky"", filming Rocky's running and training sequences, and ""Return of the Jedi"", where Brown walked through a Redwood forest with the Steadicam shooting film at 1 frame per second to achieve the illusion of"
"high speed motion during the speeder-bike chase. The sequence in ""Rocky"" that took the audience up the steps of the Philadelphia Art Museum for the triumphant moment at the top was first filmed during tests for the original Steadicam system. The system was used extensively on Stanley Kubrick's 1980 classic horror film ""The Shining"", starring Jack Nicholson. Brown's Steadicam work can be seen in over seventy motion pictures. Brown has also invented the SkyCam (for football games), DiveCam (following olympic divers) and MobyCam (underwater camera following olympic swimmers). Garrett Brown is the father of Jonathan Brown, also a professional cinematographer."
"also released before ""Bound for Glory"". Garrett Brown was the Steadicam operator on all of these. ""The Shining"" (1980) pushed Brown's innovations even further, when director Stanley Kubrick requested that the camera shoot from barely above the floor. This prompted the innovation of ""low mode"" to mount the top of the camera to the bottom of an inverted post, which substantially increased the creative angles of the system which previously could not go much lower than the operator's waist height. This low-mode concept remains the most important extension to the system since its inception. A Steadicam rig was also employed"
"by Cinema Products Corporation, which later diversified the brand into a consumer line for DV cameras. The Steadicam was first used in the Best Picture–nominated Woody Guthrie biopic ""Bound for Glory"" (1976), debuting with a shot that compounded the Steadicam's innovation: cinematographer Haskell Wexler had Brown start the shot on a fully elevated platform crane which jibbed down, and when it reached the ground, Brown stepped off and walked the camera through the set. This technically audacious and previously impossible shot created considerable interest in how it had been accomplished, and impressed the Academy enough for Wexler to win the"
"to use the newly developed Steadicam, a stabilizing mount for a motion picture camera, which mechanically separates the operator's movement from the camera's, allowing smooth tracking shots while the operator is moving over an uneven surface. It essentially combines the stabilized steady footage of a regular mount with the fluidity and flexibility of a handheld camera. The inventor of the Steadicam, Garrett Brown, was heavily involved with the production of ""The Shining"". Brown has described his excitement taking his first tour of the sets which offered ""further possibilities for the Steadicam"". This tour convinced Brown to become personally involved with"
"Oscar for Best Cinematography that year. It was then used in extensive running and chase scenes on the streets of New York City in ""Marathon Man"" (1976), which was released two months before ""Bound for Glory"". It landed a notable third credit in Avildsen's Best Picture–winning ""Rocky"" in 1976, where it was an integral part of the film's Philadelphia street jogging/training sequences and the run up the Art Museum's flight of stairs, as well as the fight scenes where it can even be plainly seen in operation at the ringside during some wide shots of the final fight. ""Rocky"" was"
"Both worked together as Steadicam operators on the film ""Bulworth"", directed by and starring Warren Beatty. A member of the American Society of Cinematographers and the Directors Guild of America, Garrett Brown was recipient of an Oscar for Scientific or Technical Achievement from the Academy of Motion Picture Arts and Sciences and an Emmy Award from the National Academy of Television Arts and Sciences for his invention of the Steadicam. After his graduation from Haverford High School, he matriculated at Tufts University, where he met Al Dana. Together, they formed the folk duo Brown & Dana, and recorded the classic"
"Steadicam Steadicam is a brand of camera stabilizer mounts for motion picture cameras invented by Garrett Brown and introduced in 1975 by Cinema Products Corporation. It mechanically isolates the operator's movement, allowing for a smooth shot, even when the camera moves over an irregular surface. Before the camera stabilizing system, a director had two choices for moving (or ""tracking"") shots: While these cinematic techniques are still common, the Steadicam has added another dimension to motion picture cinematography and videography. A Steadicam combines the stabilized steady footage of a conventional tripod mount with the fluid motion of a dolly shot and"
"speed, power"". He believes that there is a lot of ""useless information"" in films, and his videos condense the material into ""its one telling moment"". He said that ""our generation is raised on media and we can therefore eat a lot more, much more quickly."" ""The Blob"" (9 min) is a video Brown released in 2000 which includes cut-ups of the 1958 science fiction/horror film, ""The Blob"", its 1988 remake, plus many other media sources themed on paranoia. ""Operation"" (1999) is a 10-minute recording of Brown performing surgery on himself. In the spirit of body-art mutilation, he attempts to remove"
"the 1851 World's Fair caused a sensation among the audience. The next significant step towards movies was the development of an understanding of image movement. Simulations of movement date as far back as to 1828, when Paul Roget discovered the phenomenon he called ""persistence of vision"". Roget showed that when a series of still images are shown rapidly in front of a viewer's eye, the images merge into one registered image that appears to show movement, an optical illusion, since the image is not actually moving. This experience was further demonstrated through Roget's introduction of the thaumatrope, a device which"
"comprehensive in Camden, North London. Suffering from dyslexia, he left school without qualifications. As a child he was obsessed with science fiction. In 1975 a chance viewing of Kubrick’s """" and the gift of a Brownie camera led to him becoming obsessed with capturing images. After leaving school in 1984 he worked as a runner on film sets and for production companies. He worked on Derek Jarman’s film ""Carravagio"" as the floor runner. He spent much of the late 1980s working as an art department runner/assistant on films, music videos and ads. Involvement in the early rave and squatting scene"
"the flexibility of hand-held camera work. While smoothly following the operator's broad movements, the Steadicam's arm absorbs jerks, bumps, and shakes, while its almost frictionless gimbal gives precise control of the camera and framing. The Steadicam was introduced to the industry in 1975 by inventor and cameraman Garrett Brown, who originally named the invention the ""Brown Stabilizer"". After completing the first working prototype, Brown shot a ten-minute demo reel of the revolutionary moves this new device could produce. This reel was seen by numerous directors, including Stanley Kubrick and John G. Avildsen. The Steadicam was subsequently licensed to and manufactured"
"little cost. As Browne started to gain publicity and profit in the early 1960s, he was able to hire DJs to ship his films to the east coast of the United States and even further out, to parts of Europe and Australia. Browne's strong swimming skills provided useful in being able to steadily shoot while in the water. As much as his shots were taken in the water, Browne developed his own waterproof camera and waterproof wetsuit. These innovations allowed Browne to stay in the water and film for hours at a time. Among Browne's accomplishments is the pipeline shot"
"video transmission technology. Brown states his own abilities to operate the Steadicam were refined by working on Kubrick's film. For this film, Brown developed a two-handed technique, which enabled him to maintain the camera at one height while panning and tilting the camera. In addition to tracking shots from behind, the Steadicam enabled shooting in constricted rooms without flying out walls, or backing the camera into doors. Brown notes that: This required the Steadicam to be on a special mount modeled on a wheelchair in which the operator sat while pulling a platform with the sound man. The weight of"
"artists because of the element of motion. Cameras have been mounted to nearly every imaginable form of transportation. Most cameras can also be handheld, that is held in the hands of the camera operator who moves from one position to another while filming the action. Personal stabilizing platforms came into being in the late 1970s through the invention of Garrett Brown, which became known as the Steadicam. The Steadicam is a body harness and stabilization arm that connects to the camera, supporting the camera while isolating it from the operator's body movements. After the Steadicam patent expired in the early"
"operator Garrett Brown invented the Steadicam, a body-mounted stabilization apparatus for motion picture cameras, which uses springs as shock absorbers. In 1991, Martin Philip Stevens (born in England in 1963) invented a hand-held camera stabilizer for motion-picture and video cameras, called the ""Glidecam"". Some camera stabilization machines use gyroscopes to sense disruptive motion. The Artemis Trinity system from Arri combines a mechanical and electronic stabilization. Although a tripod can hold a camera stably, stationary platforms are not regarded as camera stabilizers. A camera shoulder brace stabilizes by shifting the weight of the camera to the operator's shoulder. This allows for"
"a Screen Actors Guild Award for Outstanding Performance by a Stunt Ensemble in a Motion Picture in ""Wanted"". That 2008 film was the last in which he worked. Other career highlights included working as a stunt double for Morgan Freeman in three films: ""Along Came a Spider"" (2001), ""The Sum of All Fears"" (2002) and ""Dreamcatcher"" (2003). Brown was the stunt coordinator on seven motion pictures: ""The Bingo Long Traveling All-Stars & Motor Kings"" (1975), ""Scarface"" (1983), ""Action Jackson"" and ""Miracle at Beekman's Place"" (1988), ""Graffiti Bridge"" (1990), ""House Party 3"" (1994), ""Sudden Death"" (1995), ""Sometimes They Come Back... Again"""
"techniques came in the form of the close-up as George Albert Smith incorporated them into his film Hove. Though unconfirmed as the first usage of this method it is one of the earliest recorded examples. Once the introduction of new framing techniques were introduced then more and more were made and used for their benefits that they could provide that wide shots couldn't. This was the point at which motion pictures evolved from short, minute long, screening to becoming full-length motion pictures. More and more cinematic techniques appeared, resulting in the wide shot being less commonly used. However, it still"
"as a color commentator for the Ultimate Fighting Championship, a role he occupied for the first six pay-per-view events. In 1988, Brown founded the Amer-I-Can Program. He currently works with juveniles caught up in the gang scene in Los Angeles and Cleveland through this Amer-I-Can program. It is a life-management skills organization that operates in inner cities and prisons. In 2002, film director Spike Lee released the film """", a retrospective on Brown's professional career and personal life. In 2008, Brown initiated a lawsuit against Sony and EA Sports for using his likeness in the Madden NFL video game series."
"a bicycle will display legs pumping furiously while he flashes through city streets at the speed of a racing car. Longer exposure rates for each frame can also produce blurs in the man's leg movements, heightening the illusion of speed. Two examples of both techniques are the running sequence in Terry Gilliam's ""The Adventures of Baron Munchausen"" (1989), in which a character outraces a speeding bullet, and Los Angeles animator Mike Jittlov's 1980s short and feature-length films, both titled ""The Wizard of Speed and Time"". When used in motion pictures and on television, fast motion can serve one of several"
"of his feature films. He uses the technique most prominently during action sequences, in which it is used to make the action more energetic and intense. A ""hip hop montage"" is a subset of fast cutting used in film to portray a complex action through a rapid series of simple actions in fast motion, accompanied by sound effects. The technique was first given its name by Darren Aronofsky, who used the technique in his films ""Pi"" and ""Requiem for a Dream"" to portray drug use. According to the director's commentary of ""Requiem for a Dream,"" the hip hop montage is"
"title sequence to his 1973 film ""Soylent Green"". Chapman's innovation found quick favour in late 1960s and 1970s television, notably in title sequences. ""Mannix"", ""Barnaby Jones"", ""Kojak"", ""Medical Center"", ""Dallas"", ""Phyllis"", ""Lancelot Link"", ""Me and the Chimp"", ""The Brady Bunch"" and ""The Bob Newhart Show"" (beginning with the fifth season in 1976-77) are all examples of the technique being used in opening credits to some extent, whether approximately as in ""A Place to Stand"" or combined with regular film sequences (as with the latter). Indeed, the multi-dynamic image technique has been referred to in the press as the ""Brady Bunch"
"with his son in 1994. He also made a number of short films including ""The Wet Set"", featuring the Hobie-MacGregor Sportswear Surf Team and one of the earliest skateboarding films, ""America's Newest Sport"", presenting the Hobie Super Surfer Skateboard Team. These short films, along with some unused footage from ""The Endless Summer"", were included in the DVD ""Surfin' Shorts"", as part of the ""Golden Years of Surf"" collection. Brown went beyond surfing a few times with films about motorcycle sport, ""On Any Sunday"" (1971), which is held in high regard as one of the best motorcycle documentaries of all time,"
"Nest"", though Wexler said there was ""only about a minute or two minutes in that film I didn't shoot.” However, he won a second Oscar for ""Bound for Glory"" (1976), a biography of Woody Guthrie, whom Wexler had met during his time in the Merchant Marine. ""Bound for Glory"" was the first feature film to make use of the newly invented Steadicam, in a famous sequence that also incorporated a crane shot. Wexler was also credited as additional cinematographer on ""Days of Heaven"" (1978), which won a Best Cinematography Oscar for Néstor Almendros. Wexler was featured on the soundtrack of"
"Randall Robinson (cinematographer) Randall Robinson (born August 19, 1946 in Los Angeles, California) is an American cinematographer. He is a former president of the Society of Operating Cameramen and the founding publisher and editor of the Operating Cameraman Magazine. As a freelance cameraman he enjoyed a long successful career working for the major motion picture studios in Hollywood on feature films, television and commercials. Robinson was the first field-test camera assistant for inventor Garrett Brown and the Cinema Products design team developing the Steadicam on the feature film ""Bound for Glory"" (1976). His input lead the team to develop many"
"melting iceberg. Of the James Bond jumps, only the Mount Asgard and Eiffel Tower jumps were filmed live; the rest were special effects. In 2005's ""Batman Begins"", Bruce Wayne uses BASE jumping as inspiration for his memory cloth cape. A series of BASE jumps are featured in the video for a remix of M83's ""Lower Your Eyelids to Die With the Sun"". The 1938 Sierra Club film ""Three on a Rope"" ends with a climber jumping off Baldy Mountain rather than dealing with the hassle of rappelling, to the horror of a climbing partner, only to deploy a parachute hidden"
"stairs, for example. In effect, however, Muybridge had achieved the aesthetic opposite to modern bullet-time sequences, since his studies lacked the dimensionality of the later developments. A debt may also be owed to MIT professor Doc Edgerton, who, in the 1940s, captured now-iconic photos of bullets using xenon strobe lights to ""freeze"" motion. The first application of bullet time was depicted in a scene from the 1962 movie ""Zotz!"" where Professor Jonathan Jones uses a magical amulet and shouts the word 'Zotz!' to slow down a speeding bullet. Bullet-time as a concept was frequently developed in cel animation. One of"
"His movies were at a high speed of 60 images per second and of excellent image quality: coming close to perfection in slow-motion cinematography. His research on how to capture and display moving images helped the emerging field of cinematography. Towards the turn of the century he returned to studying the movement of quite abstract forms, like a falling ball. His last great work, executed just before the outbreak of Fauvism in Paris, was the observation and photography of smoke trails. This research was partially funded by Samuel Pierpont Langley under the auspices of the Smithsonian Institution, after the two"
"1965 ""I Spy"" episode, ""So Long, Patrick Henry."" His next work in Hollywood didn't come until 1973 in ""Coffy"", when Brown played uncredited roles as both a party guest and a stunt man. That began a 35-year career during which he acted in 35 films and did stunts in 115. Brown worked in as many as seven movies in a year. Recognition came in the form of a World Stunt Award for Best Work with a Vehicle. He shared the award with nine others for a car-chase scene in ""Bad Boys II"". Brown also was nominated with six others for"
"Train Robbery"" (1903) was the first motion picture with a plot, ""Behind the Great Wall"" was the first with scents throughout the entire film. Science Magazine: ""A similar contraption known as Aromarama was invented by Charles Weiss."" Film History of the 1950s: ""Charles Weiss' 1959 system of pumping ""Oriental"" scents into the theatre through the air-conditioning was called 'Aromarama'."" Box Office (1960): ""The local engagement of ""Behind the Great Wall,"" first film in the Aromarama process, developed by Charles Weiss."" Film History Timeline: ""Aromarama, an experimental, short-lived scenting system developed by inventor Charles Weiss."" The film received scathing treatment from"
"over 3 million people. It received media attention due to Brown's previous stunts, as well as viewers' stories and videos of them being ""stuck"" by the broadcast. The programme opens with Derren Brown addressing the viewers, saying that he has produced a subliminal film that will ""stick you to your seats at home"". A warning that ""subliminal messages will be flashed during this show"" appears onscreen, along with Brown's usual ""no actors or stooges"" disclaimer. Brown tells viewers to have their telephones at hand when the film is played, and that he will talk to some of them live following"
"and Mueller morning show. Brown's first film was """", a 2014 documentary about four locations in Wisconsin with popular paranormal claims. Although Brown never believed in ghosts, after the events that took place in the film, he changed his mind. Released in 2016, ""Roller Life"" explored the challenges female athletes face playing flat track roller derby. The film featured the Milwaukee, Wisconsin-based Brewcity Bruisers flat track roller derby league. ""Roller Life"" (2016) was a selection at the 2017 Milwaukee Film Festival. Brown added to the Haunted State documentary series with in October 2017. The film featured four theatres in Wisconsin"
"(60 images per second) and of excellent image quality. His research on how to capture and display moving images helped the emerging field of cinematography. Towards the end of his life he returned to studying the movement of quite abstract forms, like a falling ball. His last great work was the observation and photography of smoke trails. This research was partially funded by Samuel Pierpont Langley under the auspices of the Smithsonian Institution, after the two met in Paris at the Exposition Universelle (1900). In 1901 he was able to build a smoke machine with 58 smoke trails. It became"