Ari Gertler

I totally concur. Ari Gertler

I have done a few different courses in the U.S. on the East Coast and the West. Without a doubt the best course that I have taken (along with many other Ops that done multiple courses) is the PRO-GPI workshop. The only problem is that they had to cancel the latest one. If you commit to coming to the US that may pose a very expensive problem. The major difference with the PRO vs. other forms of training is that at the PRO workshop they have some of the most respected and talented Steadicam Ops in the world helping out. The past workshops have had the likes of David Emmerichs, Chris Haarhoff, Jacques Jouffret, Mark O?Kane, Greg Lundsgaard, James "Jimi" Muro, plus many, many more. Watching how all of these great Ops operate differently is incredible. It allows the student to try out different methods of using the Steadicam rig. They may not be professional teachers, but they all have such a strong grasp of how to use the rig along with years of trial and error on sets around the world in different types of shooting conditions. I learned how they approach a particular shot, from first hearing about it to setting the rig, practice, practice, try a different way, practice then execute. The feedback that I received from all of these operators at the PRO days changed my skill level and technique about 60%-70%. The other great aspect was the PRO workshop used a variety of professional film camera set ups (Panavision 35, ARRI 35mm, ARRI 16mm, plus video and others, all able to change lenses and matte boxes and mags). Using different cameras change the entire dynamics of "flying". The other workshop I took had only video with steel weight cages (though I hear that this may have changed). Before I go on, let me say that the experiences at the "other" workshop are from Four years ago. The program that they teach now may be entirely different. The major problem that I had with the other workshop is that they teach basically only the CORRECT way to operate. This is fine for a beginner but it leaves a lot of other great techniques outside the realm of their lessons. I have found that there is not a correct way to operate a rig. Some like a fast rig and others like it slow. Long post vs short post. Low mode hand above vs. below. monitor in close, or far. Yoke hand close to gimbal vs. closer to and resting on the arm. Keeping the rig/camera flat (not setting tilt) and booming for height adjustment etc. etc. I could go on and on about different ways to achieve a particular shot that I learned at the PRO workshop. Yes I took notes, I had to. The other workshop never had us work on what is in my opinion one of the most difficult aspects of Steadicam: Not what the DP wants but what they DON'T want. For example, the lights, flags, the boom operator, cables, etc. etc. etc. A good skill that I learned from some of the Ops at PRO was not only what we were filming but giving the students boundaries of what not to get in the shot. At PRO (and when I practice by myself) there were no lights or flags, but it is easy enough to use other items around you as objects that you don't want in the frame (telephone poll, the left side of the doorway, the fire hydrent, pretend a car is that damn sound cart just on the edge of frame etc.). I hope this helps, Ari Gertler

What are you looking to have done? I may know of one, plus if the rest of us want some, just think of your discount. Unless you are trying to keep it a secret... Ari Gertler

Here in California I pour six quarts of Quaker 10-40 synthetic. Ari :)

After viewing the photos of you all bundled up in the cold weather, I figure you must be an expert at operating with gloves. So, what type of gloves do you use when it gets chilly? Ari Gertler P.S. I hope that you also get to shoot in warmer weather.. P.S.S. The website looks great and it is easy to navigate.

TO WentWest, How have you wired the battery to the monitors inorder not to send too much power to them? Are the monitors 12volt? Ari Gertler

I have been using two 4" lcd portable Casio EV-4500B (the B is for Black) and they have worked out great. The tuner is strong (when it is turned off though, you need to reset the channel), it is bright, and very small and weighs next to nothing. DP's and Directors seem to like the Casio much more than my Sony clamshell. I suggest that you also purchase some rechargeable AA batteries (it takes 4). 8 AA's should last throught the day. I purchased mine from Best Buy, along with an extended no fault warranty (after a year no problems though). Ari Gertler P.S. It is great for personal use when I have down time on the set. P.S.S The Hoodmann H400 fits perfectly for bright light viewing

It looks good/well made and is a great price. I already have one so I don't need to buy one. The only suggestion that I have for anyone using a cage this size for practice is to make a dummy mag out of a piece of foam and attach it to the back to replicate a larger camera. Ari Gertler

I was working with a Panavised Arri SR3 (24v) and whenever I would turn the camera power on, my lcd on my battery would show empty within a few seconds? I tried both of my cables that were made by Fred (which have worked properly on other cameras) and it would happen every time. Pannavision said that they did not change any of the power input/connections on the SR3, so what gives? Any ideas? Has this happened to any of you before? Luckily I was able to fly with the onboard Arri battery, which actually ads a positive amount of weight to the light camera, so that there wasn't any down time/stress. Ari Gertler P.S. when the shoot is over I will be taking my rig to Panavision and try to have them isolate the problem. I wanted to know if this has happened to anyone else.

I own a Panasonic 7" , I now need to have it wired and have a good method of mounting it to my rig. I have contacted one company about the wiring, and having a Anton Bauer battery mount placed on it. I will not say the name of the company but I have contacted them three times over the past few months and after talking to one person, they say that they will have to get back to me but never have. Soooooo, Can anyone please point me in a direction to have the following three things done to my 7" LCD. 1-Cable that can accept video from the XCS digital level. (with or without power). 2-Cable or back battery mount power supply. 3-Mounting to XCS dual rod monitor post, Or a new 1 1/2" monitor bracket. Any help would be gratefully appreciated. Thank You, Ari Gertler

Could you please list both of the serial numbers. I would hate to purchase them only to find out that they are stolen. Ari Gertler

I am on location in Ithaca NY for the week, but I live with the rest of thr OPs in LA. Ari Gertler

Don't forget to check EBay. I have purchaes quite a few AB products through EBay at great prices. Ari Gertler

I always take my Blacks to the set. This includes a Black Baklava (sp?) to cover my head and face. This may be a little extreme, but there have been two shots that it helped keep my white face from reflecting in a car window, and a head-on shot looking at a mirror (don't ask, it wasn't my idea). Unfortunany the Baklava makes you look like a bank robber or a special forces op on the set. I have seen a new item that Filmtools sells: All cotten, flat black, breathable hooded robe. The company markets it towards sound, camera guys as a quick black cover-up, around $50.

I have been using 2 Casio EV-4500 on the set for DP's and Directors for about two years now. It has a 4" color LCD screen, very small, light weight, and a telescopic antenna that is not usually needed in the exteded form (the signal from my Mod. is just fine). The Hoodman H400 is a perfect fit for exterior day shoots. People have been very impressed. The screen is the same size as the Sony clamshel, and the Casio is so much smaller, it is easier to handle. I bought mine at Best Buy for around $200. and I purches the extended warranty for three years for less than $20 (I thought for sure that they would have been damaged by now, but they are holding up great). Now the bad news. It takes 4 AA batteries. I went through a lot of AA's untill I realized that the reachargable batteries are more cost effective, and much better for the environment. The really annoying aspect is that everytime that the unit is turned off, it looses it hold of the channel, and then you have to set it back on the correct channel (I show the AC's how to do this because we all know that the Directors and DP's will not like waisting the few seconds to get it back on track). I now have 24 AA's in order to always have fully charged batteries and we usually never turn off the units except for extended breaks (this takes care of the changing channel issue). I hope this has been of help. Ari Gertler

I have had my two BFD units for over four years and I purchased and have been using my M-One motor for almost six months. The motor has worked out fantastic. It has all the power to turn the tightest of lenses, it has a narrow profile, and the custom mounting bracket that it comes with makes it easy to place the motor right where you want. The M-One is the motor that I pull out of my case first on every shoot. My other two motors are now my back ups. I highly recomend the M-One, and if you are using BFD's then it seems like the best way to go. You may need to have your BFD's readjusted inorder to handle the powerr of the M-One. Call Jim with your serial number and he will most likely be able to tell you if you need the upgrade (free of charge, I think). Ari Gertler

This is not my listing but I thought that you may want to know that a D bracket item #383081649 is on EBay. The sale ends tonight and as of now it is under $70.00. Ari Gertler

Congats. Please tell kelly that I send my love and best wishes to the three of you. Ari Gertler :D

Tom, Great to hear that you made the jump and have your own gear. As to the 16:9, I often keep my monitor as a 3:4 when I shoot ( more with anamorphic) in order to be able to have more image on my screen (which also lets me be able to see the boom mic better in case it comes close to poping into frame). I hope all is well and be sure to let me know when you come into LA. Ari Gertler

Happy Belated B-Day, I hope you have a great year.... Ari Gertler

My feeling is that you should always use a harness. The worst that could happen is that by some unlikely chance the dolly grip will not be able to release me in time, the shot will be blown and we will have to do it again. Now think of what the worst case scenerio would be if you were not securely fastned to the crane. I don't think I need to elaberate here. Whenever I do a step off/on, I make sure that my safety person and I have clearly communicated what needs to be done and said. I usually have my harness released a couple of feet before the crane touches down, the grip will tell me "unlocked" and then about 9-12" before the bottom he will say "clear" . I also like to have someone spot me on the ground for my step off, this saves the grip in the crane from spotting my movement off while he is worried about were he will be stepping down (not to mention that the grip in the crane should be harnessed). This has worked well for me, I look forward to hearing how other Ops may do it differently, especially if they have a safer method. Ari Gertler

Could someone please list Fred's new contact info for me. It is time for a few new cables to be made.. Thanks, Ari Gertler

I wanted to know if anyone has ideas how to mount the 7" LCD Panasonic monitor to a XCS dual ext. monitor support arm? Or what monitor support arm might I buy to use with it? Has any one had any fabrications made to mount the Panasonic LCD? Thanks, Ari Gertler

Is it possible to view how individuals (with their screen names) vote for a particular poll on this site, or are the polls totally anonymous? Just curious..... Ari Gertler

Congrats Jim, Great product, Great service, Great creator. I don't think that anyone else in the Steadicam world receives as many positive comments as you do. Ari-