Director Stanley Kubrick couldn’t figure it out. In 1974 a company named the Cinema Products Corporation sent him a reel of film, all shots that seemed beyond the capacity of the day’s filmmaking equipment.

The camera moved fluidly after a man who was running around a golf course and followed a woman as she jogged up and down a wide stone stairway—without the bumping and jiggling characteristic of handheld footage. Kubrick also knew he wasn’t seeing a simple dolly shot, where the camera is attached to a wheeled platform and moves along a set of metal tracks.

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