Nicholas Davidoff

Watch this video for some good tips:

Low mode 3D. Has anybody done it? Is it even possible with the current rigs?

Just don't tell Nick Davidoff...I'm trying to be more serious now. Bravo to you Ron! I'm glad you're seeing the light. You know my motto: "A world without laughter is a better place". We should grab a beer sometime (non-alcoholic of course). My local church has a Monday afternoon happy hour. Who's in?!! ~ Nick

I think we're on the same page Will. And it's great that some of us PM and call each other and network about rates and such. But the only way this would really work is that EVERYBODY is on the same page. EVERYBODY. It's a massive networking venture but I'll bet it can be done. And a meeting such as the one we're discussing should have representatives from all different tiers to discuss realistic and reasonable minimum rates for all budgets. Personally, I think we're wasting our time if we don't have at least a few major leaguers there. So let's see who (if anybody) shows interest over the next few weeks. I've also posted on a different thread that this is a private, face to face meeting and shouldn't be a series of posts on this forum. So please PM if you're interested.

I don't mean to be a sourpuss Ron. I just think there's a time for laughs and a time for focus. I've been following these threads since I started operating a few years ago. And I've been watching rates drop and producers take advantage of us and I've been seeing and reading ALOT of complaining and I don't see anybody doing anything pro-active to bring about some change. I'd be happy to contribute my time and energy and resources if there is something that can be done. It's great that we can poke fun at ourselves and eachother but when it comes to serious subject matter such as this, comedy doesn't help much. When you're trying to have a discussion about how we can band together and protect the integrity of our craft, I think it's important to focus on results. Maybe that's why all these years there haven't been any results. Because it's impossible to get a group together and have a formal business discussion about the state of our industry. And I'm not talking about a Saturday night beer-fest at Jumbo's. Although that would be a fine time, unfortunately the two don't mix. Anyway, a discussion is in the works. Certain people might be PM'd. If you're interested, PM me. But this discussion should take place face to face, in private and not as a series of posts on this forum. As far as jobs go, without going into specifics, I've turned down a few low paying offers lately. I did this for no reason other than to (try to) protect our values. But I'm realizing that it was a wasted effort. Did I make a point or teach anybody a lesson? I highly doubt it. The producers easily found somebody else within a few hours. Was the operator they got inferior to me? Was the work crappy? Maybe, maybe not. These low budget producers and directors are so clueless they may never know the difference. The point is there is no unity. What's the end result of me turning down a low rate gig knowing that there is nobody backing me up? For the simple reason that there are no official guidelines. If there are, somebody please let me know. And this applies to all work across the industry, big and small. This thread has turned to the subject of a private forum. Which is probably a good idea but it's only a small element of what we need to do if we want to "fix" things. Add an official set of guidelines all operators agree on and a generous helping of Lisigav and we might be on our way. Until then, it's every man for himself and may the best men win. I'm busy and working and fine with the way things are. I just love our industry and respect my fellow operators and I'd like to do what I can to make things better.

The key here is to start from the top down. We'd need the high level operators to get involved. I don't see it working otherwise. A bunch of beginners in a room discussing rates, I just don't see this as making a great impact. I don't consider myself a high status operator so I don't know if I have the clout to organize something like this. But if there are any A-list operators who are interested, then PM me, or William or eachother and let's set a venue and get together and talk.

The internet is serious business. Ironically, instead of offering positive contributions, ideas for how to resolve the issue, or offering a venue of your choice for this conference of Steadicam operators, you "kicked your feet up and complained." Make no mistake, the A-list operators have networked together, and still do. They pick up the phone, send a private email or PM. Maybe I am one of them, but we "newbie hacks" are also organizing as we speak. The more people on the same page, the better, so if you'd like to join the discussion, drop me a PM or email. p.s.- I happen to enjoy the good humor found in this community, if only because it gives the community the humility where I feel comfortable enough to ask anyone here a question. The veterans I know have never refused to answer an honest question. Maybe lisigav has greased the wheels? Of course humor is a wonderful part of the forum (as is Lisigav) and I love a good laugh like anybody. It's just that I've read several important discussions come to an end when they take a humorous turn and go nowhere from there. From what I've gathered, it seems to me the only way to protect our values as operators is to create an offiicial or "unofficial" union, guild or what have you. If every member of this group agrees unanimously on certain rate minimums and other business practices, then we know that we're all backing eachother up. The guidelines and information discussed among us doesn't need to be publicly posted and should remain among us. But I certainly support the idea of establishing minimum scales for features and TV, all the way down through the various union tiers and maybe even shorts and music videos. These numbers would be geographic of course, but this whole venture would require the participation of at least 90% of working operators. This way, when a producer offers a lowball number, I could say with confidence, "I'm sorry, I can't accept that because it's below our guild minimum for your budget level". And I know with confidence that everybody else the producer calls will give the same answer. Next time a company refuses to issue an insurance cert or pay a booking fee, I know that we have standards in place. I know that these ideas have been discussed here before and perhaps there's a good reason why it hasn't gotten off the ground. Maybe this raises the idea of an unofficial steadicam union? Maybe it's a bad idea, and there's good arguments against it? But I know that times are changing, things are different now and maybe the time has come to make something happen? I guess step #1 of this process would be a meeting of at least several operators of all different status levels.

I would be happy to pay into something like this, especially if I felt it's making a difference to our industry.

It amazes me Ari that in three weeks not a single member of this forum has anything to contribute to this post. It pretty much goes to show that there is nobody interested in any sort of affirmative action to protect the integrity of our craft. There are plenty of whiners here who like to kick their feet up at their computer and complain about dropping rates. Meanwhile these same people aren't willing to lift a finger to even attempt to DO something about it. Let's put together a meeting. Let's draw out some guidelines. Let's get the A list operators to network together and establish some policies that we all agree to abide by. There are solutions here folks, people just need to meet and discuss and come up with some plans. Strength through unity. At least lets try open a serious discussion. I'm in. I'll be there. I'm willing to put in work and make a commitment. I'm sure Ari is also and probably a handful of others. At least it's a start. I would be proud to turn down a crappy job offer knowing that my steadicam brothers are ALL behind me and we've all agreed on some industry standards. But this futile practice of venting on the forum about dropping rates will get all of us nowhere and it will remain an every man for himself industry. I'll admit it right here to all of you that I for one will not hesitate take a low paying job because I know that there are a hundred cheap newbie hacks waiting in line for it and I know that there are a hundred veteran operators who don't give a shit enough to try to organize some constructive solutions to any of these problems. I predict the next reply to this discussion will be some dumb joke about getting drunk or lisigav and that will put an end to this thread.

looks like I am out. I am neither a member nor a professional. ... And that's how these rate discussions end gentlemen. With a joke and a fizzle. Perfect way to underline my point.

I'd be very supportive of this idea as well. A private forum for working professionals who make their primary living as camera and/or steadicam operators. Although I wouldn't agree with the SOA membership criteria. Anybody can join the SOA with a few mouse clicks. I was in the SOA the day I got my first rig, it's not much of a filter. I would propose some sort of sponsored entry. Meaning everybody in the private forum needs to be sponsored in by three other operators who can all certify that the new member meets the membership criteria. As Alfeo said, this private arena would allow working professionals to discuss important matters in private like minimum rate scales, working and dealmaking guidelines and much more. It might also be an all important step toward some type of ORGANIZED UNITY within the steadicam community which is currently NON-EXISTENT. Although I predict there will be a lot of discussion about this but no action because I've been watching this cycle repeat itself over the last few years with zero results.

funny stuff. It's a great way to vent anonymously! rb Yeah, a bit funny but very sad and very true I thought.

Big bummer BJ. "Such is the business we've chosen", I guess is the moral. Sometimes we just gotta bend over and take it with a smile. I, for one, am going to try to incorporate some reasonable pay or play clause in my deal memo from now on, wether it flies or not. And I'll do my best to enforce it. I don't think it's right that producers can put somebody on a hard booking and then cancel or push without a penalty. Maybe not a full rate for the day, but a reasonable cancellation or rebooking penalty is in order. In your case BJ, I guess it's a tough call. I would imagine some idle pay during the hiatus would be appropriate, but what do I know. I'd love to get together for a brewski and commiserate with you buddy but I'm working in the 'Rouge. Hope things go better when you're back in the USSR! PS - Thanks for the PM's and deal memos guys.

Do you know if they'll be offering the new boards as a hardware update for current Camwave owners?

I've been on 2 union shows this year that both pushed not once but twice around 7-10 days from start date. One show got cancelled, the other worked out. Both times I turned down other jobs for the period I was supposed to be booked. I say there should be a minimum grace period. Let's say a week or more before shooting. If they push or cancel past that point, we're entitled to some sort of compensation. I know that some or most steadicam agencies use this clause. So is there anybody out there that has ever successfully (or unsuccessfully) enforced a pay or play deal?

I've actually been working things out with production on my pushed project and the UPM turned out to be a decent fellow and is compensating me fairly. But for the sake of this thread, I guess it all boils down to a solid deal memo. And a "pay or play" clause within that deal memo. Only this will give you any leg to stand on. If you're booked, then as of what date? And how many days ahead can they cancel or reschedule you before they are financially responsible? This should all be outlined. It all makes sense and of course this is the way things "should" be. But does it always work this way in the real world? Have any of you had an experience similar to this and the producer happily paid you after two or three pushes or a cancelation? Or did the UPM fight you regardless of the deal memo? Has a UPM ever frowned on the pay or play clause and it soured your relationship? What are fair salary demands in the event of a push or cancellation? A full day's rate and equipment rental? What if it's a feature? They're not gonna pay you weeks worth of salary and rental so what's the industry standard here? Lastly, I'm in the process of updating and solidifying my deal memo. I would greatly appreciate if there's an op out there who can send me an official steadicam agency deal memo, or something of equal legal strength. This would really help me uphold the standards we all expect of eachother. Please PM me or email me direct: NicholasDavidoff@hotmail.com Thanks, ~ Nick

A question for the industry veterans out there: Let's say you're booked a few weeks ahead for a feature film. Then, a week before filming, the project pushes a week. Then another week goes by and they push again. Perhaps another week or two goes by and they push yet again. Meanwhile, you may have turned down various other day playing jobs or even other features because you were technically "on hold" or "booked" with this production as of those dates. Maybe it was a distant location shoot and you shipped your gear ahead which has been collecting dust in their office. Finally the production comes around and you're happily filming away. Or perhaps the production shuts down after 3 or 4 pushes. You've lost hundred or maybe thousands of dollars as a result of you and your gear being "on hold" and "off the market". Personally, I understand that productions sometimes push. And I might be lenient if it happens once. But two or three times and I'm taking financial losses as a result of somebody's incompetence or lack of planning, now I expect some sort of compensation. I believe it perfectly fair to submit a bill for 1 week of equipment rental for every week that my equipment is reserved and not being used. I understand that rental houses wouldn't do this, but my argument is that this is specialized gear you can't get at a rental house. And unlike a rental house I don't have multiple packages to rent, I only have one. And if you put it on hold, you're liable for the reservation. I may even go so far as to request idle pay if I continue to be strung along and re-booked. So what do you do? Or if you've had this experience, how did you deal with it? I'd love to hear from some people who have actually had to deal with this situation and come to some resolution with production. Are these matters outlined in your deal memo? For example: "First push in scheduling is complimentary, but upon the second push in scheduling, operator shall be paid for 1 week equipment rental and/or idle days for each day until filming commences". Furthermore, I've heard of or have been involved with a handful of productions lately that pushed numerous times and some eventually shut down altogether. I don't remember such a trend in previous years in the business. Is this the hip new thing?

Anybody looking forward to seeing this? Anybody know when it's hitting the net?

Big shout out for Terry West. He did a fantastic job for me on a major rewiring of two J-boxes, centerpost cables and HD lines. Terry can do it all! Jeroen was great to talk to, but he was in Hawaii for a while, so I went with Terry.

Newbie ops are selling their rigs in record numbers these days. It's simply not a profitable venture anymore. And there are thousands of idiots out there who have no idea what they're doing, working for free and making a pathetic joke of the whole profession. Unless you have a fanatical devotion to the craft and lots of money to risk, I don't recommend operating to anyone as a way to make a living. There are much easier ways to make money with much lower startup costs. Newbies be warned.

Anybody happen to have a section of carbon fiber tube they want to sell? Could be a raw piece of tubing or maybe you have a damaged section of centerpost laying around. Must be 2" diameter (for 2" gimbal) and must be at least 13 inches of usable (undamaged) length. Any excess I can chop. Thanks, ~ nick (310) 567-9668 NicholasDavidoff@hotmail.com

Of course, that's a no brainer. Dionic 160 is also much heavier and larger than a Red brick or Dionic HC. I think the discussion is about the "medium size" class of steadicam battery, not the jumbo 140's and 160's. A Red brick puts out nearly double the amp hours of Dionic HC at basically the same price, same size (volume) and only slightly heavier. As far as my understanding, the inside of the battery is just a handful of lithium ion cells. In different amounts and arrangements. The more cells, the longer the run time (and the larger and heavier the battery). Does AB use different (better) Li-ion cells than Red? Sounds like the Dionic HCX will be a pretty good choice at 120 WH. Red still has it beat at 140 WH and a lower price. Personally, I prefer the AB mount over V mount so I'd like to stick with Anton Bauer. Just wish I held out for the Dionic HCX's instead of getting my HC's. Anybody wanna buy 4 mint condition Dionic HC's with less than 10 cycles on each? PM me. And as far as the 1000 cycle rating of the Dionic HC's, out of curiosity, what is the cycle mileage on Red bricks?

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Thanks alot for the referrals guys.