Production

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Enzo Giobbe - "Enzo Obie"

Using my "Enzo Obie" (which I called the "ZObie") on the talent's close up in a tracking-in shot.

This soft box light was modified by me so that the lamp was in the front pointing backwards (with a baffle in front of it) and a long piece of materiel in an infinite loop on rollers in the back - controlled by belt driven knobs running on bearings.

The rear material (the reflector) was pure white on one end gradually going to black on the other end.

By rotating the knobs, the light output could be changed in relation to the amount of light reflectance that was dialed in via 1/4 stop marks.

In moving in or out on the talent, the fill intensity and °Kelvin could always remain the same. I could also place a round front on it if that's what the catch lights should reflect (round vs. square).

I designed this adjustable variable light output on-camera Obie because nothing like it existed at the time, and I was working a show that had an older well-known actor as one of the leads.

The basic operating principle of my design was later used by Panavision (the PanaObie) and other lighting equipment manufacturers as well.

Those later designs were much more sophisticated, but the net effect and operating principle were the same as my original design.

Other DP's often borrowed my "ZObie" to use on their own shows.


 

Enzo Giobbe - Mitchell BNCR

You want me to hand hold what?





Polaroid of Daryn Okada, Enzo Giobbe & Cast/Crew from Mike Cartel's "Runaway Nightmare"

Future DP Daryn Okada, me, and some of the cast and crew, having a short
celebration after my letting Daryn shoot his first ever camera operating shot.
("Runaway Nightmare" - 1979)




Enzo Giobbe - Self-designed "GlideCam" camera stabilizer. Hand-held reverse tracking shot

A specially modified S16 used on my self configured and named "GlideCam" setup doing a reverse (walking backwards) tracking shot on the talent, hand-held.

I used this setup to achieve smooth handheld shots that didn't look handheld. The shot would then be blown-up to 35mm 1:85 to match the rest of the footage.

I also had a stripped down Arri 2B with a 1:85 gate that I used with the same set up. This production still is c. 1972/74.

The camera battery acted as the counter weight, and a multi-hole camera mounting plate allowed me to balance it all out.

Pretty accurate framing was via a large hooded prism and centered cross hair mounted left of camera on an adjustable mount. Crude, but effective.

Before Garrett Brown invented the Steadicam, a lot of DPs had their own special camera mount systems for making handheld shots appear as smooth as silk - shots that even when viewed today, rival the best Steadicam work.

 

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