Mark Schlicher

Another vote for Terry, especially for his amazing customer service. and a nod to Erik Anderson (of G-zoom renown) who wired up some custom intercom cables and adapters for live TV work. Also, Dean at Trew Audio, who is modding my Bose QC2's with a removable boom mic.

Sigh. I bet you do know a lot of poser steadicam people. By the way, it's "poseur". Nice rasta pipe video, though.

Looking for a used BUZ in good condition. Email or PM... mark (at) sunporchmedia (dot) com

Interesting. His website indicates he works with Robert Luna. That said, I noticed some big design flaws, even for a lightweight low-budget rig. Not so much the arm, but the vest and sled.

James, The cat-griller is too wide for the Pilot's dovetail plate (or for that matter, the Flyer, Zephyr or Archer, either).

The Giottos is essentially the same design as the Manfrotto 577, including the lever issue. They are "almost" compatible with the Manfrotto, I can't remember if the Manfrotto plate won't fit on the Giottos base or vice versa. They are both fine for what they do but I do prefer the longer Manfrotto 577 plate. I don't care for the Giottos camera screws, which have a theoretically-useful swing-out thingy to allow you to hand-tighten the screw, but it increases the diameter of the screw so they often get in the way. As for the issue with the lever...this is a minor issue in my experience, easily worked around in most cases. Depending on the tripod plate you are mounting to, you may have to be careful when mount the base to the tripod plate, to get the lever in the right initial orientation. For tweaking, the lever can be pulled out (it's spring-loaded) and re-oriented like a Kipp handle, so as to avoid bumping things. The lever goes from loose to tight in less than a quarter turn. I've used it with an HVX200 and Canon 60D on a wide, flat weight plate with no problem.

Dave, I think you may have a warranty issue to take up with Tiffen. I checked my post and definitely could not tug the bottom post section out while applying a reasonable force. There is a resistance that feels like it's from a cable or something. I don't believe you are experiencing normal behavior. From the Zephyr literature online: "Telescopic, index carbon fiber main post with internal safety line."

Looking for a screw-in lightweight Sony camera plate (don't need quick release,it's about weight). Something like the MK-V or GLD plate....with holes for motor rods. email or pm me if you have something...thanks! mark (at) sunporchmedia (dot) com

Just got off the phone with Blackmagic and am passing on the info. Loopthrough is available on both outputs, regardless of the input. Must press "stop" to activate loopthrough.

re: cross-conversion, it makes sense that it does no transcoding to different codecs. So cross-conversion is an inaccurate term. But are both the HDMI and HD-SDI outputs active at all times regardless of input source like some other units? If so, a very useful feature for my potential applications. EDIT: from the BM FAQ: "all outputs are available when recording or playing back. For instance, you can record SDI but preview on both the SDI and HDMI outputs." What is still unclear to me is whether this works when you are neither recording nor playing back...ie., just using it to pass signals. Seems like it should, but would love confirmation.

Someone on another forum characterized the $350 Hyperdeck Shuffle as "a cross-converter with a free uncompressed recorder built in". Probably that's a fair assessment...it does a (theoretically) neat job of converting between HDMI and HD-SDI for the cost of other converters, and if the recorder works too, well that's great. The Pix 240 definitely looks like a winner. I just checked and it claims the same cross-conversion between HDMI and HD-SDI. If the weight is reasonable it looks good. The Avid codec is/will be an extra-cost option. 5" hi-res screen is good. The FAN scares me a little, but they claim it's quiet, and they are sound guys, so... BTW, I've got a buddy who shoots for networks all the time and he loves being able to send XDCam-formatted files from his Nanoflash.

Hmm...dunno. Maybe record a video with sound and send to the Tiffen folks for their opinion?

Probably not a good backup monitor, but here are some positives as an HD outboard recorder: 1/4-20 mount. compact size Light weight (12 ounces including SSD drive) Easy-access buttons and controls Confidence/playback monitor easily powered from the sled Cross converter/passthrough built in (HDMI and SDI outputs both hot regardless of input source) auto-records with camera start Pro-rez offers a decent quality/runtime tradeoff, allowing use of smaller SSD drives Atomos is cheaper but its an either-or choice of HDMI-only or SDI-only models. Nanoflash uses a codec preferred by many, but lacks a monitor and is more expensive. Sound Devices Pix240 is about the same features for about the same price (though appears more rugged, with a superior audio section). Am I missing something that would be a deal-breaker as a high-quality recorder for reviewing takes/capturing demo material? Anyone actually played with this unit?

In the US the universally-respected big rig alternatives to Tiffen-Steadicam are XCS and Pro-GPI. Very high quality, modular, upgradable, excellent reputations for customer service. Favored by many top operators, and older models come up for sale from time to time. Generally similar in cost to their Tiffen counterparts, from what I've seen.

Shouldn't squeak but it's possible that the lubrication at the factory hasn't distributed around all the places it should yet. (I was told something similar). Give it a little time but if it doesn't improve then definitely contact Tiffen. Teflon lubricant is readily available at Radio Shack and is often recommended.

Scott, Welcome. This forum is a rich source of information and much of it is contained in the archived posts. Stroll through the old threads and use the search function liberally. There you will find answers and informed opinions on many of your questions. I'll tackle a couple of your specifics: There is no "official" certification, though a few operators have marketed their workshop experience as such (it's frowned upon). There are excellent workshops put on by Tiffen, which feature top-notch instructors including Garrett Brown, Jerry Holway, Peter Abraham and others. The Eastern Classic is one of them. Other manufacturers and organizations also put on well-regarded workshops. Is it worth it? Subjective question, but certainly it is a very high-value, intensive experience, and it is the universally-recommended path for serious beginning operators. Nearly every operator owns their own rig. It is mandatory. The answer to "are you certified" should be "I've completed the (insert specifics here) training program." Everyone has their favorite brand of rig and opinions are as varied as they are passionate. Used rigs can be a great value, and often they already contain many of the extras you will need. Be prepared to spend $20,000-40,000 or more for a used rig. John Perry (American Idol, Dancing With the Stars, So You Think You Can Dance) is selling one of his rigs on the forum right now, for the mid-20's. It is very complete (except for batteries, and some "mandatory" accessories like a remote focus control). It's an excellent example of a well-maintained, affordable older rig. The tougher question that you've alluded to is "can I make a living"? I have no idea if there are enough jobs where you live to support you and pay for your equipment. The going rate for a big rig operator is substantial, but so is the investment. Make friends with operators near you and ask about local rates and the amount of work available. Once you become a big rig operator you need to respect big rig rates. If you haven't already, get the "Steadicam Operators Handbook" and devour it. It is required reading before a Tiffen Workshop, so it will pay to get a head start. Hope this helps.

That's the one I bought. Not as bright as the 651STX but still pretty bright at 800nits. Lots of good features. I bought one with an Anton Bauer mount on the back, just to have an extra battery option, on or off the sled. Check with forum member Tom Wills if you go with a 651STX. He built a monitor yoke for it, but for some reason the thread is inaccessable now. Incidentally I got a great price and excellent service from Kenny Crysler, manager of the video department at Showcase Atlanta. They ship nationwide.

This looks like a good deal... http://www.dvxuser.com/V6/showthread.php?258265-Steadicam-Flyer24-LE-Camera-Stabilizer-System-EXTRAS!!-FREE-SHIPPING!!

Sorry...brain freeze... Actually my monitor screw has a circular knurled knob about 1" in diameter, I believe it's plastic molded to the screw (not pressed on like the T-handles).

Dave, thanks for the report. Interesting. Your monitor was mounted with a socket cap screw? Interesting, mine had one of those plastic t-handle caps. Also, I'm curious about the safety stop. My post never has come out but I thought I'd read somewhere that a safety stop was part of the spec. After using the aux battery hanger for a live multicam shoot with a fullsize broadcast camera onboard, I highly recommend it. Keeps the post short and helps tremendously with balancing. At about a pound, you can use it without a battery if you just want a little extra weight.

Yes, that's one version, but the one you linked to is HDMI. You may want to consider the HD-SDI version (which is what I have.) You can buy them with no battery bracket on the back, or with an IDX v-lock to match your sled (giving you one more power option). Others like the 6.5" transflective Marshall, which (last I heard) lacked an image flip function, but is better in daylight. Yes you will need a cable, get one through Tiffen or save some money and call Terry West. Very early Zephyrs had a hard-wired monitor power/video cable, but recent ones have a 6-pin Hirose. The cable you need terminates in 4pin XLR and BNC.

Flyer stock SD monitor has no loop-through so he'll probably need the video DA or the Y cable.

You could rewire the sled (Terry West can do it) but because the post extends you will need a complete new wiring loom, I don't believe you can add one cable. The simple and practical solution is to run a video cable down the front of the topstage, past the monitor, to the Camwave. The other issue is splitting the video signal. I have a recurring 5D gig with a Camwave, and I just use a Y-cable on the topstage. It's not proper because it screws up the brightness of the image, but it works okay. Just don't judge exposure by the monitors. I suppose you can wire up a small video distro amp but I never bothered.

I have not done much running. I haven't seen any issues with vibrations in the work I've been doing with the rig.

Alan, It definitely is a different world when trying to make a living, and hone your craft, with a small rig. Keep fighting for the best rates you can, given your market niche and limitations of the rig. Keep working toward the day you don't have to say "yes" to the crappy gigs. And keep in mind that, even at that level, if you are good at what you do, the producers may have more than they want you to believe. As for any flack you feel you are getting, it can be tempting to treat every newbie, every small rig operator, as unserious. It's human nature, I guess. Just make sure you are being serious in every aspect of your process. You can't control people's perceptions, but you can control your own approach. Keep learning, absorb the good advice, and keep working at it. Good luck, and fly safe!