A Journey to the West
Koji Kojima’s journey to becoming a Steadicam operator started humbly. Originally from Japan, he moved to Los Angeles to improve his English and pursue a passion for filmmaking. Like many in Hollywood, his beginnings were a mix of student films, low-budget productions, and a steady climb through the ranks. The allure of the Steadicam came as he discovered its unique ability to create smooth, fluid shots while navigating dynamic sets. “I always loved dolly shots,” Koji recalls, “but with Steadicam, you’re not limited to a track. It’s like a three-dimensional dolly that you can move anywhere.”
This freedom of movement, combined with the intricacies of fine-tuning equipment down to the smallest screw, won Koji over. “The big tools and grips didn’t interest me. It’s the small, precise adjustments that matter most with Steadicam. It’s like an art form,” he adds.
This freedom of movement, combined with the intricacies of fine-tuning equipment down to the smallest screw, won Koji over. “The big tools and grips didn’t interest me. It’s the small, precise adjustments that matter most with Steadicam. It’s like an art form,” he adds.
Capturing the Energy
Shooting Kylie Minogue’s Grammy-winning hit Padam Padam was a major highlight in Koji’s career. With the star herself on set, the stakes were high, but Koji found his groove amidst the chaos. “It was pressure, for sure,” he admits, recalling the thrill of working with a pop icon. “I used to listen to her songs back in Japan when I was in my twenties. Seeing her in front of me was surreal, but she was really down-to-earth on set. That helped ease the pressure.”
The music video required navigating through tight spaces, particularly in a small motel room where Kylie performed, sitting on a countertop. “It was challenging,” he says, “because I had limited room to move around, and I was using the Steadicam to keep up with the energy of the scene.”
Despite these challenges, Koji thrived. He was part of a talented team, including director Sophie Muller and cinematographer Steve Annis. Their creativity and collaborative spirit added to the experience. “Sophie and Steve are so creative. They gave me general instructions but allowed me to improvise within those guidelines, which is really rare in the industry,” Koji says. “That’s one of the reasons the video has such a dynamic feel.”
Padam Padam Power
A crucial part of Koji’s success as a Steadicam operator is his meticulous attention to the equipment he uses. On Padam Padam, he worked with the ARRI Alexa Mini, a versatile camera that allowed for capturing high-quality footage while still being lightweight enough for Steadicam use. “The Alexa Mini was perfect for this shoot. We needed something small but powerful, and it delivered,” Koji notes.
Equally important were the Anton/Bauer Dionic XT batteries powering his Steadicam sled. These batteries are industry-standard, known for their reliability and long-lasting charge. “I’ve been using Anton/Bauer for nearly 10 years, and they’ve never let me down,” Koji says. “In fact, during Padam Padam, I only had to swap batteries once during the lunch break, which is incredible when you’re running around all day.”
The batteries played a key role in keeping Koji’s rig light and mobile. “The Dionic XT’s are not just reliable; they help balance my rig. I have a three-battery slot of my sled, one of the batteries power the sled, the other for my Small HD monitor and Teradek and the other is spare. I like the Dionic XT batteries as they counterbalance the camera perfectly.”
Another critical piece of equipment was the Teradek wireless video system, which allowed real-time monitoring for the director and crew. “The Teradek transmitter sends the camera feed to both the director and video playback monitors,” Koji explains. “That way, the director could see exactly what I was capturing and make adjustments on the fly. It’s all about keeping the workflow smooth and efficient.”
Dancing with the Stars
One of the most captivating elements of Padam Padam was the choreography of the dancers surrounding Kylie Minogue, and Koji had to keep pace with them, using his Steadicam to mirror their fluid movements. “It’s like a dance,” Koji says of operating the Steadicam. “You’re constantly adjusting your body, the camera, and the balance of the equipment to get the perfect shot. It’s a lot of physical work, but when you nail it, it’s incredibly satisfying.”
At nearly 50 pounds, the Steadicam rig isn’t light. But Koji emphasizes that technique and muscle memory make all the difference. “I’m not lifting the rig with my arms. The weight is distributed through my body, and my legs, which are my strongest muscles, support most of it. It’s all about practice and getting used to the balance.”
Koji’s work on Padam Padam involved not only tracking the dancers but also moving backward, up and down stairs, and through tight spaces. “We practiced a lot—walking backward, going downstairs, all the tricky stuff. It’s the kind of thing that comes with experience. Your body gets used to it, and your mind follows.”
Always Ready, Never Waiting
In the fast-paced world of music videos, downtime is a luxury no one can afford. “Time is money,” Koji says. “When Kylie was ready to shoot, we had to be ready, too. There’s no room for technical issues. You don’t want to be the one holding up the shoot because your equipment isn’t working.”
That’s why Koji relies on durable, dependable gear like the Anton/Bauer batteries and Teradek systems. “You’ve got to make sure everything is in perfect working order before you start, because you can’t afford for anything to fail. I carry backup cables and tools, but I’ve never had a major failure on set, thank goodness.”
Koji also mentions how crucial it is to keep the camera powered throughout the day. “Even when we’re not shooting, the camera stays on so the director or cameraman can check lighting or costumes. You’ve always got to be ready.”
Watch the official music video here:
Making Magic in a Day
Surprisingly, the entire Padam Padam video was shot in just one day, with multiple locations within the same property. “It was a long day, but we moved fast,” Koji recalls. “We had about six or seven different setups, and we just kept going. The energy on set was incredible.”
Though it was a whirlwind, Koji’s preparation and precision allowed him to capture everything needed in the short time frame. “We did full takes of the song, four minutes each, so there wasn’t a lot of room for error. You have to be fluid and think on your feet.”
Parting Shots
Koji’s advice to aspiring Steadicam operators? “Practice, practice, practice,” he says. “There’s no substitute for wearing the rig every day and getting used to how it feels. But also, watch movies and TV shows. Mute the sound, study how the camera moves, and don’t get caught up in the story—focus on the technique. That’s how you develop an eye for what looks good.”
Reflecting on his career, Koji remains humble. “I’m still learning every day. That’s the beauty of it. Steadicam work keeps you on your toes—literally and figuratively. It’s a challenge, but it’s worth it when you see the final product.”
There’s nothing quite like seeing your work come to life on screen.
