Jonathan Beattie is a camera operator and Steadicam professional a proud member of the International Cinematographers Guild IASTE Local 600, Society of Camera Operators (SOC), Steadicam Operators Association (SOA) & the Steadicam Guild.
After graduating from Full Sail University in 2003 Jonathan began his film career as a grip. This experience as a grip aids in his facilitation of unique, fast and safe ways of implementing the Steadicam as well as other camera setups and configurations.
Most recognized for his work on the Pharrell Williams '24 Hours of Happy' music video (directed by We Are From LA). A project in which Jon captured 370 unique 4 minute dance performances in and around the entire city of Los Angeles. His Steadicam work is also featured in directors Khalil Joseph’s Shabazz Palaces 'Black Up' and Emily Kai Bock's documentary 'Spit Gold Under an Empire.' Jonathan has had the honor to collaborate and work with many talented DP's and directors including: Mattew Llyod CSC, Alexis Zabe, Evan Provosky, Elliot Davis, Steven Ilios, Cody Blue Snider, and many more.
Working on television shows and feature films like; 'Limitless' 'The Following' 'The Good Wife' 'The Blacklist' 'Orange is the new Black' 'Blindspot' 'Sneaky Pete' 'Thoroughbred' & 'The Seagull' to name a few.
A versatile technician, Jon specializes in operating Steadicam, ARRI Trinity, handheld, remote heads and the geared head. He also has experience operating on the Ultimate Arm and Russian Arm high speed pursuit vehicles.
Jon has developed a foundation of applied movement, understanding of body language, coordination, sense of timing, and calm. He has studied music and various disciplines of body movement since a young age. Schooled in percussion, dance, martial arts, and other team athletics.
The culmination of his experiences has shaped an operating style that is graceful and controlled. Jon aspires to make the lens invisible and have it serve as the subject's mirror to the world.
Regardless of the medium, execution of emoting the camera to drive the narrative through composition and subtlety is his mission. Jon’s passion and drive for storytelling are evoked in the frame through dynamic movement.
Jon brings to set a fast paced, high energy, team driven attitude. He aspires to capture the best shot possible in the most efficient manner. His ability to execute challenging shots with consistent quality and endurance regardless of the hour, are a hallmark of his work ethic as a professional.
In addition to his work as an operator, Jon has been invited to instruct at over 20 Steadicam workshops including the SOA workshop in Philadelphia, Tiffen workshops, the Maine Media workshop, and Ashbury University. His mentorship of over 350 aspiring operators is a point of great pride and esteem. Continuous improvement, collaboration, and professional courtesy are of great value to Jon in his journey.
The Steadicam is the camera-stabilization system invented by Garret Brown. Garret put his invention in films like Rocky , The Shining and Bound For Glory . Since its invention in 1976 the Steadicam has been used in countless films, television shows and at live events around the world.
A Steadicam can create dynamic shots taking the audience to places film makers had only dreamed of. The Steadicam can be used to create breathtaking moving shots without the need for a dolly or track. Productions can get set and shoot quicker and make changes without the need to move and re-level track.
The Steadicam can move through a scene in a way that emulates the human eye. Steadicam is not just for a master shot. It can be used to move from a master to a single flowing into a tracking shot or in and out of static shots. Shooting with the Steadicam will give the editor increased options. Steadicam creates the feeling of depth in a 2d world. It can make an otherwise boring shot or setup more interesting and cuts very well.
The ARRI Trinity was designed by Curt Schaller the head of ARRI's Artemis stabilizer division and released in 2016.
The ARRI Trinity is a 2 axis stabilized head (tilt & roll) capable of a 66lbs payload. The Trinity is an upgrade to current Artemis sleds.
The Trinity is every bit steadicam 2.0 as it is a handheld crane. With a stabilized roll axis it means a perfect horizon regardless of conditions. Capable of going from low-mode to high-mode & vice versa at will in shot.
The Trinity is not a trick shot platform. It's a more precise, dynamic, controllable tool to make the shots we already do better. It can be faster than a traditional steadicam sled once built. The ability to hard mount it to use as a ‘mini’ crane and stabilized platform means more dynamic shots faster, with less equipment and manpower to execute.
The Trinity can also be used hard mounted on a dolly, speedrail, mitchell plate or even on a grip stand with a baby pin.
The system can be operated by a single user or with the assistance of a second operator on wheels/joystick.
The Trinity can be used handheld; typically with the aid of an Easyrig or Klassen Slingshot. Going handled allows for the operator to handoff the Trinity through windows, lower it on a line, scrape the ground and or be raised well above a crowd.
With the versatility the Trinity offers it can mean a single camera build for all modes moving from steadi, studio and handheld saving production time.
Trinity can get the lens in places and find angles that traditional sleds just can’t without compromising other elements.
Unlike other heads that have appeared on sleds and the reworked prosumer brushless gimbals. The Trinity offers a near seamless step into the future of camera control now with little compromise when it comes to lens choice and accessories because of it's 66lbs payload.
Curt broke the code he made a better wheel.
A future update will add a 3rd Axis module allowing the Trinity to be mounted onto a fixed or telescoping crane arm.
The Handsfree Transporter has taken the moving camera to a new level. The Handsfree Transporter allows an operator to create both fast moving and incredibly slow moving shots without a dolly, quad, golf cart, or vehicle mounts. Less man power and time is needed for the creation of these shots, saving time and money. The Handsfree Transporter can travel at an incredibly slow creeping pace or at speeds up to 15mph. Its is highly maneuverable and will work in narrow places other vehicles cannot go.
A Steadicam/ARRI Trinity Operator can use the Handsfree Transporter both hard and soft mounted. If hard mounted the Handsfree Transporter will carry the load allowing for take after take without fatigue, or to follow the action in a sporting event for hours without missing a beat.
In a soft mount configuration the operator will wear the Steadicam and fix the rig to their vest. This will allow an operator to create eyebrow raising shots that may involve elevation and speed changes that require step-ons and offs.
This is one of the only Handsfree Transporters in the Northeastern US. Please call or email with any questions about the unit or rental.