Peter Abraham

Charles, Erich Roland shot the hand-held v.s. Steadicam footage in the National Geograpic doc. I don't have a copy of that- and really, we'd want to talk to Jack Churchill before posting it onto the Web. He's been very gracious about use of the infamous Steadicam Operator's Manual of Style, but we would owe him a call for permission.

Alec- Oh thank you man. I felt awful about having to run to Philly on an emergency, and I knew Dave would wind up in good hands. I didn't get to touch or fly his rig, because I can't now. Hence missing the loose top stage. Damn ! I'm glad you were able to work with him.

Kenn Ferro, my other half and co-owner of my cerebral cortex called me to tell me. The family was with me, on the way to a drive-in. They watched, I sat numbly.

These responses are so heartening. Without being overly heavy-handed, I agree wholeheartedly with those who appreciate the tone, approach and enthusiasms that Ted brought to the Steadicam world.

On a purely personal note, when I teach a workshop, I feel as though I am carrying on a particular love of Ted's. If I can do that a tenth as well, and with a tenth the energy and skill and mindset that he brought to it, then I'm on the right path. He was an educator in addition to everything else.

9 years ago tonight, Ted Churchill left the house and never came back. I feel it is appropriate to use our Forum to mark the day and offer thoughts of memorial.

I've a lot of Ted stories. I'll share one short one that is typical of his approach.

I was in Rockport, teaching the Steadicam Workshop with Dan Kneece and Travis Clark. Ted came by one evening. He brought a bit of videotape and showed it, sufficiently wowing us all with the clarity of movement, decisive framing and fluid operating.

He was his usual biting self, humorous and fast. One person asked him what he felt was his best asset. I figured oh god, this is a fat pitch he's been thrown. He stopped with the wiseass stuff and got very sober for a moment, and thought. Then he said, " I am not the best Steadicam Operator in the world- ( At the time, debatable..... )- but I can tell you this much: I'm the fastest. Nobody waits on me. I get in there, I do my homework, I prep and am ready, I shoot the scenes and I get out. Quick and painless.

He was very proud of this trait, and I made an effort to incorporate it into my skill set. Be ready. Anticipate like hell. Don't hold anyone up with the three ring circus that our craft can sometimes become.

Be fast but never sloppy.

I miss that man.

Peter Abraham, E.M.T.

In what is called The Missionary Position, the operator has the sled off the left hip, with the camera facing forwards. It is called that because that's the "regular way" of operating. ( Nobody jump on me here, I use regular carefully )

The Don Juan Position is when you have the sled off of your left hip, but the camera has been turned around so that the monitor and camera are all facing behind you. It permits one to operate shooting behind one when walking forwards.

I guess it's got that name because it's different and some consider it to be "sexier" than the Missionary Position.

I need two Hytron 50 Anton/Bauer batteries. Shoot next week, and I only own three. Perhaps charger access issues, so now is the time to pick up a few more. I am looking for used but not beat to death ( or, new at a killer great price )

Thanks !

Peter Abraham, E.M.T.

visualist@frontiernet.net

Anyone with David's phone # or email, send it to me? I can't put my hands on it for anything, and I need to contact the nice fellow.

Thanks !!

Peter Abraham. E.M.T.

peter@on-campus-steadicam-workshops.com

The Ultra Vest makes use of ski-boot type latches. The Fastex Buckle clasps being referred to here are fairly common place, as was mentioned. Any good camping supply or outdoor place has em.

I don't buy Fastex brand- only because Campmoor doesn't sell them. However, the knockoff they DO sell works well, doesn't crack and holds up for long periods of time, right until some feeb P.A. steps on your vest because you ran off and didn't hang up the vest from the stand and the P.A. cracks a buckle.

Which is why I keep 2 sets of Fastex ( I'm using the name, but generically ) 2" buckles in my kit for emergencies. Equally important are the small oval rings used to hold in place the extra strapping, so it won't flop around.

Peter " I have to get my sewing machine fixed cause I have strap work to do on a III Vest" Abraham, E.M.T.

That is painful to contemplate. The JAR eyepiece optics were truly the sharpest, lightest, fastest and most ergonomic of taps. {the late} John Russel really nailed it with that device.

I sold mine for well over a thousand, if I recall correctly. The camera was a Watec Black Widow, but that's almost incidental these days. The cost and value was in the tap.

Not for nothing, but this thread is easily as much about protecting those bits and bobs that we hold dear to our heart. Next time you have tons of downtime on a show, lay out your entire tool kit on a sound blanket, and start writing. List out everything, and mail the list to your insurance company. You will be surprised just how much it all is worth.........

Peter Abraham, E.M.T.

I have yours sitting here, Jay- the last of the 1st production run. Off it goes on Monday morning !!!

Best

Peter

Who's going to hit it? I am.

Wil, you know I love ya and we have our history making a great movie down in Staten Island, but I am of a very divergent opinion here.

The time and creativity taken when solving a complex problem deserves it's due. If the Tilt Stage is a patented device, then it is irrelevant that Chroziel is overseas. They have copied a design that is well-protected, and are selling it inside of the United States, where such designs as the tilt-stage are protected.

I love making stuff, no secret there. I made a ton of stuff for my old rigs, and with my machinist, built my Mini Sled out of scrap parts and whatnot. That's for my private use. I'm not going to go into the business of making the PeterSled 2000.

Why? Because the design of the Steadicam Mini is protected and I respect that intent and reality of that right. It's painful to read that one person wishes they had it, and hey why not smack out a production run of 100 of em and call it a day?

Invention and design isn't a free-for-all. I would as those discussing an organized production run where money is going to change hands, not to do it.

Oh, and I don't have a tilting stage. Sure as hell wish I did. But I don't. And I'm not about to go producing 'em either.

This does not of course apply solely to this discussion. People have made mention here and there of their arm socket blocks failing critically ( cracking apart !!! ) while on vehicle mount. This poster, or that, will mention how great it was that they were sent a replacement quickly, and how nice it was to get such good customer service.

If a Tiffen socket block cracked, it'd be hell to pay and we all know it. Unfairly so. ( And, not for nothing, but my C.P. Model I rig came with THREE socket blocks. One on vest, one on Garfield Mount, one spare in a bag. None have ever cracked. They were machined- not cast......- in 1976 ).

We all have our favorites, fine and dandy. But if we covet something that is in front of our eyes because of hard work and long hours of design and prototyping, and that thing is legally protected, then I find it a wee bit appalling to throw the spirit and word of that protection in the face of inventors, and steal with glee.

Want a tilt plate? Buy an Ultra. :)

Peter Abraham, E.M.T.

Once again, a run of the now-popular Zalex Tally Light is in the works. Last year was the first run. 42 of them sold in 13 months, all over the world. They will be ready to ship in a few weeks. The next run is for 50 units, 3 are already sold.

The tally light is self-powering, and bright enough to be seen outside on a live show. It will work on any broadcast camera that has the typical small tally lights on top, front or back.

They sell for $ 100.00 USD, pre-paid. I ship for free in the lower 48 States, otherwise shipping is an added fee. ( FedEx to Australia was pretty cool, and got there in I believe 24 hours. Made me think of "CastAway" ).

For those of you who also own/operate jibs, I have custom-made a few at a 50 foot length. This is enough to do a Giant Jimmy Jib, with footage left over for safe snaking around the head to the camera body, and back to the monitor rack. They're $ 110.00 USD.

For details email me at visualist@frontiernet.net

Best to all,

Peter Abraham, E.M.T.

I am pleased to say that I will once again have the JVC High-Def MiniDV camera with me, on my Mini. ( Might have my Flyer by then !! )

Peter Abraham, E.M.T.

I think it was Larry (but it might have been Janice) who once talked about the frames between the frames. .....It is what we chose do with the frames in between, getting us between these points that often makes or breaks a shot.

Oooh. That's a great way to articulate this idea. I might even add to what you wrote a bit, and suggest this-

It is what we chose to do with the frames between the opening and closing frame, that differentiates us, and makes for successful careers or not. ( Sweeping statement and not nearly the only thing that makes or breaks us). When a D.P. has 6 reels to look at. she or he ditches the 2 that suck, and watches the 4 that don't again, and maybe looks for what we each do with those frames within the frames.

I love how the subtleties matter SO much.

How do you practice. Interesting question.

I was out of a rig for quite a while there, and when my Mini was built, I did practice quite a bit to get my hand back.

I would start with a simple nothing shot. Moving down the hallway into the kitchen, to the window over the sink. Lock-off.

Nothing, right? But what if you do it fifteen or twenty times? What if you start to pick apart the moment when you rotate around the corner into the kitchen, feeling the wall without relying too heavily upon it?

How do you move through the kitchen? On an arc, a line or a linear track along the counter? Pivot to the window out of nowhere or slowly ease it in as you move?

We have so much power that frequently I feel that I at least run on Steadicam AutoPilot, moving through space and taking for granted the evocative nature of what we do.....what we can do.

So, to practice, you need just a few things. Your house/apartment.......and your own patience to pick apart the dynamics of the most simple 45 second move. I started REALLY getting snippy about my corners and whatnot, about rotations and speed. About trying to make the move as seamless as I could.

Micromanaging a shot is our gift. Practice that, and your body work, hand work and sense of composition will follow and flow through you.

Don't forget to fall in love with the Don Juan Position. It'll save your life one day. :)

Peter Abraham, E.M.T.

and steve, here's my name up front.

 

geoff shotz

..................yes, but which Geoff is the real Geoff??????

:lol:

Carey was a bad example.. how bout Tom Cruise? He was born in the states. :)

He's from New Jersey.

Does that............count?

:D

I'm sorry to hear about your fall from a ladder and the subsequent

  disabilitating back problems that forced you to quit Steadicam. Steve Byro

Dude. Welcome to the new reality, ok?

Yes, I got banged up badly. However, it's 1:14pm on Thursday, April 15th, 2004. I have a 3:00pm call. I'm the L.D. on a B.M.W. shoot.

Oh, and I'm also the Steadicam Operator. I and my oh-so-rather-sleek Mini. :lol:

So, if it's all the same to you, take the sad old man with broken dreams stories and apply then where they're more accurate.

And, have a really nice day. I know I will !!

Peter Abraham, E.M.T.

Dude. Let us be remarkably clear here. I said I had some wishes. I didn't threaten you, or try to make you go away. You can chase your paranoid nightmares down someone else's hallway, but threaten you I did not do.

Okay, it was 12 or 13 years ago. You can't deny that I stood there in your apartment in Los Angeles, watching you try to sell me a dream.

You've named two Steadicam Operators and lay claim to many others who support your work ethic and skills. Put up or shut up. I'm waiting to hear from Andy, Paul and your countless other fans.

I'd settle for hearing from an even dozen of the other fans, but it won't matter to me personally. I've dealt with you face to face, and feel awful for people who have had their property hijacked and taken half way across the country.

That big picture is the bee's knees and ,in the times I've flown it, the physical monitor size has never been a problem.

Ahh, Dan. You remind me of a shoot I did years ago, in Newark, New Jersey. We were shooting in a working police precinct stationhouse. We staged a "morning call", with officers seated around a long table. I carry in talent through the door ( iris pull...Heden motors...eh...), then the talent turns, and I head to farside of table, turn and track with talent, with the table between us in the lower part of the frame.

For reasons I cannot fathom, we had a few real Newark City police officers with us in the scene, in addition to extras in uniforms.

I had my Frankensled at the time, a Model II with single post, monitor hung OFF the front of the sled, Anton/Bauer in the back. I slam into a guy sitting there, dressed as a cop. I cut it too close, and was doing a sorta Don Juan as I moved.

I clocked the guy in the shoulder with the Model II monitor, but hard. The room goes oh so very quiet. I looked down and said, " Please tell me you're an actor?"

The guy looks up, rubs his shoulder and shakes his head no. :o Then, fortunately, bursts out laughing and told me I was the rare man to get a free shot at him! He stuck around for the rest of the work, and was a good egg about it.

an

Tough, to operate a Steadicam with a full diaper............

Peter "Fear Is Our Friend" Abraham, E.M.T.

By gosh, I'm all tingly ! :D

Scott, I can get you a new bellyplate in 24 hours. Email me at visualist@frontiernet.net

And, since this thread is about vest plastics and parts and such, I'll repeat myself.

I have- for about 17 years- made replacement parts for Steadicam vests. This is only those parts NOT made by Tiffen ( or, back in the day, C.P. ) for currently manufactured rigs. Older model vests or custom shaped and hand-cut parts. Each part is hand cut and formed. ( I am proud to say that Ted Churchill made use of a custom-fitted narrow bellyplate of mine, towards the end of his career. ) Each part is warrantied forever. It splits, you get a new one for free. Unless you hack away at it with a razor blade. But, who would do that?? :P

If you need a current factory part, I would urge you to call Robert Orf at Tiffen in L.A. His # is (310) 645-4568, extension 15. He can help you with Master Series/Ultra/Etc vests- all of the current models and makes. Robert is a great guy, knows his stuff and can get you parts in a jiffy.

For older vest plastics, I stand ready to make 'em.

Best to all,

Peter Abraham, E.M.T.

I'd use the J-7 and or a focus puller. Whenever I've had the luxurious pleasure of a focus puller I'd still do my own zooming. (Which ends up in not really zooming at all)

Patrick van Weeren

Patrick, your comments here bring up a more insidious element. I've gone out on quite a few jobs where "the last guy/gal" made the director insane by saying just this:

I don't zoom. Steadicams don't zoom. You want to move closer? I'll walk closer to the talent, that's what a Steadicam is for !!

My god. I was told this on the show I was working when the September 11th attack happened. They'd used an op in another city in the USA which will remain nameless. This op said just the above quote. They grimaced, watched this Op's shadow waltzing up the talent's chest as he/she walked in closer. Cause Steadicams don't zoom.

Puh-leeeeze. In addition to being obnoxious diva talk, it's a sin not to make use of a J-7 or similar smooth device to massage a frame. Few Steadicam shots require a snap zoom during a tracking shot, but my goodness, there are tons of moments when I rely on the zoom control to ease in and out of a frame size.

It's a tool that can only make you look better, and never look worse. If yours is twitchy like Alec's was, then yeah- set it aside till it's tended to or replaced. If you do broadcast video work, I would urge you to have this item in your kit.

About 16 years ago, I sat in this joker's apartment. I eyed the nightmarish work bench. I watched his fish swim around his vertical fish tank. I just wanted my gear back, in working order. Not much to ask, considering... The haphazard way he approached a fix that was almost a SOLID FUCKING YEAR late was horrid. I owned a WRC-IIIA. Yes, I am proud to admit it. It was what I had, it worked some of the time but not all of the time and was twitchy.

Steve Byro claimed he would make it better than a Seitz. The passage of years have proved that this offer didn't mean much coming from Byro, but back then a Seitz Follow Focus was the gold standard. I fell for his line. It's clear from other Posters to this message board that I am not nearly the only one to do so. I did not go home that day with my follow-focus, because there were still twitches and hitches in the signal. I choked on bullshit when what I needed was the truth, which was "This unit is by very design highly succeptible to RF interference. This includes the standing RF waves that permeate our planet. Operate accordingly". I did not get this information.

In a sad way, the story of this person closely parallels that of owning a Steadicam, and in fact- ironically- his behavior answers his own question in this thread. I could spend some heavy money, buy all of the meters, scopes, parts and boards that Jim Bartell owns in his amazing shop.

Would this make me an electronics whiz? It would not. It takes the right combination of intellectual rigor and willingness to work hard, fast AND accurately. ( Jim, I'm not trying to draw you into a war, but I had to use someone whose work is respected industry-wide).

What makes you an electronics whiz? Not just the ability to understand a resistor opposed to a capacitor. It is the sum of raw knowledge, skill, creativity and human skills.

What makes a Steadicam? Hardware and genius in design and manufacture. What makes a Steadicam Operator? Roughly eleven billion skills, raised to the creme de la creme of possibility, delivered every single day.

My irony cup, it doth runneth over that this man actually posted this to start a thread here. My gosh. And, since we all know that you are reading this Steve, save the threats. I'm not coming near you, your apartment, your dogs OR your girlfriend. I wish you luck in some other career, and wish you'd keep out of our collective hair.

-shrug- Hey, everybody has a wish. That's mine.

Peter " I got suckered once and am still smouldering from it " Abraham, E.M.T.

Okay. I stand corrected.

Many excellent points here. Wil has made quite a few, and the one that hangs in my head is that Producers get what they pay for.

There will always be people with deep pockets who buy the priciest of the toys and will go out for cheap, just to get their $ 400 shoes wet. There are also the phenoms who get used gear, are very good very quickly and make their way to the top in rapid succession. It's a bell curve.

People get burned by Steadicam Operators, and that is an ugly truth. We should just put that out there in this discussion. Sometimes the money we are negotiating to get from a company is based on what they paid the last guy/gal, who may or may not have come off set smelling like a rose.

I remember clearly when I got paid $ 1,000 a day the first time. I still had my Model I rig. I got off the phone with a goofy grin on my face. Ditto when I passed the $ 2k a day mark. People expect a lot from someone making $ 200/hour for a 10 hour day. Prices are down in LA because of the sad and true reasons listed. Similarly in New York, where Toronto has "been" New York City streets for well over a decade.

Bill whatever you can, or have your agent do so. Just make sure they always get their money's worth, yanno?......

As mentioned, gone are the days ( for the most part ) of the Specialist Operator who comes in at 10:00 am, shoots three shots and leaves at 3:00pm. Gone also are the days of the Diva. I personally think those Diva days need to stay gone.

Peter Abraham, E.M.T.

I worked with a Total RF System at the Super Bowl in Atlanta in 2000. The tally was instantaneous. I wouldn't blame them, I'd have the camera/base station checked out.....

Peter Abraham, E.M.T.

I wonder if they've changed recently. What I held in my hands last night was wired into the Jimmy Jib they were using at work. The image was not surveillance camera quality, either in pure monitor mode or after it had recorded the image. The set I shoot on has a lot of angles, metal points and other focus frames of reference. It didn't look like Cops, or anything else that is fairly low res, grainy home video. It also didn't look like high-def. If you want High-Def, then buy the JVC High Def Mini-DV that truly records in High Def, and use that as a record/playback deck. It only weighs about 3 lbs. :)

More to the point, when playing back on a larger monitor, this unit was obviously digitized but also was obviously clear enough that one could discern everything else about the shot besides critical focus. As I've mentioned elsewhere, until we all start operating a rig where every single component is matched for perfect resolution and crispness, the playback image can't be used for focus check's anyway. The only person operating such a rig right now is Larry McConkey- which of course is why he's been the most vigilant in his pursuit of a recorder that looks as good as the rest of his system.

Nobody else can claim such a system and so focus checks to me are a bit of a smokescreen. You're wearing an 18, shooting wide open and hopin', and you expect any recording device to overcome the inherent image compromises introduced by the combination of a ground glass and a video tap? You expect to see critical focus with moderate and wider lenses?

My polite opinion is that you can not. Now, I don't mean to sound highly defensive- I posted this thread because as a lightweight recording device whose delicate small tape heads can never jam ( no tape heads... ), is not power hungry and has a few other nifty options, it seemed a good choice.

Just remember- no matter how much money you spend, you can't bring into critical focus an image delivered off of your Steadicam that is already slightly grainy and maladjusted. It's kind of a basic rule, right? You can degrade down the line, but you can never UNdegrade.

Peter