Mark Schlicher

My understanding is that the Scout's video wiring down the post is not HD-capable. The fixed vs. interchangeable lens has nothing to do with the DOF differences between the HMC150 and the 5D. The chief difference is imager size. Nor does zoom vs. prime. Wide vs. tight lens does affect dof, but so does imager size, camera's native sensitivity, ISO setting, light levels on your set, iris setting, and shutter. They interact. You need to study and master this. There is no shortcut or simple answer.

While I have been writing this reply I see that Robert has succinctly nailed some of the most important points. But I'll try to elaborate a little bit... Instead of setting to infinity focus, set to either Hyperfocal distance or pre-adjust your focus to land on the subject in-focus during the most important parts of your shot. Preset your focal length, iris, lighting level, and ISO (and/or gain settings) so that you have enough depth of field to keep your subject in reasonable focus most of the time. Block your shots so that the talent always stays within the acceptable range of distances. Use a DOF calculator or smartphone app. If what I've said above is not understandable, then you are probably in over your head on this shoot. In that case, you should strongly recommend that production hire a professional First AC to pull focus for you. If the director insists on pulling focus, he/she should take responsibility for the results. And this should all be sorted out in a prep day or practice day. A common misconception among inexperienced directors is that, because they are trying to get shallow depth of field with their other shots, that Steadicam "must" have shallow depth of field, too. Not true. Deep and shallow DOF is mixed all the time and the audience never knows the difference. The subtle dance of the Steadicam is its own kind of "production value" that can mix with shallow DOF footage, especially in the context of a music video. Oh, you asked what prime lenses you should buy for the Canon 5D. The answer is "none." You shouldn't be responsible to purchase or even rent lenses. That's production's responsibility. Period. If it were me...working on a tight budget, inexperienced director, tight schedule, etc. etc....I wouldn't recommend a prime. I'd use a wide angle still camera zoom, like the Canon 17-35mm (I think that's the designation...I've only shot with one a couple of times). Focal length can be quickly changed between shots without remounting lenses and rebalancing. Production goes faster and more smoothly and the director's whims can be quickly accommodated. But rent, don't buy. Beyond that, your question can't be answered in the abstract. "It's not so wide" is not specific enough. You and the director sound like you are both learning. So, both of you should take a day with the camera to work this stuff out before the shoot, on your own time and your own dime. Two more things: 1. The Scout is a Standard Def system. You'll need to be tethered to an HD monitor so focus can be confirmed, which means a cable puller and you'll need to practice ahead of time to learn to fight the influence of the cable. Another reason for an experienced first AC, by the way....pulling focus on the fly takes lots of practice and experience, whether by eye and tape, or from the monitor. 2. One day music video schedules are not that unusual. It's done all the time here in Nashville. But it definitely requires a well-planned, well-organized, tightly scheduled and tightly-managed production and a strong and capable crew. You don't ever want to be (or even appear to be) the guy who slows things down. Go in prepared! I hope these ideas get you started. Study and practice and work out as much as you can before shoot day. Be as clear as you can in setting production's expectations. Don't ever promise more than you can deliver. Then, on shoot day, relax, have fun, keep calm, project confidence, enjoy the ride. I recommend that you post further questions in Steadi-newbies, it's the most appropriate sub-forum. Let us know how it goes. Best of luck and success!

Thanks for posting this. By the way, just looked at your DOP showreel. Beautiful work!

Good moves. Now Google your local ops, and call to introduce yourself and invite each of them to coffee. They can possibly be a great help to you. You may consider volunteering to be an assistant on a few of their shoots in exchange for mentoring. How old are you? What is your overall experience with camera operating? Are you employed in the business now?

Where are you located? Are you sure there are no ops in driving distance to visit and ask questions of? If you can't take a workshop, then you "must" get the Steadicam Operators Handbook and the "EFP Training DVD" (old but the basic principles are sound and well-explained.) Practice the exercises in your Flyer manual, as well as in the Handbook. Your drop time is WAY too short, even for a smaller rig. You should be looking at 2 1/2 to 3 seconds IMO. Keep your post short, also. Yes, your hand work is probably part of the problem. The Handbook has an excellent section on that.

The Zephyr manual (latest revision) lists the correct lemo connector and pinouts. It's the same as the connectors on the Archer and, I believe, the Clipper. I would imagine that Betz-tools can help you.

Best solution depends on your desired market.... If you're just doing your own projects, or indie/low budget projects with DSLR lenses or video lenses (up to broadcast cameras) the Hocus Focus gets good reviews. As Wolfgang noted, the HoFo will not work with cinema lenses due to the motor strength. It also is not compatible with any other manufacturers' motors. Also, on higher end shoots, you're expected to bring "industry-standard" kit, and that means -- at the least -- a Bartech Focus Device (BFD). Hocus Products is on the verge of putting out a new product, the Hocus Focus Pro (HoFoPro), which features a new digital motor design and also can accept digital motors from other manufacturers. New, unproven product but looks promising. Bartech (BFD) and Preston are the industry standard solutions. Bartech=rugged, reliable, proven, lower-priced. Preston=pricey, proven, elegant, multi-channel (for focus/zoom/iris). Assuming you're just getting started, consider renting a follow focus system from a local camera house or other operator until your business supports buying. You should get friendly with your local camera rental houses anyway. Cheapest solution that can handle cinema lenses, including motor, would be a used analog Bartech system with an analog M1 or Heden motor (and an assortment of differently-pitched gears). Next up, a used digital Bartech system with digital M1 or Heden motor. Then, a new digital Bartech system with digital M1 or Heden motor. A Preston system will be the most expensive (new or used). Cables: you'll need a cable (available from Bartech) for powering the receiver from the sled. Archer/Clipper/Zephyr power cable, see their website. Used systems often come with power cables to power the receiver from cameras that have power outputs, but this is convenience and not mandatory. Also start-stop cables...convenient but not absolutely necessary. Search the archives for more info. Other than that, you'll need a way to mount your motor, which means a rods system for your camera base, and/or a 15mm rods bracket that Tiffen sells, that bolts to your dovetail. There are a few other systems out there, most of them should be steered clear of. I hope that gets you started on your research. Others may have different opinions or info to share. Good luck! Jim Bartell (Bartech) and Peter Hoare (Hocus Products) both are forum members, too.

If you haven't already, buy and study the Good Book... http://www.steadicamforum.com/index.php?showtopic=14867&pid=70415&st=0entry70415 Sway is most likely due to hand grip issues. What is your drop time?

Any of the cable fabricators who are mentioned on the forum can make one for you. Consider having a 3-pin to Powertap intermediate connector made up. Then you have future options that avoid the expensive lemo conector, in case you need a different power cable later. LCD4Video sells a p-tap to 12V cable for $23.00 on their website or on ebay.

A different cable....

Bumping... Anyone have an MK-V Sony plate kicking around? And yes, a PRO vest. Both long-shots I know, but never hurts to ask.

Contact Terry West. The Epic power connectors are somewhat hard to come by but Terry has them.

Welcome to the forum. The best way to answer the question for yourself is to do a prep of the camera well ahead of time. You'll need to decide what rod and baseplate system, what mattebox, what lens(es), and figure out how everything balances out. You'll need to rent or buy a wireless follow focus with cables, brackets etc. and figure out how best to mount it (hint: velcro is your friend) You may want an Epic-to-sled power cable (custom-made), but the camera is light enough you might get away with the onboards. You may want to purchase the optional Zephyr second battery hanger plate Plenty of batteries, Epic is power-hungry If your sled is SD, you'll need a Decimator downconverter and cables. Or buy an HD monitor. Also, what are you doing to get yourself ready? Sounds like your experience is limited...If you've not taken at least a weekend workshop, take one. Get the EFP training DVD and Steadicam Operators Handbook and study. Find another operator who can help you set your rig up properly (vest adjustment, arm setting, etc.) Get a practice camera and buy a weight plate/cage. And Practice, Practice, Practice. These topics are mostly covered in detail in older threads, get friendly with the search function.

Zephyr is the minimum I'd put a Red MX on. Even with a Zephyr it's easy to tip over the weight limit, depending on lens and accessories.

Pro-X has a website that gives some info. Switronix is bringing it to market in the US, I'm not sure what the relationship between Pro-X and Switronix is...are they the same company? Does Pro-X private-label for Switronix?. $2999 US for the basic HD-SDI/HDMI model, which they are calling the "Recon". More info: Video Review by Jared Abrams Pro-X website product page

The F3 is an excellent match for the Zephyr, with plenty of "headroom" for accessories and lenses.

Still looking for an MK-V lightweight Sony quick-release plate. Also keeping my eye out for a PRO vest. (I'm 5'7", 155lb, 32inch waist) mark (at) sunporchmedia (dot) com or contact me via forum PM.

Yes. Works great for me.

Sounds like you're in good shape when it comes to making cables. For the Red Epic cable, it's a proprietary Lemo and Red was only selling them in bulk quantities last I heard.

As you probably know already, the handle clamp for video cameras sold by Tiffen doesn't work. The camera's handle grip is too rubbery so the camera wobbles. I second the notion of just running the camera upside down...it works fine, I've done it. The Baer-bel lowmode cage looks good, though. The F3 does have four 1/4-20 holes on the handle but I would be hesitant to use them without knowing whether they actually are anchored to something solid inside the handle, and I doubt that they are.

Contact Peter Abraham or Dan Ikeda at Tiffen for the battery hanger. I have a spare Red One power cable for sale, contact me via PM if you're interested. Red Epic takes a different power cable. You'll be wanting one of those soon, too... Terry West can build you one.

C'mon, lighten up, Ken. There was some very good work in this video. So not every shot was a gem. Looks like a long, challenging day in the rig....

I also recommend the Zephyr 12/24V second battery hanger. It allows hot-swapping batteries on the RED, and also distributes the high current load between two batteries.

I imagine a lock washer (the "star" type) would do the job, though it could gouge things up. I've been using my 7" Marshall without anything and it holds well enough for now. (and being able to rotate it while in low mode has been helpful). I suppose a neoprene washer or some automotive gasket material might work pretty well too. Tiffen's version of the Marshall 7" includes a bracket that has a hole for the mounting pin. Don't know if it would work on the 6.5", and it eliminates the possibility of a battery mount on the back of the monitor (without further McGuivering). If they would actually sell it to you separately my guess is that it would be not cheap. If I had the 6.5 I think Tom's yoke is the shizzle, and a real bargain.

Congratulations!