William Demeritt

Last night, I was browsing the internet in a post-Steadicam day daze (lots of lock offs, so my brain needed to soak some new info), and came across a newer technology called WHDI. Simply: HD wireless sharing (broadcasting/receiving) from an HDMI enabled source to an HDMI enabled receiver. Then, I discovered this company AMIMON's newly announced prototype for their "WHDI Stick".

http://www.whdi.org/News/showPR.php?pr_20101005

http://www.engadget.com/2010/10/05/amimon-crams-1080p-wireless-streaming-into-its-whdi-stick-has-t/

Reviewing the technology, not just of this "stick" but also of the AMIMON chips themselves, which has a proposed 100 foot broadcast distance (I think they're assuming that's with walls and obstructions) and approx. 1ms of lag. The devices themselves seem to utilize dynamic frequency selection, so the chips themselves will already try to fight interference. Also, they seem to require 5 volts at 2 amps, and an estimated street price of the "stick" is $150 (nobody specifically says for a pair, or per stick, or price difference in tx or rx "sticks").

I'm sure it will require getting the actual devices for testing in our applications, but some operators have previously said that for their needs, wireless monitoring and video solutions need not go more than 100'.

Assuming you can build some custom wiring for your sled to power the device (LEMO to mini-USB with a voltage regulator to give 5v out), I'm wondering if this is a good solution in the near future.

Wiring: $200 (estimating and being very liberal)

2x WHDI "Sticks": $300

Decimator 2: $495

AJA HA5 (HDMI to HD-SDI converter): $490

TOTAL COST: $1,485.00 (before tax, based on approximate values)

Price comparison of uncompressed HD transmission solutions:

WHDI Stick based solution: $1,485.00

Titan HD Wireless: $11,502.97 (more range of course)

CamWave: $5,298.00

Just thinking out loud, but it seems like an interesting possibility. What are your thoughts?

DISCLAIMER: I don't work for this company, nor am I in any way affiliated with this company.

That meeting is in the works with a few fellow operators, but you know how many PM's I got from my post? One... One single operator PM'd me who was interested in getting proactive. A gentleman who had just recently bought himself a Flyer. Process this information as you will.

I know the meeting you're referring to, but keep in mind, many of us have also had numerous meetings in the last 2 months.

Strange, I do recall having a PM conversation with you, but you wanted to keep the discussion online since our "circle" (which includes Brian and Jess) didn't include any "heavy hitters"? Meanwhile, I think we have over a dozen operators (some owners, some just operators) in frequent communication with each other, all quoting the same rates to the same producers, all sharing work when one of us is booked.

Maybe we're not doing EVERYTHING the "heavy hitters" do, but I'd say our tactics of frequent, open communication between fellow ops is serving us well.

I think Steadicam still is a small world, but the industry has grown significantly (vertically with bigger shows, and horizontally with more indie jobs). Our "small world" was bound to grow. Sure, our market is becoming saturated with overnight Steadicam owners, but in my opinion: what does that have to do with my business? My clients are happy with me, and I look forward to working with them again. The clients you want should know quality from garbage. If they just want the lowest bidder, then they'll get what they paid for.

Personally, I don't want to be the guy whose pissed off at everyone else for the way they run (or run down) their business. I want to be the guy clients want to go to because I've proven my worth. I'll stay competitive, but I still gotta bid jobs as what's right and fair. Too low? Don't take it. If they're pinching pennies for the bottom floor lowest bid, chances are they don't know what they're shopping for anyway.

I honestly think your cynicism is painting a VERY strong picture of you on the forums, one that may come back to haunt you. I haven't even met you yet, and I find myself battling a negative mental image of you. All the more reason why rates discussions, venting, frustrations, rants et al belong in person, over some libations and unhealthy food.

If you're frustrated, and believe me, we ALL are, give me/us a call. Let's go grab some wings and beers and talk this crap out. I got a list of over a dozen fellow ops who'd LOVE to commiserate over this!

Too heavy IMHO for us humans to be flying, especially in the world of "keep it rolling, back to one!"

That planet must have a moon called "Let's just shoot the rehearsal!"

You're going to have a lot of trouble flying a RED with a "large zoom" on a Flyer. Just the words "RED" and "large zoom" already sounds overweight for a Flyer.

You guys in NYC should really extend a hand to him. I actually know Kyle from college, and I know he's a good guy. He just made the move to NYC permanently, he's probably just trying to work the Craigslist circuit to get some more footage (on his back, unfortunately).

He's also a member here.

I'm trying to figure out just what he's trying to achieve here... maybe I'll ask him.

And by 50 replies do you mean 50 steadicam ops telling you that you are selling them out or something?

 

Thank you for the unfiltered input! It is actually quite helpful.

Read through Craigslist... lots of people reply to posts asking ridiculous rates with "Are you kidding me!?" Those are posted all the time. Now, imagine how many legit responses you'll get! Go give it a try, it's a strange blend of depressing and funny. "Of course I'll come fly Steadicam for 17 hours with no breaks for $250/day. I don't know you, I don't owe you anything, but you seem legit!"

I did end up getting payed a lot more than I think I normally do at my level, and did only have to work 4 hours, but needless to say I will never be so open about clients again.

...

Not the best start to my operating career.

Refer them to me if you don't want that job. I love saying things in person like: "No, the terms of my rental agreement clearly state that myself or another person I authorize are the only people to operate my equipment," and "Yes, you're still responsible for paying my invoice."

Did you get paid? Did you operate? Did you take something home more than just money (set experience, business experience, demo reel material, just one, all three)? I'd say that's a great way to start your operating career.

EDIT: Also, I'm sure someone, somewhere, has in fact worked for complete idiots.

With Craigslist, you'll learn (the hard way) all the things you need to ask and double check with certain types of productions which you'd probably just assume anywhere else (in the professional world). These things include:

• 12 hour day (or less)
  
• Production insurance (not just gear insurance, but injury insurance)
  
• Overtime agreements
  
• Reasonable payment terms
  
• Limitations of Steadicam or shots expected with Steadicam ("We need to jump from the fence...")
  
• Meals and craft services
  
• Expectations ("Can you help light when you're not shooting? We'd like to have an extra set of hands.")
  

"It would be a lot easier to just get another girlfriend in LA. "

 

I almost spilled my morning coffee all over the place as I nearly fell out of my chair laughing!

Just use the acronym IASMMCAOTPAINFOOMCL next time.

Just as a thought for the car situation: maybe consider getting a Zipcar account? Make quick rentals, go pick up your car, use it for the time period you reserve and return it. Gas and insurance are included in the price. That offers flexibility for when you just need a car for a gig one day, but can make other arrangements another day. Prices are pretty low as well, as far as hourly or daily rates go.

Just relax, it won't hurt after the first couple minutes ;)

If you already know some of the shots, you're already ahead of the game. Brush up your skills (or at least your reading) on dynamic balance, if only knowing how to approximate it with the sled you'll have.

First job: have fun with it, smile, don't take too long or second guess yourself with anything, and most importantly: COMPOSITION COMPOSITION COMPOSITION.

Something to consider:

1. That operator is standing on his right foot for some reason, maybe tiptoes on his left foot to maintain that position... or...

2. The operator is standing on both feet, square to the photographer, and the post is actually several degrees pitched left. If this is true, it's actually advertising that the device doesn't work. That leads me to believe they adjusted the photograph in Photoshop to make the post vertical, leading back to option 1's bizarre posture.

Oh well. Someone will buy it, and 6 months from now, some low budget film will chastise me for not having that gear in my kit after someone had it on another shoot. Vicious cycle, I tell you...

Cool, now I know the Spanish ops' rates! Time to undercut! I'll even fly myself to Spain!

Is there anything I can do to prepare so that shots like this can be more effective for the story and yet not slow down production with trying to make needed changes?

I think this statement is contrary to good operating. As the caretaker of the vision the director is entrusting to you, I think it becomes my job to quickly tell people what needs to be fixed. If I notice problems, I mention them immediately. If the problems are ignored, or impossible to correct, I suggest ways to fix them (add a beat to the actor's movement, give a reason to recompose, motivate from somewhere else, etc).

Ultimately, I don't see recommendations for things that need to change in order to successfully execute a shot as things that "slow down" production. Everyone on set has a common purpose: get the shots needed. That work needs to take place, and it's a lucky day when you never need to change anything from take to take.

Assert yourself, tell them early and quickly what needs to change to fix the shot. You're the caretaker, so it's your responsibility to spot when lights are hung too close to the shot, the trucks are visible, maybe the extras need to find another staging area for this shot, etc. If they are absolutely unwilling to make the changes, then go ahead and do the shot, and you'll do your best to fix it.

As for "seemingly unplanned, unprepared-for shots", that's when you still gotta be on point. Some of the coolest shots I've done were sudden ideas. Encourage that kind of collaboration, and offer easy ways to make the shot go smoothly. Stay on set, know the blocking, interact with your G&E brothers early when you see a dangerous light, etc.

Lastly, some directors are just small, frustrated bundles of energy, and they want to get you on the same page. My mantra: "what's your action and your cut for this scene?" I've had directors try to race ahead and explain the blocking of the entire scene, and compress 3 scenes into one description of camera movement. Just bring them back: "Ok, we'll get to that, but I really want to make sure we have this scene blocked. So, here's my 1, I move, turn, come around and land here, step forward, lock off for the dialogue and you say cut. Right? OK, that's one scene, now what's next?..."

Hi William,

Just interested, when you say "a compact size monitor" what size do you like. I'm using a 7inch LCD now which I feel is nice, but just interested in what other operators like. I'm toying with the idea of getting the Marshall 6.5' but because it's only 4:3 am scared it'll be too small.

Cheers,

Shep.

Peter,

I have a PRO monitor on my sled, which is smaller than the 8.4" UltraBrite2 HD monitor's screen I used to operate off. When I say "compact size monitor", I mean that with a smaller screen size, my eyes can more quickly scan over surface area of the screen (and comprehend the image) than on a larger screen. I already feel like I am absorbing more information as I operate on the PRO monitor, since I can recall more elements throughout the take. I guess I'm OK with a smaller image, as I like being able to comprehend the entire frame at a quick glance, especially when my eyes glance away to check my marks and surroundings and then come back to operating.

I just flew the RED framing 2.40:1 on a short film Monday, and even with the 4:3 PRO, I felt fine operating. Try out someone else's monitor, see how it feels?

As an iPhone junkie, I've started using Bento to manage this information when away from my computer. I had fields for everything, plus who referred me job, rates, notes and dates. Thanks to the iPhone, I can talk while filling out the fields. Bento is essentially a personal database app, where you create the fields of the database, enter the info, can link to other databases, etc. Made by Filemaker.

Further, there's a powerful desktop client (also called Bento) which syncs with the app. From there, I can sync to iCal and address book. On the desktop client, I can also attach PDF docs to track call sheets, etc.

Is this item still for sale?

Since I started, I had operated off an HD UltraBrite2 monitor. Now, I fly a PRO2 with the PRO monitor, and I must say I absolutely LOVE the green screen monitor. I get a lot of questions and comments: "Why do you have the green monitor?", "Why don't you have an LCD?", or my favorite "It's only standard def? So it's not compatible with the RED?" (I prefer to think the RED isn't compatible with it, Decimator fixes that problem).

I have to say, the PRO monitor new has a huge price shock. Further, it eats through my batteries like mad. However, I have absolutely fallen for operating off it. The image is compact, so I need not scan a huge surface area, checking corners and watching for other elements. In full daylight, I can still see the image without additional shading.

I guess what makes a good monitor for me is versatility, battery life, image size (how big of a screen do I really need?), brightness, how it interacts with my sled (balancing and operating, both off the monitor and functioning as an element of my sled).

I live in North Hollwood / Burbank, have Blue Shield CA dental PPO. Can anyone refer me to a competent dentist somewhere nearby? Preferably someone you or your friends/loved ones go too and can vouch they do quality work? Many thanks in advance!

You may not know any other operators well enough to borrow rigs to practice, but we're all eager to practice with someone in a larger group or practice session. Try and get in touch with other operators in your area, ask if you can come to their practice sessions, and maybe someone will let you fly their rig. If you don't have a vest, that may make it problematic, but who knows. Lots of generous people out there!

Brad,

Just a few quick questions: does your sled have an SD or HD monitor? What kind of rig do you have, actually?

If you have an HD monitor, then yes you'll need an HDMI to HDSDI converter. The 7D has a "mini" HDMI port, so make sure you have a mini-HDMI to HDMI cable.

If you have an SD monitor, then make sure you have the AV breakout cable (one end looks like a mini-USB plug, other end is composite video/audio (yellow RCA plug). Get a female RCA to male BNC connector, and you'll be OK. Wouldn't hurt to have a backup cable, or even own one, they sell for $20 online.

The 7D has a camera shut-off feature that usually annoys me to no end. If you set it to more than 5 minutes, you'll burn through batteries and possibly overheat the camera (if you're exterior). If you set it to 30 seconds - 2 minutes, you'll be rehearsing and the camera will shut off while playing.

Make sure you have plenty of spare camera batteries and chargers.

If you're just using still lenses, make sure you have lens gears so your follow focus will spin the lens.

What sort of equipment will you have for the camera? Beware of matteboxes and iris rods that are flimsy plastic and mate to the 7D base. I've found they're incredibly weak, and if the lenses have any stiffness to the focus ring at all, the motor will push the lens and camera away.

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.

Nick, with all due respect, you seem to have this notion that the Steadicam community includes know nothing "beginners", you, and then A-list operators. I happen to know many other operators on the tier you currently reside, and we're all eager to solve the problem of "I want the Producer to hear the same rate if they'd called anyone else."

I see the benefits of having an A-list or veteran operator in the room, just from an experience point of view. However, the operating rates of the A-list operators, or the Union operators, is not really a secret. Neither is how to calculate kit rentals. More specific things, we can all benefit from hearing a seasoned opinion, and that's why we ask them in private.

The largest value of getting everyone into the same room (even figuratively) is to give the other operators a glimpse of what we're charging. Those other operators may think we're charging too little, and offer what they charge. On the other hand, other operators may realize they're charging a pittance compared to what similarly experienced operators are charging.

Since we're informal, all we can really do is share experience and our rates, and offer our word that we'll uphold a minimum price because we know everyone else will back our rate.

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.

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?

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.

I think that sounds like a proper idea.