William Demeritt

Keep in mind that if they screw together a focus motor has the potential to unscrew them.

 

~Jess

Of course, far be it from me to defy the right-hand rule.

I usually approach it with the attitude that I want every shot to be the very best I can give them, because every performance may not be what they want. So, basically, yes: DP's and directors expect you to nail it on every shot. Whether you do or not is another matter, but the more good takes for camera, the happier they'll be when their good performance happens during one of those good takes.

If anyone gets unfairly named while paying back an old favour, or doing a charity gig, they can defend themselves here on the forum. I certainly wouldn't object to being challenged, fairly or unfairly.

You may not object to being challenged, fairly or unfairly, but some people might. What happens if someone is unfairly challenged, and that person has no access to the forums to properly defend themselves for days or weeks? Even if the person then properly explains themselves, the damage is done with the operators who haven't come back to read the refuting testimony.

I think that doing our laundry in public should be discouraged for the same reason that discussions on rates are discouraged, but also out of respect for the damage done by a false accusation.

by poor man's low mode do you mean flipping the image later?

Yessir.

I was on another 7D job today, and I finally had to consider how to do low mode. I have a practice cage that I've outfitted with a Bogen universal plate for the camera and a 5/8" rod to mount the motor (something sturdy enough to not push away from the lens when focusing on stiff lenses).

Of course, the way my top rod is mounted, it makes setting the dovetail to the top nearly impossible. I know how to future proof it so the option exists to go into low mode and camera be righted, but for today's purposes, I just went poor man's low mode.

The MK-V seems to bind the camera into either normal mode or low mode, and going between the two appears to require a complete rebuild. Some of them appear with only normal mode in mind, counting on poor man's low mode when needed.

I blame craigslist and the advancement of technology. Anyone and their mother can buy a steadicam/stabilizer for a few grand and claim to be an operator. same with any video camera. i teach digital video filmmaking and i have to debunk soo many myths, misconceptions, and just flat out horrid information that people pass

As an aside, consider the words of Francis Ford Coppola back in 1981 (disregard the title of the video):

http://www.youtube.com/watch?v=zui4s0aLpr4

Recent story from here in LA: a director I've worked with as G&E since October 2008 has used me as a Steadicam operator on a few shoots. A week ago, I wasn't able to do a shoot for a rate he offered. He simply said, "I guess I'll have to find someone else." Sure enough, he found someone willing to come out, with equipment, to fly the RED (and I know their camera package, so it wasn't a Flyer) for $225. And no, not $225 for 12 hours... I know the director, that's $225 for "until I call wrap", which can go to 13 or 14 hours. No OT. Further, the operator was not a "new guy", or a new owner. He's apparently operated for many years.

My friend gaffed the video, and he told me in conversation that the operator "never charged overtime" and that he "usually just stays around until it's all done." He also indicated he's never made more than $300 on a shoot (all included).

I understand the pressure, I feel it now more than ever (after operating for 2+ years, I finally own a rig). Perhaps this operator is another example of someone who's slipped through the cracks, and we haven't had the opportunity to talk to him about rates? Perhaps the task is ours (the Guild, the community, etc) to reach out to those operators and plant the idea: here's what other operators with similar gear and more/fewer years of experience are quoting for the jobs. Here's the minimum they'll come out for, and for how long. When they realize they can, and should, be asking more for their services, perhaps that'll encourage them to do so?

Lack of knowledge is the root of bad decisions. The more we educate and join together, the more we all prosper. Isn't that why unions exist in the first place?

In the mean time, I'm going to try and get that operator's number, just to talk. Threads like this just seems like preaching to the choir.

Out of curiosity, what kind of stress testing have you performed so far? Maximum number of clients you've attempted watching the feed over RTP and HTTP live streaming?

RTP to laptop over VLC means just one client is engaged with the Cube, which seems optimal to me. However, with the HTTP live streaming, how does the Cube handle multiple clients? Does it affect the Cube's video stream?

Also, am I accurate in saying that with this system, your choices for monitoring are either an iOS device or a computer? So far, no "receiver" for video village to connect to an HD field monitor? Village now requires a computer, be it a laptop or desktop, to show off the received signal?

Well, I've actually been using Brian Freesh's practice cage lately, so I did a little light gripping for my HDSLR jobs:

Quite a few of my 7D jobs lately haven't tried giving me a matte box, I'll be eager to see how my contraption works out.

TOP: 18" long, 5/8" rod (also have 12" long 5/8" rod), 2 baby starter pins, 2 3/8" bolts through the top, 5/8" rod sleeve and 5/8" corner. Maybe $60 in hardware? I've mounted the motor to this rod, no issues with pushing the camera off/away. Depending on how popular the HDSLR jobs are, I may go to Modern and purchase some of their 5/8" rods in varying lengths that screw together to extend.

BOTTOM: Bogen Manfrotto 357 Universal Plate ($46.95 at FilmTools). With the HDSLR jobs, I usually confirm with production that they have spare batteries for their camera. The Bogen plate was almost strictly so I can quickly pull the camera off, swap batteries, and reinstall it. Takes less than a minute, I can even do it without docking.

Sydney, this was my $110 solution for the next 18 months, and it uses an existing practice cage.

however, attending a 5 day WS is a costly thing so you could also put that into the "investment" category. now, how do you decide to engage in the steadicam profession BEFORE that workshop? what's the decision-making process to subscribe to a WS in the first place?? correct, it's FEELING that this could be the right kind of job for a person.

I would disagree, since my interest in pursuing Steadicam wasn't just an infatuation I developed looking at photos of operators wearing their rigs, nor something I developed watching my first Steadicam operator work. Granted, I hadn't worked in the industry for long (I'm still probably a baby), but I had gone through film school, graduated as a DP, interned at Panavision Florida, and operated on student projects (film and digital). Everything came together when I simply asked a Steadicam operator I was working with (the talented and generous Phil Martinez... it's all his fault!) if I could fly his rig (Clipper 24 with a Panavision Elaine).

Only after wearing a rig did I decide where I wanted to be.

The investment costs tens of thousands, be it a lightweight rig or a full package. Bigger deal = bigger investment. Compare that cost to a $3,000 week-long workshop. Perhaps even a 1 day Merlin or Pilot workshop costing a fraction of that? Investment isn't always to make you money. Sometimes, it's to save you money by educating you and saving you from making another bad investment.

So, I'd offer this option as a strategy: why not contact a Steadicam operator somewhere nearby, and ask to come assist him for a day (for free), and as compensation, he show you the ropes? Let you wear the rig and see if you "catch the bug".

Also, in regard to the RED, I just want to remind you that, even in the slimmest configuration that still "works", it's still a heavy camera. The minimum you're looking at is an Archer2 or something comparable with a 20-30lbs payload.

Robert,

Are you switching from walking backwards into Don Juan or vice versa?

If you perform the switch, and in the action, you find the post is leaning away from you, that makes me think during your switch, you're tipping your body into the direction you're switching.

Perhaps this scenario (assuming you operate normal and not goofy): you're operating walking backwards, and begin to switch into Don Juan:

1. you step back a bit further on your right foot.

2. you step back with your left foot, crossing the path of your rig, and the rig is briefly directly in front of you before it's on the "wrong" side of you" (for the direction you're facing).

3. you step back with your right foot and pivot on your left foot. you're now facing 180 degrees from your previous path, and the rig is still facing behind you.

During step 2, when you step away with your left foot, you may be pulling the gimbal in the direction of your step for a moment, causing a pendulum effect whereby the rig leans away.

Likewise, during step 2, even if your hand was off the gimbal, if you pitch left (direction of the step) then the rig will move left, causing the pendulum effect.

Ideally, during the switch, the path of the rig should not change direction or be otherwise influenced, and you should maintain proper operating attitude at all times.

Congratulations, Job! Cheers brother!

Make sure to watch that second video all the way through to the end. Best forklift training video ever :-)

 

~Jess

How many forklift training videos have you watched?

The second half of that video was probably directed by Sam Raimi.

I don't necessarily think the question is "how long is too long?", but rather you should ask "how can I minimize it as much as possible?" Bring your rig to the camera prep and build into all configurations necessary, figure out all the headaches on a day when everyone won't be asking "how long until you're ready?" Build it, remember it, and then build it again on the day.

Is there a blacklist of companies for steadicam Operators? If not is there someone who can make one?

 

I am still trying to get them to pay me and stay within good standings with the company if possible.

Hey Kyle, I'm sorry to hear you're having issues with someone not paying, I've been in your situation a few times before.

I'm not sure if an all-out "blacklist" will work, but I do think open communication about production companies and agents of those companies failing/refusing to pay is smart. Obviously, people will take their chances if they want to, and I'm not sure if I'd refuse a job simply because another operator claimed nonpayment (unless I trusted the operator, or spoke to him directly).

However, would a centralized list of companies whom other operators have struggled to receive payment work? Similar to what you're doing with this thread, but instead of needing to sift through the various threads or search the archives, just one site or subforum? Not sure, just spitballing.

Look for the latest version of an app called "Requiem". When you drop the DRM protected file onto the droplet, it removes the DRM and leaves you with a clean version of the video. For example, if you purchased the m4v file from iTunes, drop it onto the droplet and it removes the DRM and saves it as a separate copy in the same folder.

NOTE: keep in mind, Requiem and this method ONLY works on computers AUTHORIZED to play back that particular video or music file (yea, it works on iTunes m4p audio files). The machine you're doing this on must be authorized to play the content you purchased from iTunes.

Afton: actually, removal of DRM and copyright protection techniques is a different kind of illegal. Removing DRM is in violation of the Digital Millenium Copyright Act of 1996, which explicitly criminalizes the creation of software that circumvents digital rights management techniques, and also criminalizes the use of any software which circumvents DRM.

Copyright law basically forbids unauthorized duplication and transmission of copyrighted materials without the authorization of the copyright holder. When it comes to film/video, the copyright holder authorizes playback via very specific mediums: DVD, VHS, compact disc, cable television, etc. You buy the DVD, you can watch it off that DVD, that's it (supposedly).

Basically, every mix tape or CD you've ever made since you were a kid? Yea, illegal.

When you make a copy of a DVD you purchased in a store, you're actually breaking both laws; 1) DMCA when you decrypt the CSS encryption that protects DVD's, and 2) copyright law prohibiting unauthorized duplication.

Things get funny when you purchase things from iTunes. Some of the music is still protected, even though even Uncle Steve has fought hard to have DRM removed from all music sold on iTunes. When you purchase DRM protected music, you can of course remove the DRM using iTunes' built in CD burning capability. Make an audio CD of any protected music, import it back into iTunes and boom... DRM free music.

Seems that everyone hits a loophole where everyone's common sense just doesn't mesh with the letter of the law: "I bought this video from iTunes for the same cost as buying the DVD, why can't I watch it on my WDTV playback device? Or my Zune? Or my Linux computer, my home theater PC, etc?" Basically, the major networks where copyrighted music and movies are traded en masse do not get their videos from iTunes. They get them from standard definition DVD's and Blu-rays. Simply put: the quality of iTunes videos are not up to the standards of the file-sharing community.

Will my GED suffice?

I always heard that it was inappropriate to define something with the same word you're defining. Uses the term "steadicam" 23 times (not including title headings).

I particularly like this gem: "A career as a steadicam operator is an excellent choice for individuals with a strong interest ... the use of steadicam equipment." Really?

Kind of makes me curious to know what everyone's record take count would be. If I recall, mine is merely in the high 20's.

Gets interesting when you honestly lose count and forget the actual take count in the days after the shoot. I did a oner music video last year, and I'm pretty sure we did over 30, almost 40 takes. MANY of the takes were solid (from what I remember), but we were daylight exterior near golden hour, and the sun kept creeping into a new spot where the DP wanted to shoot again. This continued for 3 hours, but it was actually a lot of fun. I learned I will need to practice S-L-O-W moves for the future.

Here's a message to the fellow up-and-coming Los Angeles operators: let's get together!

Flashback

In March, a bunch of operators got together at Barney's Beanery to do what good Steadicam ops do: drink and talk smack.

Well, about a week ago, we held another gathering, only this time it was at my house in North Hollywood. It was a rather huge success, as you can see:

Some of the veteran operators have told me before that networking amongst ourselves is a critical part of the Steadicam community, not just online. I've experienced that firsthand in hearing my name mentioned as a referral on a list of names by a few producers. Also, I've seen a small circle forming among some Steadicam operators who I'd now call my friends (Grant Culwell, one of the most generous guys I know; Jerry Franck, my death metal brother in arms; and Brian Freesh... he wears a hat a lot... uhm).

As the industry picks up, economy improves, and we all start getting calls for more work, I know I'd love to meet more of you so I can refer you guys some work. The gatherings also give us a chance to discuss what we're seeing on set, make sure we're telling people the same rates, etc. Let's get organized!

So, feel free to drop me a line or participate in this thread, and we'll make sure you get invited to the next FNG BBQ.

Veteran ops in Los Angeles, you'll be welcome to come as well, we're not exclusive.

Here's photos to prove that it did happen.

:D Great!

As Jim said, the metal grinding part is hilarious!

"Good for sound!" Hahahaha nice!

Just wondering if there are any plans to videotape this panel discussion?

I do believe the Steadicam Guild is recording the panel discussion.

Great, now I feel self conscious. What's the average Lemo size?

Thanks Robert,

 

Was looking out for something like a screen held in a frame. Has someone made one, something like the Windkiller from sunbounce products.

Sometimes, asking a grip to block the wind with a 4x4 double net instead of a flag works better. Similar principle to the Windkiller, but typically available on set.

I've also seen a clever grip make one out of an open 4x4 frame and a roll of plastic netting used to block pets from areas of the house.

Yet we have all manner of batteries on set....

 

Just sayin

Understandably so, and I'd probably be inclined to have Afton's device as a backup. Just offering an alternative that fits in your pocket, and can charge while your phone is on, in your pocket with you or sitting on your cart.

I actually bought one of these when Costco carried them almost 2 years ago:

http://www.eneloop.info/products/mobile-boosters/with-li-ion-battery.html

http://www.amazon.com/gp/offer-listing/B001LWZ4BG/ref=sr_1_1_olp?ie=UTF8&qid=1274377112&sr=8-1&condition=new

I personally have the KBC-L2S, which sports a 5000mAh Li-ion battery and two USB ports. Take your iPhone charging cable, plug into the USB, and press the button. I've charged my iPhone from near-dead 3 times before recharging the KBC-L2S.

Just other options, I guess?

...mmm... How to said in english: Poor jewels of the crown?. :blink:

Funny, how the same reaction transcends language barriers... I was thinking (what I imagine) was the same thing. :blink:

Exact same reason I don't care for riding on stand-up rollercoasters anymore.