Erwin Landau

I have made a couple of pix with my 35mm still camera have to fill 'em up... until then have to wait... My wife is (FINALLY) back from Europe and brought her Digital camera... BUT I just lend the Bracket out... Here a picture from the original DCE sales brochure:

Preston MDR-1 Run Cables, Master and PRO Power Cables for sale: Preston: (Run) (2) Panavison [4422]..........$164.- each (1) Arriflex3- (right angle) 11 pin Fischer [4420]..........$136 (2) Aaton [4424]..........$124.- each (1) Arriflex 435/535/SR3/Mvcm 3Pin [4421]..........$124.- PRO: (1) Arri/Aaton/Video 12 Volt Camera Power Cable [6070]..........$80.- (1) Panavision Lightweight 24 Volt Camera Power Cable [6010]..........$136.- (1) Moviecam 24 Volt Camera Power Cable [6040]..........$84.- Master: (1) Master to Panavision Power Cable [250-0049].........$300.- (was $435.-) If you are wondering, It's 20% off list. All cables checked and in perfect working condition. If interested: Erwin Erwin Landau, SOC Steadicam 818-769-0293 818-448-2639: Cell www.landaucamera.com

Hi Job, You can't... Only The Administrator (Tim Tyler) can. You have to e-mail him and tell him your changes... A little of a pain...

Here a Hardmount of a Starbike. Jacques Jouffret on the last Aaliyha Music Video...(LA Downtown, Aug. 4th 2001) Could not post it in General Discussions under Hardmount, so...

Hey Michael, When you create a post you will see that it says "File Attachements" at the bottom. Take a picture that you scanned or from your digital Camera and open it in PhotoShop save it as "Webimage" and resize it to be under 75k. I try usually to make it smaller then/or around 30k, makes for a quick upload on the forum and the size is not to big. I'm a quick learner... okay, okay... my wife told me...

Thanks Guys, That's what I was looking for... Peace

Maybe change it to manufacturers specific topics in cluding all brands. And Jerry you have a point there... Discussions bases on a specific model... (like power out problems with a PRO, or monitor trouble on my Masters or the like...) If you have that model, brand, etc. you can just look it up and find compiled posts on that brand.... Problems and solutions... It also could cut down on repeat post over and over again about the same problems... I liked the fact that you could look up posts specific to a model or make. Too many post just disapear in the Genaral Discussion section... to never or just hard to be found... Just a thought...

Hi Job, Welcome.... You fell into the same trap as all of us do, that you can't please all of use... The poll should have more then 10 posibillities to choose from. As you always leave out one important product or manufacturer... I tried... I failed. Tiffen? When do you ask about CP do you include all the Masters and Ultras and Provids and SK's etc that where build under the Tiffen banner... What about the Ultimate... or any of the other 48 manufacturer.... You can't win. But nice try... Erwin Landau, SOC Ultimate Rig PRO Arm DSD Harness Preston FF

Hi David, Again I would suggest that you e-mail all registered and/or known Gathering attendies that there is a gathering on Saturday. Everytime I mention it to an operator they react to it as "really, why didn't anybody tell me..." Many operators that are working a lot can't or just will not check the forum... most of them don't even care to check the forum anymore... many got turned off by the new layout. But they would show up to a gathering if they would know about it... Just a thought and maybe we can improve on the poor showings at the last couple of gatherings... Hope to see you there... unless they don't move my call for that day...

Okay guys... To clearify: We are shooting FILM style with an HD 24P Sony F900. The protocol is film style, no cable to the camera, and using a DAT for sound. (I shoot 95% on film of that beeing 85% 35mm. And of the last 5% most are HD. So... I don't own any video gear including J-7 or any other Gimbal based focusing/control units and I don't want to... because I never use it. And I don't want to get into Video at all. The first time I worked on a Video show my Monitor got fried and the last time I helped out an operator was on the Sharon Osborne Show and I got screwed by the company as well as by the Operator... Not a fan of the "Video Job mentality"... no offense, just does not work for me... ) We are using Cinestyle Lenses (Primes, HD Primes as well as Zooms) that are equipt with 32/0.8 pitch Lens gears. So no Video lenses used and the 12 Pin Hirose is free to be used for run/stop... I know that the Fuji Lens takes a 12 Pin Hirose for start and stop and Zoom etc. and that the Canon Lens takes an 8 pin Canon... does not apply here. We have the regular set up with 1st and 2nd AC... but we had 4 different AC in the last 2 weeks, so every time we have to start from scratch with how to go about the rolling the camera protocol. Actually all of them assumed from the get go that I had a run cable for my Preston and also first pushed the run on the hand unit before realizing that they had to push the button on the Camera. I tried it but after a couple of time white and black balancing the camera, once even pushed the assigned Memory button (as the roll button is well hiden and with all that support bracketry that helds the Lens fron ripping the front of the Camera, not accessable), just seconds before rolling, the DP got frustrated to say the least... They want a set frame before the slate comes in and hate when I have to swing the camera around to start.... (The right of the Video Village, as the pay you, I guess.) So again: - Which pin on that 12 Pin Hirose is used for start/stop and which one for ground? - Are the same pins used on all cameras as the lenses are interchangable between all or most model cameras (All Cameras that I checked had a 12 Pin Hirose on the Body), if not with pins can be combined to make a single run cable for all HD Cameras. Thanks for your help guys. Erwin"HD Pain... starting to become hell"Landau

Hi Guys, I'm working on this HD feature and the "Is the Camera rolling" and "Oh S**t, we didn't roll on the last one" are driving me nuts. I would like to be able to remotely run the camera, and the best way to plug into the camera would be the 12 pin Hirose on the Camera were usually the lens plugs in. Right? So my question is: - What are the pin outs on the Camera? - Are the connectors/pin configurations the same on the Sony as well as the Panasonic and the PanaSony? - Is the "Hirose male HR10A 10P 12P" the right connector? Thanks Guys.

Hi Charles, You will not find much there, at least not for the 35-3. You should maybe know that that bracket is no longer made (and only about 50 were ever made), also that bracket that he made only worked on about 60% of Cameras... depeding on Camera mods. Especially here in LA... gnespolo (????) patience my friend, patience...

Ooooooooh, Somebody needs a hug....

Would that be so bad???? (put that darn smiley face here)

Ted Churchill (New York, ~1983) Photo By Charles Papert

Determining your Rate (By Ted Churchill) More often than not, the operator - after a particularly grueling day - will feel that he or she has not been adequately remunerated for the gross amount of effort spent. Therefore, it behooves the operator to establish a rate schedule which will accurately reflect the work done and with which there can be no disagreement and misunderstanding. For example: $ 100.00 at the time of your appearance on the set $ 2.00 per yard forward (walking) $ 5.00 per yard forward (running) $ 3.50 per yard backward (walking) $ 7.00 per yard backward (running) $ 10.00 actor in the shot $ 15.00 actor not in the shot $ 20.00 per flight of stairs (up) $ 15.00 per flight of stairs (down) $ 10.00 each additional consecutive flight $ 25.00 to put the camera in the Low-Mode $ 15.00 to put it back $ 35.00 to change sides with the Arm $ 25.00 to put it back $ 5.00 per rehearsal minute, 16mm & Arri 2C $ 10.00 per rehearsal minute, Arri 35BL $ 15.00 per rehearsal minute, Panaflex on Steadicam $ 35.00 per rehearsal minute, Panaglide $ 3.50 per focus change $ 2.50 per iris change $ 8.50 both focus & iris at the same time Remind the producer that the above costs are on a per take basis and not on a per shot basis. Further more the above costs vary according to the length of the lens used. Additional cost for the16 or 18mm is negligible but repeated takes with the 50 or 85mm can become prohibitively expensive.

30 years and kicking... This year it will be 30 years that Garrett was running around in that Motel and scaring the maids with a broom stick and came up with the prototype of the Brown Stabilizer. Calls for a celebration I would say... How much did our job as a steadicam operator change over the last 3 decades... How much did our equipment change. How it went from beeing an exotic special event when the Steadicam was called to the set, to todays requirements that almost every set has a Steadicam either full or part time on the production. Memories.... thoughts....

Administrative nightmare... I was shooting yesterday at CBS Radford on New York street... (Low budget, Non Union) The sun was hitting hard so we needed the over head silk moved in place, had to wait for 20 minutes for the Union Grips to come and push the button. There were a couple of trucks in the shot on the turn around. The teamsters moved one, then we had to wait for the art department for one, the props for another and transpo for the genni... all the keys were in the ignition... but we had to wait for the different drivers to move them... Sounds familiar? What's my point? It's funny as long as you are not in the middle of it...

I just read an article about film making in China... With regards to the size of the Chinese camera crew in comparison to the average European team, the Chinese DP is a very lucky guy. Besides his operator and his steadicam operator, he also has a "Vice-Cinematographer" who measures exposure and establishes the iris opening. Moreover, he has one assistant to pull focus, one to change the lenses and thread the camera, one to load the magazines, one to connect the video assist system and two as stand-by assistants. None of the ten camera crew members holds the slate: This is the duty of an assistant Director.... We could solve the unemployment rate for the Local 600 with that concept. But I have the feeling that they would not go for the salary suggested... Looks like a nightmare for Producers... How many people do we have to feed? Are you nuts....

What style are you looking for? Jerry Hill use to make one as well as Bob DeRose and a couple of other manufacturers... I own the DeRose style.

Hi Brad, I did two shows of the Sharon Osborne Show back in October... Guess what? They avoiding me since then and no check in the mail yet. I was told that you can go to the labor board and request there assistance... After 60 days the employer can be charged the full amount owed to the employee per day every day until you receive a check... Give it a try...

Sorry my bet... not the Elite I was referring to the lowest model of the Ultra, the "Ultra" as well as the "Master/Ultra upgrade" that were 12 Volt only but were upgradeble to 24 Volt (optional). On the Price list of the Ultra is also a 12-24 volt Inverter listed at $1995.- So 12 Volt only... Other upgrades and optional equpment included: Motorized Stage, Frameline Generator, Artifical Horizon, On Screen battery Display, 12-24 DC to DC Power inverter and 24 Volt Batteries. So... Yes there are 12 Volt Ultras out there...

It's very easy to turn off a DP or a Director to use Steadicam. I spend a week on a feature (because the Producer wanted me) just sitting around as the DP didn't wanted to use Steadicam, because his past experience were very bad... He came up with new ways of avoiding Steadicam at all cost until he ran out of excuses to the Producer, that was actually paying me NOT to sit around. He had to use me and it seams that I restored the picture of the Steadicam and he is calling me back since then... What's my point? Only do jobs, that you are absolutely sure you can handle... It's very easy to get on somebodies shit-list that will never hire you again... Also don't burn any bridges with old employers... Makes sence? Good Luck!

My main unit is the XCS TR-1 (Back up or second Monitor: Transvideo Hermes). Receives UHF and Cable, you can actually use it as a cable box... I think that was one of the reasons that Greg Bubb got slapped with a ban from the FCC. It works of a 9 Volt battery (internal) for a day or any DC source of 9 - 30 Volts. I use a A/B ProFormer that lasts for days. It's so small (about the size and weight of a ProFormer) that I can just velcro it to the side of any monitor. Has a LED display for channels and low battery indicator. Any BNC antenna will do but I found that the Transvideo wip antenna works very well most of the time, for other times I use the CIT Sharkfin. (The antenna that is delivered with the unit is just bad. Even Greg admits it.) The unit has actually 2 video out's (BNC) so that you can use 2 monitors simultanious. Again a very nice product by Greg Bubb, bummer there are only 50 units build... (I own S#50, I got Lucky). And the price was very reasonable as well.

Hey guys... You still don't get it. Throw oil in the fire and it will grow, let it alone and it will burn it self out. He is getting a kick out of us all. If he has something consturactive to say join in, if not ignore....... please. To many valuble operators have left the forum for good... don't be one of them.