The first part of this equation was to use the Steadicam Air 25, but then they needed to come up with their own custom solution to keep the horizon as level as possible. Francis found current support gear was too big and cumbersome, so he needed to use a solution that allowed everyone to be as mobile as possible. A lot of the locations are very small with one doorway, which is always a challenge to shoot when you have 3-4 cameras. Half of the work is done on stage in Santa Clarita, CA. It’s fast-paced, uses 3-4 RED Monstro cameras, and requires a minimum of 100 setups a day.
One of the brains behind the Squish Francis Kenny ASC is currently working on the CBS show S.W.A.T. This group of four filmmakers is dedicated to crafting quality, memorable content and creating technological innovations that both speed and ease the art of cinematography and photography. MC4 consists of Jarred Land, president of RED Digital Cinema, Francis Kenny ASC, Richard Crudo ASC, and Sallyanne Massimini, DGA. It looks a lot like an oversized hockey puck or a giant Oreo cookie, but it has been designed this way for a reason. While a monopod is fast and nimble there is no easy way of keeping the horizon level when you are shooting unless you are using a camera with a horizon level indicator that can be brought up in the viewfinder or LCD screen. If you have ever used a monopod, its Achilles Heel is keeping the horizon level. It was the brainchild of MC4 who needed to come up with a solution for a real-world problem. In short, Squish is a uniquely designed head that is perfect for omnidirectional horizon correction, vibration isolation and dutch angles for your monopod. I reviewed the Steadicam Air 25 last year and although I loved the product, my biggest criticism was that it is hard to keep the horizon level at times when you are shooting. Squish is an attempt to provide a better solution when using a monopod such as the Steadicam Air series.
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