6 Tips To Mastering The Steadicam Walk & Talk

There are quite a few certain shots that Producers and Directors are looking for when they hire a Steadicam Operator; and if you're working with a host, then you're going to be all too familiar with the classic 'walk and talk'.  It’s the move that people have come to expect from Steadicam Operators and it's usually the deal breaker. Every show I've worked on, at some point, has wanted me to do this shot and over the years, I’ve discovered that there's a serious art form behind it.

There are a couple different ways Steadicam Ops deal with this type of shot so first, let’s break down the definition.  A 'walk and talk' is when the host is walking forward towards you and you are either operating in one of three ways. You can either walk the DonJuan (walking forwards with the camera pointing back over your shoulder), Crab (a side step with your legs crossing over while pointing camera to the side), or just simply walk backwards (walking backwards pointing camera forward). Out of all these styles, I'll be the first to admit that I absolutely HATE operating Don Juan. It’s just not for me. I've seen some very skilled shots by people operating Don Juan, but it's not the method that suits my operating style. That being said, I've embraced a backwards-crabwalk combo and I feel like I've become a master at it. You probably already have your preference but no matter what your style may be, my tips will be useful in all situations.

To master this shot, it takes a lot of discipline from both you and the person you're shooting. If you have the pleasure of spending a lot of  time working with the same Host, it’s easier to develop this dance over time, but often you'll be thrown into a situation with someone who doesn't normally work with a Steadicam, so you'll have to be a leader and really assist in the choreography of the shot. It’s always interesting to work with someone new; often a new Host will feel timid and simply saunter about and sometimes you'll be with someone very energetic and they'll just book it full speed ahead. (which I always find fun). Experienced Host or not, there are a few rules I like to try to follow:

• Work out the walk beforehand so everyone's comfortable

• Always give yourself a good 6 to 7 feet of distance between you and the host

• Think about every angle you'll be hitting along the way

• Never walk dead on - walk slightly off centre from your host

• Always have a spotter. Unless you're extremely confident, even then, have a spotter.

• No matter what you do, DON'T TRIP!

…. simple enough., right?!

Now I'll break these down with more detail.

When it comes time to shoot; you obviously won't be winging it so you'll need a plan. It'll almost always be your vision and final say on what is happening, so you're going to be the one to plot it all out. Run it all through your head beforehand, be comfortable and then get everyone on board and explain your thoughts. The more aware you and your host are of what’s happening, the better the outcome will be. 

The 6 -7 foot distance (the perfect distance) is a necessity because it’s used as a buffer to stay equally apart from each other for the duration. Get into your starting positions, get focus, and then slightly zoom in to get a nice framing. Don't go too wide, because it can feel like you're losing them in the shot. While you're concentrating on keeping the same distance, your Host likely will not, so with the 6-7 feet of distance, you have a bit of room to play to maintain the same framing. Maintaining the same framing is most important during 'single take' shots, however, if you know it'll end up being covered by b-roll, I tend to start wider, then after a few minutes, I'll quickly zoom in to a tighter framing, and then after another minute, switch back to a wider shot. I do this to give the editors a closer/intimate moment, plus the variety makes for a more interesting shot.

Your walk is going to be hitting all angles along the way, so try to plan for them. Determine background aspects that you'd like to showcase or avoid. Your focus is the host but the environment is your co-host, and it needs to be looking good too. If you're in a controlled setting, set things up; clean up stuff that looks ugly, really think it through. Show off things that help create the vision of your environment. This is especially true if you're in an outdoor or uncontrolled setting. If you're on a beach, show the sand, water and people tanning. You're in a park? Showcase park activities, the greenery, etc. Have fun with it.

I've grown to despise the straight, dead-on look of the walk. It can easily go from an exciting idea with lots of movement to a boring, uninteresting and often bumpy shot. It's pretty much impossible to avoid being dead-on completely, but with a little care, you can do your best to avoid it. After I lay out the choreography of the shot, I like to tell my Hosts to stick to an exact path e.g., tell them to stay along a certain side of the sidewalk, or stick closer to a fence, etc. The reason I do this is because I like to float all around my hosts as we walk, and if they don't have a set path to follow they will tend to walk directly towards you. So if you give them a proper path, and they stick to it, then you'll have a ton of room to play.

No matter how well you're aware of your surroundings you should ALWAYS have someone that’s looking out for you. Whether it be a simple route or a complicated walk up a flight of stairs, they can all be hazardous in their own ways. You just never know when someone might walk behind you, a dog runs up, or if a curb is quickly approaching, and these little things could possibly be a showstopper (literally). You should try to have someone directly behind you guiding you, especially if you're shooting a live hit. They should even put their hand in your vest or back pocket. If you're pre-taping a segment and don't have the luxury of having a helping hand, your Hosts can act as your second set of eyes. Having a safe clear path is a necessity because of my last rule:

DON'T TRIP! I know you won't. You wouldn't let it happen. You'll be careful... but sometimes unpredictable things can occur, and that’s why it's important to have the extra support from a few keen sets of eyes. I've never had a spill (knock on wood) but I've seen it before, and it is not pretty. There's no graceful way of falling with your rig and not severely injuring yourself, the rig, and the camera.

If you feel like adding some extra flash, I suggest making an impressive start and finish. Start a little further away and run to them as they walk towards you. Start with the camera over their shoulder and quickly whip in front to reveal. When they're wrapping up, run backwards quickly while raising the camera into the air to give it a nice lift. Any chance to add extra flare to your shots will make you stand out above the rest..... OH and always, ALWAYS, make sure the host is walking well before you start talking. I hate seeing a host standing still off the top. Everything from start to finish should be in full motion.

These rules have really helped me give a more dynamic look to my walks. If you keep all of this info in mind while you’re running about, you’ll always end up with a very natural, exciting and high energy segment.

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