Andrew Johnson - AJ Revolution - MK-V - Steadicam

In the early 1970's, the Steadicam was developed by camera operator and inventor, Garrett Brown. see www.garrettbrown.com

His theory was fairly simple, to stabilise the camera over terrain where a dolly or track couldn't be used. From that moment on, the Steadicam changed the way cameras would move and since then, Steadicam and similar styles of body mounted stabilisation systems have been standard tools on the sets of thousands of films, including such well known early films as ‘The Shining', ‘Rocky' and ‘Star Wars - Return of the Jedi'.

For more information on Steadicam, see Wikipedia:
http://en.wikipedia.org/wiki/Steadicam

But Steadicam and similar systems had their limitations. They could be used in only two modes; normal and low mode and to switch between modes would take typically 20 – 30 mins. That is until, Howard Smith of MK-V systems, decided he would design a system to enable him to switch modes instantaneously, while principal actors were standing right in front of him. The AR-Revolution was born! See http://www.mk-v-ar.com/

The next revolution...

The 'AR-Revolution' (Auto Revolution) system.

So what can it do?

The AR can perform smooth tracking shots just like a traditional Steadicam. However, unlike a Steadicam, the AR's auto-leveling system allows the camera to move from high mode (up to about 8 foot high) to low mode (ground level) in about a second, or as quickly as the operator can humanly flip the rig.

All this while tracking, during the one shot and maintaining a level horizon (or any other preset angle). This is possible because the rig uses auto stabilising engineering, both electronic and software driven. The system also automatically rotates the monitor at the same rate as the camera for the operator to view.

  < Animated photo sequence, showing the AR setup in 'long mode'.

Because the rig no longer needs to be kept vertical, the camera can now travel sideways, over and under objects. This opens up a new world of exciting shot possibilities.

For example, the camera could start inside a car, track out sideways through the open window, across the bonnet of the car, do a 360º rotation around the actor stepping out and finishing at ground level as the actor walks away. The possibilities are endless!

Even relatively simple Steadicam shots are incredibly rigid as the AR self levels itself, so a quick move off is now completely stable. Whip pans end with a perfect horizontal frame, this also means the rig can be used in windy or less than ideal environments without the use of gyros.

The AR is a lot more demanding to operate than a traditional Steadicam system. It requires the operator's full attention and awareness to their surroundings and more importantly, how the rig needs to be handled to achieve the shot. Choreography is also very important as timings and positions are not just for the actors, but for the AR operator to plan and maintain camera and their own body positions.

So which cameras can be used with the AR?

The AR can be used with a variety of cameras, from smaller HDV cameras through to the 35mm Panavision Millennium XL, including ARRICAM LT, 235, 435, Moviecam SL, SONY & Panasonic HDCAM's, RED Digital cinema camera.
Contact AJ for more info on camera compatibility

(Click on photos to enlarge)

Although the AR works fine with most cameras, the lighter the camera, the more reach you can achieve with the post extended, allowing for greater creativity in shot design.

The 'NEXUS' system

At the heart of this rig is the MK-V ‘NEXUS' 4 stage, no-tools post which makes on-set tweaks very quick and easy. The ‘Nexus' system is considered by many top operators as the most solid and reliable rig available due to its simple and tough design. It was developed to handle the extra weight and rigidity needed when used with the ‘AR' system.
    In ‘AR' mode, the post is normally setup long if the shot requires the camera to travel from very low to very high. If the camera is required to travel in a confined space like a corridor or through doorways, the rig can easily be shortened to a very compact mode which makes it easier to move around.
And of course, the system can be setup just like a normal Steadicam in ‘NEXUS' mode, if the ‘AR' isn't required
 

   It's also important to note that the NEXUS rig has ZERO camera vibration, unlike many other systems which introduce camera vibration into the shot especially noticeable when shooting with longer lenses.

Cinematographers

• More creativity and the freedom to move the camera where it has never been able to go before.
• Better continuity. No more shooting out of sequence and re-lighting scenes to accomodate for low / high mode changes. 

Directors

• The freedom to move the camera around easier and more creatively for better story telling ability.
• Keep the momentum of scenes and performances going with the actors, instead of waiting for the camera to be setup.

Producers

• Massive savings can be made by producers and production managers on larger feature productions by using the AR system, not only saving time in mode changes but also having equipment that can provide higher production values to lower end productions.

Overall, the AR is an amazing piece of equipment, it should be thought of as a NEW tool, used to move the camera in a way never before possible. With time it will be a standard tool and a must throughout the industry.

MK-V AR demo movies page - Demo shots filmed by the UK manufacturer - MK-V