Pod Insights Stuff You Should Know SYSK’s Summer Movie Playlist: How Steadicams Work About this episode There have been many inventions that have advanced filmmaking, but maybe none as important as the steadicam. Invented in the mid-70s, it literally changed the way movie making happened, and made the impossible possible. Learn about the fascinating history behind this amazing technology today.
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1:08 Speaker 02 Hi, everybody. Chuck here with another intro for our summer movie playlist. Right now, you're about to listen to How Steadicam Works. This one goes all the way back to June 2016, but this was a pretty good one, everybody, because the Steadicam is one of movies' great inventions, quite honestly, first used in some of the early movies like Rocky and The Shining. We're going to talk about how it was made, how it works, and how it works best. So check it out right now.
1:38 Speaker 02 Welcome to Stuff You Should Know from HowStuffWorks.com.
1:48 Josh Clark? Hey, and welcome to the podcast. I'm Josh Clark. There's Charles W., Chuck Bryant, and Jerry's over there. Chuck's wearing a hat, so it's Stuff You Should Know.
1:56 Speaker 02 Yeah.
1:57 Josh Clark? Still, still pretty sad.
2:00 Speaker 02 Yeah.
2:00 Josh Clark? Are you really?
2:02 Speaker 02 Sure.
2:02 Josh Clark? Oh, alright Pete.
2:04 Speaker 02 You know what, I'm getting the, Josh is referencing my Last Chance Garage hat that I've talked way too much about. I'm getting the patch remade as we speak.
2:13 Josh Clark? Whoa.
2:14 Speaker 02 I actually found one on eBay that had been sold like three months ago. And it's all a big conspiracy.
2:20 Josh Clark? Is that right?
2:21 Speaker 02 Nah, no, not really. But I found a picture of the patch that I sent to a patchmaker who like can digitally reproduce this thing.
2:28 Josh Clark? Nice, man.
2:29 Speaker 02 But then I gotta find the right hat.
2:31 Josh Clark? It's coming back home. Well, that's step one. That's a big step one.
2:34 Speaker 02 Yeah, I'm getting a few patches and a few hats this time.
2:36 Josh Clark? I think that's a good idea.
2:37 Speaker 02 Yeah.
2:38 Josh Clark? You can name them one through eight.
2:39 Speaker 02 That's right.
2:42 Josh Clark? Let's see Chuck, you worked in the film industry previously.
2:46 Speaker 02 Yeah, so did you technically.
2:48 Josh Clark? Yeah.
2:51 Josh Clark? You did more than I did by far. You worked in front of and behind the camera.
2:55 Speaker 02 That's right.
2:57 Josh Clark? Did you ever work with a Steadicam at all?
2:59 Speaker 02 Yeah.
2:59 Josh Clark? So like, you've seen these things up close?
3:02 Speaker 02 Yep.
3:02 Josh Clark? I don't recall Scott or anybody using one.
3:05 Speaker 02 We did not have one on our show.
3:07 Josh Clark? Okay.
3:07 Speaker 02 They're expensive.
3:08 Josh Clark? Okay, but I mean, there was some pretty good equipment on set, it seemed like to me. But there was no Steadicam, right?
3:14 Speaker 02 Nope.
3:14 Josh Clark? Cause I was trying to recall and I could not for the life of me remember a moment when there was a awesome like extendo arm camera with like all of the components exploded out into different parts of a pole.
3:27 Speaker 02 That didn't happen, cause he would've walked in and said, "What's that?"
3:30 Josh Clark? Right.
3:30 Speaker 02 And everyone would've laughed and you would've been like, "Why does everyone make fun of me just cause I don't know all this stuff?"
3:35 Josh Clark? I'd be in my dressing room.
3:37 Speaker 02 No, we never use one on our TV show for Science Channel because like I said, it's pricey to rent, and this is a bit of a giveaway, but a person, Steadicam operator comes with the package.
3:49 Josh Clark? Right.
3:50 Speaker 02 With all the equipment. It's a lot of times their own and it's, you know, it's pricey.
3:56 Josh Clark? Yeah.
3:56 Speaker 02 To pay for that lady or that dude.
3:58 Josh Clark? Right. But the reason it is pricey is because it's, it has a really good effect.
4:05 Speaker 02 Yeah.
4:06 Josh Clark? And the person who's doing it really knows what they're doing.
4:10 Speaker 02 Yeah.
4:10 Josh Clark? I, I, I don't know, but just from researching this, it seemed like they were probably the most skilled tradesperson on the set at any given time when they were on the set. Is that right?
4:21 Speaker 02 Well, I think it's just a matter of what skill. Uh, it's just a different skill.
4:25 Josh Clark? Are they like the highest echelon of camera operators?
4:28 Speaker 02 No, it's just different.
4:29 Josh Clark? Okay.
4:29 Speaker 02 Like a top notch.
4:30 Josh Clark? Their niche.
4:31 Speaker 02 Yeah.
4:31 Josh Clark? Okay, I got it then.
4:32 Speaker 02 But, but you don't just wade into Steadicam and, and start getting work the next day. It does take a lot of work to master. But like a good dolly grip, uh, is just as skilled.
4:44 Josh Clark? Right.
4:44 Speaker 02 At just pushing that thing around. But that takes a very.
4:47 Josh Clark? Non-hurky-jerky.
4:49 Speaker 02 Well, it's not gonna be hurky-jerky anyway, but just to hit the marks right and.
4:53 Josh Clark? Oh, I see.
4:53 Speaker 02 Yeah, I mean, all that stuff takes a great amount of skill.
4:56 Josh Clark? Well, let's talk about this because Steadicam, you know, when I came of age, was already invented. It was, it was basically, became commercially available the year I was born. So I don't really know a world prior to Steadicam. I've never seen a movie that came out before nineteen seventy-six.
5:11 Speaker 02 Funny.
5:11 Josh Clark? And, um, I'm just used to it, right?
5:15 Speaker 02 Yeah.
5:15 Josh Clark? But it's, it's, it's interesting to, to look back and see that there, there actually is a point in time where this one dude, who was actually kind of an outsider of the movie business, um, basically changed it permanently forever.
5:28 Speaker 02 For sure.
5:29 Josh Clark? Yeah.
5:30 Speaker 02 Uh, his name was Garrett Brown. Is Garrett Brown?
5:34 Josh Clark? Yeah, he's still around, right?
5:35 Speaker 02 Yeah. And he, um, he was working, uh, for, well, he was working in TV commercials and on Sesame Street in Philadelphia.
5:42 Josh Clark? Yeah.
5:43 Speaker 02 And, um, he got a little frustrated as camera people do, uh, pre-Steadicam, with not being able to accomplish certain shots.
5:54 Josh Clark? Yeah, there's supposedly there were thirty impossible shots that just based on the, the equipment of the day, you just couldn't do, right?
6:04 Speaker 02 Yeah.
6:04 Josh Clark? And a lot of it had to do with like rough terrain.
6:07 Speaker 02 Sure.
6:07 Josh Clark? Staircases were a big one.
6:09 Speaker 02 Yeah.
6:09 Josh Clark? And the reason these shots were impossible, it's not like you couldn't lug a camera around up and down the stairs. But the movement that the camera recorded would be so jarring that it would render the film like that, that it would be unusable.
6:21 Speaker 02 Yeah, and this was in the day before, I mean, there were shaky cam shots and like, Cassavetes and all these early indie filmmakers did a lot of like avant garde handheld stuff, but it was known as avant garde.
6:33 Josh Clark? Right.
6:34 Speaker 02 Because it looked different.
6:36 Josh Clark? Yeah.
6:36 Speaker 02 And people were used to kind of smoother looking things in mainstream movies at the time.
6:40 Josh Clark? Yeah, it had like a real frenetic energy to it.
6:43 Speaker 02 Yeah, which you see all the time now.
6:45 Josh Clark? Yeah.
6:45 Speaker 02 It's like a bona fide thing.
6:46 Josh Clark? But, and it wasn't just like picking up the movements of the, the camera, it was like telegraphing them as far as the human brain's concerned. Because we take it for granted, but we have in our own brains, a, a pretty complex system.
7:00 Speaker 02 Yeah.
7:00 Josh Clark? That involves the inner ear coordinating with the movement of the retina.
7:05 Speaker 02 Uh huh.
7:05 Josh Clark? So that it offsets the movement and the motion and the jarring impact of like just walking.
7:13 Speaker 02 Yeah.
7:13 Josh Clark? Like if we didn't have that, we wouldn't be able to focus on anything while we were moving around.
7:18 Speaker 02 Yeah, you wouldn't, people wouldn't jog, they would get sick and vomit every time they jog.
7:21 Josh Clark? Exactly right, and you certainly wouldn't be able to like read Us magazine while you were jogging or something like that.
7:26 Speaker 02 No.
7:27 Josh Clark? The fact that you can.
7:27 Speaker 02 Yeah.
7:28 Josh Clark? It really is a, a, it really shows how incredibly complex and well-developed this system is, right?
7:34 Speaker 02 Yes.
7:34 Josh Clark? That's what the Steadicam that Garrett Brown created sought to recreate. And he, he did it, he nailed it like on the first time out, basically.
7:44 Speaker 02 Yeah, because we, we mentioned Adali, that is, people that know film know this stuff is like pretty rudimentary information. But a lot of people don't know what Adali is and they see the word Dolly Grip in a movie, they just think it sounds funny. But the dolly is how you typically would get a smooth shot. It's just a big, super, super heavy sled with wheels.
8:05 Josh Clark? Right.
8:05 Speaker 02 That the camera sits on and the camera operator sits on. And it's either on a very smooth floor, it's on a piece of track like a little railroad car.
8:13 Josh Clark? Mm-hmm.
8:14 Speaker 02 And it pushes along and that's how you get those nice, smooth shots.
8:17 Josh Clark? Right. So that's a dolly. The problem with the dolly is, is you can't really lay that track over a rocky terrain if you're filming on Mars or something like that.
8:26 Speaker 02 No, and like you said, you can't push it up and down stairs. It just had its limitations.
8:31 Josh Clark? Right, it did. So Garrett Brown said, "I'm sick of these limitations. I'm so tired of being limited by dollies, stupid dollies. I'm gonna invent something better." And so he tinkered around with his, what was called the Brown Stabilizer at first.
8:47 Speaker 02 Yeah.
8:47 Josh Clark? Which he later renamed to the Steadicam.
8:49 Speaker 02 Yeah.
8:50 Josh Clark? And to show off, like at first, he was just using them in commercials and he was like, "This is way bigger than just commercials."
8:58 Speaker 02 Yeah.
8:58 Josh Clark? "I'm gonna make a sizzle reel." And he made a sizzle reel of the 30 impossible shots that you just couldn't do before. And he did it with the Steadicam, but he didn't show how it was done.
9:09 Speaker 02 Yeah, and you can, um, he was able to save 10 of those shots.
9:14 Josh Clark? Mm-hmm.
9:14 Speaker 02 Uh, and digitize them. And a couple of years ago, he finally released online, uh, 10 of those. So you can actually go see this original reel.
9:22 Josh Clark? Yeah, it's pretty cool.
9:22 Speaker 02 And see, uh...
9:23 Josh Clark? His wife and his best friend, like, just doing stuff while he's...
9:26 Speaker 02 Just doing stuff.
9:27 Josh Clark? Like, you know, like, uh, one of them was, um, swimming. You can't run alongside somebody swimming, apparently was an impossible shot. I'm not quite sure why.
9:34 Speaker 02 Well, you just couldn't run alongside someone doing anything.
9:38 Josh Clark? Oh, okay, that's what it was?
9:39 Speaker 02 Yeah.
9:39 Josh Clark? Even with a dolly?
9:41 Speaker 02 Uh, well, no, you could've, you could've laid dolly track down the length of a swimming pool.
9:45 Josh Clark? Sure. Right, that's why I didn't understand that one was an impossible shot. But to show off, he goes...
9:50 Speaker 02 That's a good question.
9:50 Josh Clark? He goes around a, um, a slide.
9:55 Josh Clark? Just to kind of show.
9:56 Speaker 02 Maybe, maybe that was the impossibility of it.
9:58 Josh Clark? But then his buddy gets out of the pool and like walk and like he's, he pivots around him and I'm sure he, when he put this reel together and he sent it out.
10:06 Speaker 02 Yeah.
10:07 Josh Clark? The directors are like, uh, this is magic sorcery?
10:11 Speaker 02 Well, it was mind blowing and some people say it was the first, uh, viral video because it was shared around Hollywood, literally in a matter of days.
10:20 Josh Clark? Mm-hmm.
10:20 Speaker 02 Everybody in Hollywood was saying, what in the world, like you said, what is this sorcery?
10:26 Josh Clark? Right.
10:26 Speaker 02 This Garrett Brown has bestowed upon us.
10:28 Josh Clark? Yeah, it's, it was a bit of a mic drop as far as that reel goes.
10:32 Speaker 02 And Stanley Kubrick, being Stanley Kubrick,
10:34 Josh Clark? Mm-hmm.
10:35 Speaker 02 Sent a message, uh, to Garrett Brown that said, "If you are really concerned about protecting its design before you fully patent it, I suggest you delete the two occasions on the reel where the shadow on the ground gives the skilled counterintelligence photo interpreter a fairly clear representation of a man holding a pole with one hand, with something or other at the bottom of the pole which appears to be slowly moving. All of that is Stanley Kubrickian for, uh, hey, there's a shadow in, in one of your shots."
11:02 Josh Clark? Right.
11:03 Speaker 02 Of, of the Steadicam op.
11:04 Josh Clark? Yeah, which was pretty cool of him to do.
11:07 Speaker 02 Sure.
11:07 Josh Clark? Because I'm sure there were plenty of people in Hollywood who would have been like, okay, I think I kind of get the idea of what this was. Because there was no suggestion whatsoever of what, what Garrett Brown had used to get these shots, except in those shadows. So he went eek and went, and immediately cut those,
11:24 Speaker 02 Yeah.
11:24 Josh Clark? those, I think 14 seconds out of his reel and then released the second edition.
11:28 Speaker 02 And it, it looked pretty good. I mean, it's, it's rough compared to today's standard.
11:32 Josh Clark? Sure, but I mean like-
11:33 Speaker 02 But for the time, it was, it was like unbelievable.
11:36 Josh Clark? Right, it changed everything.
11:37 Speaker 02 Oh, yeah.
11:38 Josh Clark? Um, and one of the, uh, shots that he got was, uh, his wife, Ellen.
11:43 Speaker 02 Uh-huh.
11:44 Josh Clark? He said, uh, "Dear, why don't you put on your most seventies bell bottoms you can find?
11:48 Speaker 02 Yeah.
11:49 Josh Clark? And, uh, "I'm going to run up behind you as you run up the steps to the Philadelphia Museum of Art. And maybe when you get to the top, you can raise your hands in triumph and I will spin around you." And if that shot, shot sounds familiar, uh, it actually attracted a guy, a director named, um, John, what is it, Avildsen?
12:09 Speaker 02 Yeah, John G. Avildsen.
12:10 Josh Clark? Um, who said, "I like this. I'm going to use it in this little film I'm directing called Rocky."
12:15 Speaker 02 Yeah.
12:16 Josh Clark? And I didn't get, uh, whether or not this was the case, but did they, um- Did they locate Rocky in Philadelphia because of those steps?
12:26 Speaker 02 No.
12:27 Josh Clark? Cause he said, "How did you do that and where are those steps?"
12:31 Speaker 02 I don't think so, man, because I wondered that too, like, uh, like, did he not have a scene written where Rocky just runs up those steps?
12:37 Josh Clark? Right.
12:38 Speaker 02 I mean, Stallone wrote it.
12:39 Josh Clark? Right. I think they added that.
12:41 Speaker 02 We'll just have to ask him.
12:42 Josh Clark? Okay.
12:43 Speaker 02 Hey Sly.
12:45 Speaker 02 Uh.
12:46 Josh Clark? I was wondering if you can do it. That was pretty good.
12:49 Speaker 02 I answered in that little moment. Someone will have to interpret that.
12:54 Speaker 02 Great movie though, man. I rewatched that, uh.
12:56 Josh Clark? Rocky?
12:57 Speaker 02 Yeah, like this year.
12:58 Josh Clark? Yeah.
12:59 Speaker 02 From beginning to end. Just phenomenal movie.
13:01 Josh Clark? Yeah.
13:02 Speaker 02 I'm trying to get Emily to watch it.
13:04 Josh Clark? Has she never seen the original?
13:05 Speaker 02 No.
13:06 Josh Clark? It's its own thing for sure. Like, it's not much like the sequels. No.
13:10 Speaker 02 Really. It's a love story for the most part.
13:12 Josh Clark? It's a love story and like, uh, um, the triumph of the little guy.
13:16 Speaker 02 Yeah.
13:16 Josh Clark? Story for sure. Yeah.
13:17 Speaker 02 Featuring boxing.
13:19 Josh Clark? Right. That's exactly right.
13:20 Speaker 02 Yeah.
13:20 Josh Clark? But two and three and up on onward, it's like a totally different thing.
13:26 Speaker 02 Yeah, but those are good too.
13:27 Josh Clark? Yeah. They said, "Let's take your story, take out the heart and insert cocaine instead."
13:31 Speaker 02 Insert Mr. T.
13:35 Speaker 02 I don't get the cocaine reference.
13:37 Josh Clark? Well, it's just the eighties and Hollywood got their hands on it.
13:39 Speaker 02 Sure.
13:40 Josh Clark? You know what I mean?
13:40 Speaker 02 I gotcha.
13:43 Speaker 02 Yeah, that's a good question though. I wonder about that. If he, surely they didn't remake it for Philadelphia just for that.
13:48 Josh Clark? Well, but the, the point is, is Garrett Brown created on this sizzle reel, the, one of the most iconic shots in filmmaking history.
13:58 Speaker 02 For sure.
13:59 Josh Clark? And he sent that reel out and within that year, I believe, nineteen.
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17:20 Josh Clark? Seventy-six, three major motion pictures hired him to operate his Steadicam for it. There was Rocky.
17:27 Speaker 02 Yep.
17:28 Josh Clark? There was, what was the one about Woody Guthrie?
17:31 Speaker 02 Bound for Glory.
17:32 Josh Clark? Yeah.
17:32 Speaker 02 I think that one came out first. So that was the first actual like, and that one, the Steadicam op was Garrett Brown, I think, for all these.
17:41 Josh Clark? Uh huh.
17:42 Speaker 02 Because he was the only guy that knew how, he got a lot of work early on.
17:44 Josh Clark? Yeah, and I think, I think the patent was still pending until 1977. So I'm sure he didn't let that thing out of his sight. Everybody, close your eyes while I shoot this.
17:52 Speaker 02 Uh, but on Bound for Glory, he was on a crane even that lowered down, stepped off the crane. So people had seen crane shots, but then for the crane to go down, down, down, and then all of a sudden start following this guy, everyone was like, what in the world?
18:07 Josh Clark? Right, there would have been a cut.
18:08 Speaker 02 Yeah.
18:08 Josh Clark? After the crane stopped and then before, you know, they would have cut and he would have gotten in position and then started up again. This is one smooth shot.
18:15 Speaker 02 One smooth shot.
18:16 Josh Clark? Yeah. And then the other one was Marathon Man. So just right out of the blue, this guy, who is a commercial director and made short films for Sesame Street, changed filmmaking like, single-handedly.
18:27 Speaker 02 Yeah, and won an Academy Award in 1978 for Technical Achievement. Got that patent in seventy-seven. And, well, that's it. That's the history of the Steadicam.
18:39 Josh Clark? That's it, everybody. Good night.
18:41 Speaker 02 But we're gonna, should we take a break and tell everyone how this thing works?
18:45 Josh Clark? Let's do it, man.
19:02 Josh Clark? Alright Chuck, so the Steadicam, do you remember when we did our episode on breathalyzers?
19:07 Speaker 02 Oh boy, that was a long time ago.
19:09 Josh Clark? And we found out that the breathalyzer is one of the most complicated machines
19:13 Speaker 02 Yeah.
19:13 Josh Clark? On the planet?
19:14 Speaker 02 I kinda hated that one.
19:16 Josh Clark? Like, there were crystals involved somehow.
19:19 Speaker 02 Mm-hmm.
19:19 Josh Clark? I hated that one, too.
19:20 Speaker 02 Dark crystals.
19:21 Josh Clark? There were. This is a bit like that. Like, if you really dive into Steadicams like this article on How Stuff Works does, it's labyrinthine. Talk about the dark crystal?
19:33 Speaker 02 Yeah.
19:33 Josh Clark? We're talking labyrinth instead.
19:35 Speaker 02 Yeah, but we're gonna simplify it because you don't need to break this thing apart and look at every component like this article does.
19:41 Josh Clark? I mean, it really gets involved.
19:44 Speaker 02 What you should do is look at a picture of someone operating one.
19:47 Josh Clark? Yeah.
19:47 Speaker 02 And just, because when you look at it, you go, it all makes a lot more sense.
19:51 Josh Clark? Right, and there's really just three main parts to the whole thing. There's a vest, there's an arm that's attached to the vest, and then the other end of the arm is attached to what's called the sled.
20:01 Speaker 02 Yeah.
20:01 Josh Clark? Which is what the camera and its components are mounted on, right?
20:05 Speaker 02 Yeah, and that arm, I mean, just picture yourself wearing a, like a Baby Bjorn baby carrier, except for, instead of the baby at your sternum, there's a mechanical arm coming out.
20:19 Josh Clark? Like a spring arm lamp?
20:21 Speaker 02 Yeah, like accordion arm or a spring arm lamp.
20:23 Josh Clark? Right, and it's virtually the same thing.
20:26 Speaker 02 Well, yeah, and guess who made one of these?
20:29 Josh Clark? Who?
20:29 Speaker 02 By himself, before they started making them for at-home people.
20:32 Josh Clark? Who, Casey?
20:33 Speaker 02 No.
20:34 Josh Clark? Who?
20:34 Speaker 02 My brother, of course.
20:35 Josh Clark? Oh, did he really? Yeah.
20:36 Speaker 02 Yeah, my brother made one of these in like the early 90s.
20:38 Josh Clark? Did he really?
20:39 Speaker 02 Out of door hinges and rubber bands and springs.
20:42 Josh Clark? Does he still have it? Is it in the Smithsonian?
20:45 Speaker 02 I don't know. It's in the Scotsonian.
20:47 Josh Clark? Nice.
20:48 Speaker 02 Which is where all his early inventions.
20:50 Josh Clark? With all his pinball machines?
20:51 Speaker 02 Yeah, but he made one, he basically did the same thing. He looked at it and looked at these swing arm lamps
20:57 Josh Clark? Right.
20:57 Speaker 02 And accordion arm lamps, and it's like, well, it's the same thing, I'll just make a version of that.
21:01 Josh Clark? It is.
21:02 Speaker 02 And it worked pretty good.
21:03 Josh Clark? It's virtually the same.
21:04 Speaker 02 Yeah.
21:04 Josh Clark? So the whole point of a Steadicam is that it basically simulates, or the arm at least, simulates a human arm, right, to where it can move around very easily.
21:14 Speaker 02 Yeah.
21:14 Josh Clark? Um, and it redistributes the weight of the camera, which can be up to like seventy pounds, I imagine probably more.
21:20 Speaker 02 Yeah, the whole unit is pretty heavy and it's not easy to operate.
21:24 Josh Clark? But it holds.
21:24 Speaker 02 It'll wear you out.
21:25 Josh Clark? It holds it effortlessly and it holds it in place, this arm does, and it does it by using springs and you can adjust the tension of the springs by using a cable and pulley system.
21:35 Speaker 02 Yes.
21:35 Josh Clark? So that it offsets the balance of the camera and holds it in space in front of the camera operator, ba- basically so that they can move it effortlessly up, down to the side, um, you can put the camera on top of the sled so that you get high shots, you can switch it so it goes on the bottom, so you can get low angle shots.
21:54 Speaker 02 Yeah, the traditional, it's called high mode and low mode, and high mode is, uh, it doesn't mean it's high, it just means it's, uh, on the top of the unit.
22:02 Josh Clark? Mm-hmm.
22:02 Speaker 02 And then low mode is when it's on the bottom, so if you wanted to film, uh, a mouse running across the floor, you would put it in low mode.
22:09 Josh Clark? Right.
22:09 Speaker 02 If you wanted to film a human, you'd put it in high mode.
22:11 Josh Clark? Yeah, and the, the camera itself is broken out into pieces, which is kind of an ingenious trick that, uh, I guess Garrett Brown came up with himself, I think he did. Um, and this is the, this is the third part, the camera sled, right?
22:26 Speaker 02 Yes, the sled is what holds all the equipment.
22:29 Josh Clark? Right, and it's basically a pole with a little bit at the top called the stage.
22:35 Speaker 02 Yeah.
22:35 Josh Clark? And that's where the camera goes, or it could be at the bottom, wherever the camera is.
22:39 Speaker 02 Sure.
22:39 Josh Clark? The camera's mounted to the stage.
22:41 Speaker 02 Yes.
22:41 Josh Clark? Then you get the pole itself, and then the, I guess the arm is connected to the pole by a, um, a gible?
22:50 Speaker 02 A gimbal.
22:50 Josh Clark? A gimbal, that's right. And that's like an old technology, it's basically.
22:54 Speaker 02 Sure.
22:54 Josh Clark? Something that uses basically a gyroscopic action.
22:57 Speaker 02 Mm-hmm.
22:58 Josh Clark? To, um, take the movement of whatever is seeking to move whatever you want to hold still and getting rid of it.
23:05 Speaker 02 Yeah.
23:05 Josh Clark? Like everything around it moves except for the thing that you want to hold still.
23:08 Speaker 02 Yeah, it's pretty neat.
23:09 Josh Clark? It's a super neat, and that's just the, the one arm that's connected to the pole.
23:13 Speaker 02 Yes.
23:14 Josh Clark? So you can see how complicated this thing is. This guy sat back and I think in a hotel room somewhere, he put it together. Garrett Brown, the first one. There's just the ingenuity it took to put this together. It's pretty, pretty in-depth as far as inventions go.
23:30 Speaker 02 Yeah, and there's a little science to it. There's something called moment of inertia. It's basically how much that camera is resistant to rotation. So if you want the camera to be still, you want to increase that resistance to the rotation. And this is determined by a couple of different things. How much mass there is to the object and how far that mass is from the, from its own axis of rotation. So by spreading the camera out, he basically took the little, you know, cameras come with a monitor now, so you can see what's going on.
23:59 Josh Clark? Right.
23:59 Speaker 02 And a big, heavy battery.
24:00 Josh Clark? Yeah.
24:00 Speaker 02 He took the monitor off of the camera, he took the battery off of the camera, and redistributed that up and down the pole. So what he ended up doing was spreading out that mass, which takes away the center of gravity from the camera itself.
24:15 Josh Clark? Yeah, because like with a regular camera where all the components are in one single unit, that center of gravity is inside the camera.
24:21 Speaker 02 Yeah.
24:21 Josh Clark? So it's easy to rotate, but since he exploded it out into its various components, he made that center of gravity land somewhere on the pole.
24:31 Speaker 02 Right.
24:31 Josh Clark? And the gimbal attaches to the pole just above the center of gravity, so that the camera operator holds the pole and manipulates the camera at the center of gravity, which makes it very easy to balance, keep balance.
24:44 Speaker 02 Yeah, and they do a good job in this article. If you like, just take a broomstick and you find that center of gravity with your finger, you can hold it with your finger and lift it up and down.
24:53 Josh Clark? Right, and it's just, it's balanced on your finger because you're hitting that center of balance.
24:57 Speaker 02 That's right, it's the same principle.
24:59 Josh Clark? Yeah.
24:59 Speaker 02 And in fact, if you took,
25:03 Speaker 02 if you took that same broomstick and cut it off and you just had three feet of broomstick, and just took your SLR camera and screwed that broomstick into the bottom of your camera, instead of a tripod, that would function, you could walk around with that and it would be steadier than if you just had it in your hand.
25:21 Josh Clark? I could see that because of the change of the center of gravity.
25:24 Speaker 02 Change of the center of gravity, and if you put a little counterweight at the bottom, it would make it even more steady.
25:28 Josh Clark? Yeah.
25:29 Speaker 02 And that's the whole concept of the Steadicam sled.
25:32 Josh Clark? Yeah.
25:32 Speaker 02 Then attach that to an arm, that accordion arm.
25:36 Josh Clark? Right.
25:36 Speaker 02 And you're cooking with gas.
25:38 Josh Clark? Yeah, because you were saying like if you walk around with just the pole, holding, or the broomstick, cut-off broomstick, and you're holding it, um, just with your hand.
25:46 Speaker 02 Yeah.
25:47 Josh Clark? It's steady. The point of the arm is it's taking your hand out of the equation and replacing it with something that can isolate movement even more.
25:55 Speaker 02 Yeah.
25:56 Josh Clark? So that your movement of you walking just gets lost within the arm before it ever gets to the camera and could shake it.
26:03 Speaker 02 Yeah, like if you did it with a broomstick, your arm is the same thing as the Steadicam arm.
26:06 Josh Clark? Right.
26:07 Speaker 02 Except it's better.
26:08 Josh Clark? The Steadicam arm is...
26:09 Speaker 02 Is better than your human arm.
26:10 Josh Clark? Right.
26:11 Speaker 02 Yes.
26:11 Josh Clark? Exactly. Pretty neat stuff.
26:13 Speaker 02 It is neat stuff.
26:14 Josh Clark? Um, and I think that's it for the science, man. We made it through it.
26:18 Speaker 02 Yeah, I mean, it's all got to be very precisely balanced. Um, you don't just throw the stuff on the pole willy-nilly.
26:24 Josh Clark? No, and they point out that the balance of the camera can actually change during filming.
26:29 Speaker 02 Yeah.
26:29 Josh Clark? Just from the film moving from one end of the camera to the other as it records, right?
26:34 Speaker 02 Well, yeah, in the old days when they used film, for sure. Nowadays, it's just that digital card.
26:39 Josh Clark? Yeah, I'm sure Quentin Tarantino's camera operators have to deal with this.
26:43 Speaker 02 Yeah, and if you've ever been on a job with a Steadicam, there are a lot of, uh, there's a lot of breaks where, I mean, you can adjust them on the fly more now, but I remember there just being a lot of breaks where the Steadicam op would say, "Hold on, you know, I need five minutes," and they go over and they have a little stand that they put it on to take... Because, you know, it takes the weight off to a certain degree, but it's still a lot of weight to be carrying on a vest on your chest.
27:08 Josh Clark? Yeah.
27:09 Speaker 02 Um...
27:09 Josh Clark? And running and moving and doing all sorts of stuff.
27:12 Speaker 02 Yeah, it's a tough gig.
27:14 Josh Clark? Like, there's a pretty amazing video, did you watch it, of that Eurovision shot?
27:18 Speaker 02 No.
27:19 Josh Clark? There's a guy from, I think, Belarus singing, and they showed, they showed him, like...
27:23 Speaker 02 I didn't see that.
27:24 Josh Clark? He, he's like, they, they showed the shot, and then they showed what... Somebody filming the shot being done. And the guy with the steady cam, wearing the vest, rides down the aisle on a Segway.
27:38 Speaker 02 Is that what he's on?
27:38 Josh Clark? Yeah, hops off, runs up this ramp, and then starts circling around the guy who's singing. And it's a pretty amazing thing. It's a great shot, but then when you see how it's done, you're like, wow, that guy deserved a standing ovation.
27:53 Speaker 02 It would have been more impressive had it not, like, the subject matter been more interesting and the video quality been better.
27:59 Josh Clark? It's pretty, pretty bad.
28:00 Speaker 02 Like, if it was a Scorsese movie, you'd be like, wow.
28:02 Josh Clark? Sure.
28:03 Speaker 02 But it was just, you know, kind of corny. Well, I mean, it looked like an American Idol or something.
28:07 Josh Clark? It was, but it was, American Idol, if you took American Idol at its peak and then spread it out over Eurasia, and, and like, it was popular over that, that large of a population, that's what your ovation is.
28:23 Speaker 02 That's right.
28:24 Josh Clark? So, you want to talk about some of the shots when we come back after a break?
28:28 Speaker 02 Please.
28:28 Josh Clark? Okay.
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29:43 Josh Clark? You know, eating is a huge part of our lives. It fuels us, it brings us together, and it's one of life's great pleasures. But once a meal's over, we don't think much about what happens next unless something starts to feel off, because what we eat and how our bodies respond to it is complicated.
29:59 Speaker 02 That's right. From the very first bite, food kicks off a chain reaction. Signals moving between the gut, the brain, and the immune system. The constant back and forth we can't see and often don't fully understand. So we want to introduce to you Eating Interrupted, a new podcast from iHeart Ruby Studio. It's hosted by longtime journalist and Crohn's patient Cynthia McFadden. Eating Interrupted explores everything from food allergies and intolerance, and why they seem to be on the rise, to how digestion changes as we age, and what it's really like to live with a chronic GI condition.
30:27 Josh Clark? Through personal stories and expert insight, listen in to unpack what it means when your body doesn't always respond to food the way you expect, and what science is now revealing about why. Listen to Eating Interrupted on the iHeart app, Apple Podcasts, or wherever you get your podcasts.
30:46 Speaker 03 First thought is like, wow, how are we going to do all this?
30:49 Josh Clark? Hey, this is Josh and Chuck from Stuff You Should Know.
30:52 Speaker 02 That's Alan Goya, planning engineer at AT&T, and he's talking about Intuit Dome, home of the Los Angeles Clippers, where every seat, screen, phone, and transaction is connected with AT&T fiber and 5G, redefining the fan's experience. And Alan's master plan made it all possible.
31:08 Speaker 03 It was going to rival anything that was already built. And that takes quite a bit of people and different teams to all be on the same page.
31:16 Josh Clark? That includes field services manager Drexel Jones. His team made sure it all came together and held up on game day.
31:22 Speaker 04 Through what Alan's whole crew designed, we connected the event visitors to the world.
31:28 Speaker 02 And after years of hard work and collaboration, it was opening night.
31:31 Speaker 04 To actually see the whole stadium light up and data's flowing is a beautiful thing.
31:35 Speaker 03 What the fans experience is incredible. It gave me a lot of pride.
31:39 Josh Clark? AT&T. Connecting fans to what they love.
31:43 Speaker 05 Connecting changes everything. AT&T.
31:50 Josh Clark? Alright, so Chuck, in addition to that Rocky shot and that Eurovision shot, there are some other very famous shots. Classic shots of all time.
32:00 Speaker 02 Uh, yeah.
32:01 Josh Clark? That had to do with Steadicam. They couldn't have been done without Steadicam.
32:04 Speaker 02 Well, The Shining is the first one that pops into most people's minds because, like we said, Kubrick was a big fan of this invention. And immediately started talks with Garrett Brown on how to help him out with this movie, The Shining, that he was making.
32:20 Josh Clark? Right.
32:21 Speaker 02 And apparently, they kind of battled one another quite a bit on the set of The Shining. And Garrett Brown later admitted, he said, "A lot of that was probably", what'd he call it, like inventor's pride or something?
32:33 Josh Clark? Right.
32:33 Speaker 02 Kind of getting in the way of this brilliant auteur. So Kubrick already had his own ideas on how to best use this thing that this other guy invented.
32:41 Josh Clark? Right.
32:42 Speaker 02 And, you know, The Shining's a classic example. Those tricycle shots, the famous maze chase at the end.
32:49 Josh Clark? Yep.
32:50 Speaker 02 Very iconic in motion picture history.
32:53 Josh Clark? Yeah. And, I mean, the, how did they, do you know how they did that, that shot behind Danny on his little big wheel?
33:01 Speaker 02 They probably just went into low mode and...
33:03 Josh Clark? Like walked behind him or?
33:05 Speaker 02 Yeah, ran down the hall after him.
33:06 Josh Clark? That's really impressive.
33:07 Speaker 02 Yeah.
33:08 Josh Clark? So The Shining's a big one.
33:09 Speaker 02 Sure.
33:10 Josh Clark? Rocky's a big one. Goodfellas is another classic example, too.
33:13 Speaker 02 Classic.
33:14 Josh Clark? Where Ray Liotta and Lorraine Bracco are going into the Copacabana, but they go through the back.
33:20 Speaker 02 Yeah.
33:20 Josh Clark? And they're followed like throughout like the back stairs into the kitchen, and then they finally come out into their table. And it's like one uninterrupted, like five-minute shot or something.
33:31 Speaker 02 It's amazing. And it's, I think when you see this, you're, you might see it and not be a discerning film viewer and just say, "Well, that, I didn't notice anything",
33:40 Josh Clark? Right.
33:41 Speaker 02 Which is probably good.
33:42 Josh Clark? Yeah.
33:43 Speaker 02 Or you might be a fan of Steadicam and just say, "Man, that was amazing." Then you have to step back and look at lighting and realize that how incredibly hard it is to light a shot like that. That takes place over, I don't know how many hundreds of feet.
33:57 Josh Clark? What, without seeing the lights in the shot?
33:59 Speaker 02 Well, that, or just consistent lighting and having it look good. I mean, that's just, usually you light for like a room or something, or a hallway.
34:06 Josh Clark? Right, yeah, yeah.
34:07 Speaker 02 But to light all those different rooms and hallways and, uh, just incredibly, I can't imagine how long it took to set that shot up, you know?
34:14 Josh Clark? They were like, wait, what do you want to do?
34:16 Speaker 02 Yeah. It'll be great, don't worry about it. Stay with me.
34:21 Speaker 02 Uh, you know, he's making another gangster movie.
34:25 Josh Clark? No, I didn't know that.
34:26 Speaker 02 Yeah, and it may be like the
34:30 Speaker 02 some folks are saying it's like, you know, his last big gangster movie.
34:33 Josh Clark? Uh, yeah.
34:33 Speaker 02 But it's got De Niro again.
34:35 Josh Clark? Okay.
34:36 Speaker 02 Uh, he hadn't worked with him in a long time.
34:37 Josh Clark? Okay.
34:38 Speaker 02 Pacino.
34:39 Josh Clark? Nice.
34:40 Speaker 02 And Joe Pesci is coming out of retirement.
34:42 Josh Clark? I didn't even know he was retired. I just thought he wasn't doing stuff anymore.
34:45 Speaker 02 Nah, man, he retired.
34:46 Josh Clark? Didn't know that.
34:47 Speaker 02 Yeah, so he's, he's got the three heavyweights.
34:50 Josh Clark? Yeah.
34:50 Speaker 02 And supposedly Harvey Keitel, of course, you gotta throw him in there.
34:52 Josh Clark? Sure.
34:53 Speaker 02 But I'm just like, giddy thinking about this.
34:55 Josh Clark? Yeah, I, I'm glad he is, cause his last one was The Departed, right?
35:00 Speaker 02 No, he's made movies since then, like Wolf of Wall Street.
35:02 Josh Clark? No, no, his last gangster movie.
35:04 Speaker 02 Yeah, which I thought was great. I know you didn't love it.
35:06 Josh Clark? I just didn't.
35:07 Speaker 02 I thought it was awesome.
35:08 Josh Clark? I thought everything but what Jack Nicholson did was, was pretty good.
35:11 Speaker 02 Yeah?
35:12 Josh Clark? Yeah.
35:13 Speaker 02 You didn't like his performance?
35:13 Josh Clark? No, I really didn't.
35:15 Speaker 02 Well.
35:16 Josh Clark? Sorry, Jack.
35:17 Speaker 02 He'll forgive that.
35:18 Josh Clark? Yeah, alright.
35:19 Speaker 02 Cause you like him as an actor, right?
35:20 Josh Clark? Yeah.
35:21 Speaker 02 Oh, okay. Uh, what else?
35:23 Josh Clark? Yeah, as good as it gets? Come on.
35:27 Speaker 02 Uh, Return of the Jedi, uh, nineteen eighty-three. The, the famous, um, speeder, uh, bike chase scene.
35:35 Josh Clark? Mm-hmm.
35:35 Speaker 02 And, uh, I think they-
35:36 Josh Clark? On indoor?
35:37 Speaker 02 Yeah, California's Redwood National Park doubled as indoor. And that was Garrett Brown, uh, walking, and they sped it up.
35:46 Josh Clark? Yeah, but, and you're just like, wow, who cares? The, the, the reason why it's such an iconic Steadicam shot is because he walked very slowly.
35:55 Speaker 02 Yeah.
35:55 Josh Clark? And when you speed film up, the, um, tiny movements involved, they're telegraphed, they just become much more exaggerated.
36:02 Speaker 02 Yeah.
36:03 Josh Clark? So without a Steadicam, when they sped the film up, again, it would have been just so blurry and just jarring, it would have been unusable.
36:09 Speaker 02 Yeah.
36:09 Josh Clark? The fact that you can see the trees and stuff, and even at that high speed, it's all Steadicam.
36:16 Speaker 02 Yeah, and people, I think it's just so easy to take it for granted now in movies when you see these shots.
36:21 Josh Clark? Yeah.
36:21 Speaker 02 But, uh, to pioneer these, these things and this equipment was, was remarkable. Uh, and nowadays, you can, there are all manner of at-home Steadicam. You don't have to do like my brother and build one out of spare parts and door hinges.
36:37 Josh Clark? No.
36:37 Speaker 02 You can buy one.
36:39 Josh Clark? For not too much.
36:40 Speaker 02 Uh, you can, you can spend a hundred dollars.
36:42 Josh Clark? Yeah.
36:43 Speaker 02 On a, on a decent enough little home Steadicam.
36:46 Josh Clark? The, uh, this article says that the, um, Steadicam Curve, which is made for GoPros, uh, is like a hundred bucks.
36:54 Speaker 02 Yeah, well, those are teeny tiny.
36:56 Josh Clark? And there's one for, um, the iPhone called, um, what's it called?
37:01 Speaker 02 The Smoothie.
37:01 Josh Clark? That one is like, it's like, I think even less than a hundred bucks. And it's just like a handheld camera stabilizer that works pretty well, from what I can gather.
37:10 Speaker 02 Yeah, we should have had Casey, our video producer Casey, he's in France right now, though.
37:14 Josh Clark? Yeah.
37:15 Speaker 02 Living the high life.
37:15 Josh Clark? Right, eating baguettes.
37:17 Speaker 02 We should have had Casey in here, just giving thumbs up or thumbs down.
37:20 Josh Clark? Right.
37:21 Speaker 02 To each one of these brands that we mentioned.
37:23 Josh Clark? Yeah.
37:24 Speaker 02 And I would trust that as like the gospel truth.
37:26 Josh Clark? Right.
37:27 Speaker 02 Uh, but Casey's not here, so we're just gonna say, read online reviews.
37:31 Josh Clark? I also saw that there's like a, a lot of, um, gimbal-based, uh, drone Steadicams.
37:39 Speaker 02 Yeah.
37:39 Josh Clark? That are just not, not that expensive.
37:42 Speaker 02 Well, drones, they're changing the game again.
37:45 Josh Clark? Sure.
37:45 Speaker 02 Cause then you can do a shot where you follow someone by the swimming pool and then fly up into outer space with them, if you want.
37:52 Josh Clark? Yeah.
37:52 Speaker 02 In one continuous motion.
37:53 Josh Clark? Yeah, like the Quisp Monster.
37:56 Speaker 02 The what?
37:57 Josh Clark? The Quisp Monster, you remember the alien from Quisp cereal?
38:00 Speaker 02 Uh, do remember Quisp.
38:02 Josh Clark? Remember the weird alien?
38:03 Speaker 02 Sort of, I didn't eat Quisp. Wasn't that a Captain Crunch knockoff, or was it different?
38:08 Josh Clark? It was different because they were saucer-shaped rather than square waffle cut.
38:13 Speaker 02 Gotcha.
38:14 Josh Clark? Same thing, though, yeah.
38:15 Speaker 02 Same thing.
38:15 Josh Clark? It was good. It didn't cut the tongue like Captain Crunch did.
38:19 Speaker 02 Oh, yeah, the roof of the mouth?
38:20 Josh Clark? Mm-hmm.
38:21 Speaker 02 I'll suffer through that still. And then, of course, Steadicam is a name brand.
38:27 Josh Clark? Right, like seeing eye dog.
38:28 Speaker 02 Yeah, it's made, uh, who makes it?
38:31 Josh Clark? Tiffin?
38:32 Speaker 02 Tiffin now?
38:33 Josh Clark? That's what, yeah, I think, I think Tiffin does. They have a pretty good site. Like, if you are at all interested in this, like, they've got a great site and they have all of their Steadicam models with a real, like, in-depth overview of them and
38:45 Speaker 02 Yeah.
38:45 Josh Clark? Pretty, uh, I think it's got all their manuals and everything just right there for you to read.
38:49 Speaker 02 Yeah, there's other companies making them. Uh, there's one called Glidecam.
38:52 Josh Clark? And Verazoom?
38:54 Speaker 02 Yeah, but, you know, Steadicam's still probably the giant. It's like dollies. There's only two dolly makers.
38:59 Josh Clark? Well-
39:00 Speaker 02 Or there may be more now, but it's like Chapman and Fisher. And each, you know, every dolly grip has a reference.
39:06 Josh Clark? Those are the dolly makers?
39:07 Speaker 02 Yeah, Chapman dollies or Fisher dollies.
39:10 Josh Clark? Kinda like, uh-
39:11 Speaker 02 They're kinda holding it down.
39:12 Josh Clark? Jameson or Bushmills?
39:13 Speaker 02 Yeah.
39:14 Josh Clark? You know?
39:14 Speaker 02 I said both.
39:15 Josh Clark? Budweiser or Coors?
39:16 Speaker 02 Neither.
39:17 Josh Clark? Uh, and then, um, Garrett Brown, as if the Steadicam wasn't enough as far as revolutionizing filming goes, he later on invented something called the SkyCam.
39:28 Speaker 02 Yeah.
39:28 Josh Clark? Which, like, if you watch any kind of sporting event now, especially, it's especially useful for football and, and football. Um, where, like, it's, there's just cables-
39:38 Speaker 02 Yeah.
39:38 Josh Clark? Above the field and there's cameras hanging down that are just, like, doing overhead shots following the action, like, it's nothing.
39:45 Speaker 02 It's pretty neat.
39:46 Josh Clark? Garrett Brown invented that, too.
39:48 Speaker 02 Uh, I got one more little thing for you. Uh, there are two positions, uh, not high mode, low mode. Positions are like how you're operating the camera, but, uh, if you are pointing forward as the operator and your camera is pointing forward,
40:02 Josh Clark? Mm-hmm.
40:03 Speaker 02 and you're just walking, it's called missionary.
40:05 Josh Clark? No.
40:06 Speaker 02 And then if you are, uh, if the operator's forward and the camera is backward, they call that Don Juan. So leave it to film set goons to think of sexual names for-
40:19 Josh Clark? Sex it up.
40:20 Speaker 02 Camera positions.
40:21 Josh Clark? Don Juan?
40:23 Speaker 02 Yeah, I never heard of that one.
40:24 Josh Clark? I hadn't either. Well, if you wanna know more about Steadicams, including a really, really fine-grained, involved look at the physics of how the Steadicam arm works, you should go type Steadicam into the search bar at HowStuffWorks.com. Since I said search bar, it's time for listener mail.
40:46 Speaker 02 I'm going to call this encouragement from a Christian listener. Hey guys, I was listening to the Easter show and was compelled to write in. As a Christian, I've always appreciated how you make a solid effort to not rail on the church too hard. I found it humorous and simultaneously sad when you felt you had to tiptoe around the pagan traditions that have been integrated with the resurrection. I find it disheartening to think that other believers can't find anything better to do than wait to be offended by something, then jump all over you for it. But based on your years of experience and careful treatment of the subject, it must be the case a lot of the time. Personally, I just want to say I can't think of anything you've ever said to offend me. I think you've done a stand-up job with sensitive subjects, like satanic panic in particular. It's also nice just to hear you talk about things directly related to my beliefs without
41:31 Speaker 02 sneering like many others will. That's nice, Dane in Minnesota.
41:36 Josh Clark? Yeah, for real, Dane. If you want to get in touch with us like Dane did and be a super cool person, you can tweet to us at @SYSKPodcast. You can also follow the behind-the-scenes action of Chucks in my life at @SYSKPodcast on Instagram. You can join us on Facebook.com/StuffYouShouldKnow for the "Hurt." And you can send us an email to [email protected] . In the meantime, while you're doing all this, hang out with us at our home on the web, stuffyoushouldknow.com.
42:12 Speaker 00 For more on this and thousands of other topics, visit howstuffworks.com.
42:22 Josh Clark? Buy smart, drive for less, and trade for more. That's Toyota affordability, and it starts with a great deal on an off-road-ready Tacoma or half-ton Tundra, two of Toyota's longest-lasting trucks, combining power for work, tech for adventures, and style in between. And they're built on a reputation for quality and reliability, which is why Toyota trucks are known for holding their value, which could mean big savings when it's time for your next Toyota. So get a great deal today and a great value tomorrow. Shop toyota.com for more. Toyota, let's go places. Introducing Voices of VivGart. VivGart is also known as its generic name, Fgart Tigamod Alpha F-Cab. And this new show features firsthand stories from people living with a rare disease.
43:04 Josh Clark? Hosted by Andrew Stratton, these perspectives highlight that life is more than a moment, a condition, or a tough day. Living with a rare disease can be challenging, but it does not define the voices of VivGart. In these episodes, they share their stories, from diagnosis to working with their care team on their treatment plan. Listen to Voices of VivGart on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts.
43:27 Speaker 02 Long hours, work deadlines, family commitments. You give so much to everyone else. Isn't it time to invest in yourself? The University of Arizona Global Campus is built for working adults with flexible online degree programs designed to fit your adult life. Your previous education, training, and eligible experience may even help you earn college credit. At UAGC, you can take one accelerated course at a time, helping you move toward your goals in five- and six-week class formats. Just visit UAGC.edu today.
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Previous SYSK’s Summer Movie Playlist: How the MPAA Works Next SYSK’s Summer Movie Playlist: What's the deal with Bond, James Bond? Page updated November 3, 2026 · transcript and summary are machine-generated