SnorriCam

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A SnorriCam (also chestcam, bodymount camera, bodycam or bodymount) is a camera device used in filmmaking that is rigged to the body of the actor, facing the actor directly, so when he walks, he does not appear to move, but everything around him does. A SnorriCam provides a dynamic point of view from the actor's perspective.

1 History
2 Uses in film
3 Uses in television
4 Uses in music videos
5 Problems
6 References
7 External links

[edit] History

SnorriCam is named after two Icelandic photographers, Einar Snorri and Eiður Snorri, who work together under the name Snorri Brothers (although they are not related) ^[1].

The concept of the SnorriCam has been around for decades. Various ad hoc versions of the device were implemented in films going as far back as Seconds, in 1966. However, the practicality of such a point-of-view device was limited by the weight of the camera. Since most 35mm motion picture cameras were simply too heavy to easily carry, there was no real point in developing such a device. However, with the emergence of the Steadicam and the manufacture of small, lightweight, soundproof cameras that could fit on the Steadicam platform, an added bonus of these newer, lighter cameras was the possibility of a point-of-view device such as the SnorriCam.

[edit] Uses in film

All the following films use SnorriCam sequences^[2]:

Mean Streets, where the lead character (played by Harvey Keitel) can be seen moving through a crowded bar and passing out drunk in the back.
Truck Turner - the character played by Yaphet Kotto can be seen in his final throes of death through the eyes of a SnorriCam
Lock, Stock and Two Smoking Barrels when Eddie (played by Nick Moran) is leaving the boxing ring after the game of poker.
25th Hour
π and Requiem for a Dream both use the SnorriCam and this means its use is considered to be one of director Darren Aronofsky's trademarks.
Inside Man
Kannathil Muthamittal
Dil Chahta Hai
Angst
Dalkomhan insaeng
Malcolm X
Seconds
Jacob's Ladder
Guru
The Exorcism of Emily Rose
Stay
Azumi 2: Death or Love
Heyy Babyy
Kicking & Screaming
See No Evil
I Am Legend

[edit] Uses in television

The "Sir Digby Chicken-Caesar" sketches in That Mitchell and Webb Look use a SnorriCam extensively. In Torchwood, the episode "Dead Man Walking" (Season 2 Episode 7) also has a sequence where the character Owen Harper is seen moving through a nightclub in a SnorriCam sequence with a slight speed up. The first episode of the second series of Skins features a SnorriCam being used in a party scene. The show Scrubs uses SnorriCam shots in a few episodes to show nervousness.

[edit] Uses in music videos

Other notable uses of the SnorriCam are in the Spike Jonze-directed video to the Sean Lennon song "Home" (1998), Doggicam System's Bodymount was used on both the Spike Lee film 25th Hour, the Mark Romanek-directed video to the Mick Jagger song "God Gave Me Everything" (2001), and in the Adam Buxton/Garth Jennings-directed video to Radiohead's "Jigsaw Falling Into Place" (2008), which uses head cams in order to achieve the same effect that the SnorriCam provides.

[edit] Problems

A problem with shots filmed with a SnorriCam is audience vertigo. Since the foreground element (the actor to whom the camera is attached) is by definition fixed, and the background is in motion, it is very common for audience members to suffer motion sickness and vertigo, to the point of becoming violently ill. A similar problem occurrs when filming on a boat with a fixed camera, which is precisely why classic Hollywood films that take place in the sea were shot in studios, the cameras placed outside of the boat so as to provide a fixed horizon line for the audience. Because of the audience vertigo problem, SnorriCam sequences can only be used sparingly.