Mark Schlicher

Alan,

I'm not sure if I accurately communicated my tone...I wasn't doubting or requiring "proof." Sorry if I was unclear.

I've just never heard about this specific issue, and I'm curious for any details that can help troubleshoot it (or help to prevent/avoid the situation). For instance, has either Marshall or Red commented on the problem? Is there a technical understanding (such as voltage leakage into the video line) Has anyone had the problem with cameras other than Epic? Did it happen in specific powering configurations? Has anyone had this issue with the new MD series monitors?

Looking back at my email to Marshall, I thought at the time of my monitor's failure that it could have been due to a problem with my Black Magic HDMI-SDI converter (which would have been a Canon DSLR job).

In any case, I do keep a backup Marshall monitor. But if it's a known issue with Marshall monitors, that's a significant strike against it when considering a purchase, and I'd like to hear as much about it as possible from anyone who has been affected.

Alan,

That's something I haven't heard about. Any details on when, how and why it happens? I had an SDI board burn out on a Marshall monitor awhile back but I don't recall the circumstances...seemingly random. Interesting. Alternative monitor?

Tim,

As far as I know the high-bright Marshall is basically identical (other than splash screen) to the one sold by Tiffen...except the Tiffen unit includes a metal mounting bracket that (in theory) would make a bit more rigid and robust connection to the 1/4-20 screw on the rig. This also eliminates the possibility of a battery mount on the back of the monitor. I didn't have any rigidity problems with my Marshall version of the monitor. I have since purchased a monitor yoke from Tom Wills so it's a moot point anyway.

Yes it has wheels. I'd guess that a Pelican 1650 could be configured for a Flyer sled and arm, but you might need a separate vest bag/duffle.

Sam, there are varied opinions on which cables to get first, how many backups, etc. There are many threads on the subject, including your question on who to buy from. I suggest you search the archives.

I suggest you start with the cameras that are commonly used in your local market on the kinds of shoots you want to do. Make sure you have cables for at least those cameras, as well as for your ff, tx/rx, etc. If you buy new, many of these cables are not included. If used, you can often score a bunch of useful cables included with the gear.

Also, if you want to do live TV you will need a fiber optic jumper and maybe coax and/or triax jumper, as well as cables for power and signal for program return monitor and on-camera prompter.

It's common to start incrementally and also to rely on other local operators for backups. I don't have $10k invested in cables, but I bet I have $3k. The fiber jumper is the single most expensive cable I have, at $600 I believe. Most sled cables seem to run in the $150-$250 range each. Short video coax cables $30-$60...?

As a trainer, it's useful up to a point...but the larger cameras and rigs generate much more inertia and require more attention to posture and good form. But is a good way to learn operating basics that will translate, with some adjustments, to big rigs later.

As to your second question, depends what you mean by "low budget". On a professional set, even a "low-budget" set, probably not. Too much chance of exceeding the weight and powering limitations of the Flyer, thereby pissing off production and nipping your career in the bud. Not to mention that you shouldn't even think about trying to talk someone into operating Steadicam on any professional set (like this syfy contractor) until you have many many months or more of constant practice in your backyard. First impressions are everything, and word travels fast.

There are advantages to union and non-union sets. A union set allows you to concentrate on one job and learn it well, while observing a properly-organized set, developing relationships, and working your way up. Non-union sets may offer more flexibility in what jobs you can work, but they also can be chaotic, unorganized, unsafe, and hotbeds of bad habits and unprofessional practices.

Like I said, best to think of a Flyer and similar rigs as a trainer, and for working with students/friends/personal projects, where you have control or influence on the weight you carry and the level of skill that is expected of you!

I notice that you seem to be prone to generalization in both your questions and your assumptions. ("would it be good for low budget films?") Many of your questions will be answered by getting on sets, working hard, listening and learning, practice, training your eyes and your artistic taste, learning how shoots are run, defining and refining your goals, and discovering the answers that work for you.

Good luck.

A used Flyer LE can be an excellent value, and is a huge quality step up from the Glidecam.

It is not a professional "big rig" for heavy cameras, however...think of it simply for practice, and use with lighter cameras on student projects, etc.

The 6.5 and a riser plate should be sufficient, in my experience. I don't have the 11 but have never missed it.

The key for the Zephyr is to get the total camera platform weight up to 9 or 10 pounds, which is the practical minimum.

To clarify, is it a standard vest or compact vest? Your listing states both.

Also, the Merlin weights and XLR 4-pin power cable that are standard with the Zephyr are missing from your description and photo. Are they included?

Alan, that sounds great. Conversation is often thrown around the forum as if there is only one "correct" business model. Obviously you have a setup that makes good sense for you, and could work for others as well.

Yup.

I own a Cam-jam plate. It is a solid, lightwright, and inexpensive bit of kit that also can be used with broadcast cameras to replace the Sony quick release plate. Always love something that can do dual-duty.

The sartorius runs down the inner thigh....the rectus femorous down the front of the thigh, and the tensor fascia lata (connecting into the IT band) on the outside. All three attach at or near the protruding top front ridge of the hipbone (a latin name that translates to "top front ridge of the hipboe"). All kinds of important nerves, vessels and muscle attachments are right there under the waistband at that one point.

Once I had an experience of my leg suddenly giving out with extreme pain and inability to bear weight. Fortunately just after the last shot of the day, but I had to ice it all evening to be ready for the next day's shoot.

Since then I have been diligent to not wear a belt, to make sure that the waist pads have not shifted, and to not wear the waistband too tight.

That was fun.

For what it's worth, I am delighted with my Paralinx products and with Dan's service. Great bang for the buck.

Terry has built just such a cable for me. Terry is great. I would add that any of the cable builders serving the Steadicam market (see previous threads) should be able to help. This is not an exotic cable.

Sounds like a workable plan. Brian Freesh is the Jedi Master of pushing the limits of the Flyer; I suggest hitting him up for his wisdom.

Kris, I got the joke and enjoyed it immensely.

As for the camera, it looks very promising, especially for documentary/reality shooting and a lighter-weight option for Steadicam.

Yes the Zephyr cable is 3 pin Lemo to 2 pin Fischer. If you plan to use with Zephyr 24V plate, cable needs to be correctly wired for 24V on the lemo end. The cable will be either 24V only or 12V only, depending on how it's wired.

Dennis,

Another thing about the Glidecam is that it is very finicky to re-balance the rig when changing lenses.

With little or no advance practice, your 70-200 shot is almost sure to be a bust, (even setting aside focus), but I salute your spirit of experimentation. Based on the result you say you are looking for, a monopod shot or tripod shot with a "loose head" technique, or even handheld with the lens stabilization on would probably give you something similar aesthecially, but with much more control than you will be able to muster with the Glidecam. The 16-35 should be more manageable and more fun.

That's where I got my fiber jumper, too. Some folks I've talked to prefer a bit longer, like 7 feet, but I have a 6-footer and it works for me.

Given your budget and circumstances, you may be better served to simply run a tethered video cable back to the switcher. Opportunity to train your student operators and cable pullers to operate as a team. You will want to invest in a 6 foot lightweight and flexible "jumper" to run between the sled and the vest, and connect to the heavier cable that feeds back to the fly pack. Are you HD or SD? Coax, triax, or fiber?

Used the Cabrio on a reality series on an F5. The zoom rocker didn't have the adjustability of a true ENG lens. Likewise the lens was neither wide enough nor long enough to realize the shooting flexibility the DP was used to and would have preferred. That said, it was nice to have something close to an ENG lens, considering we were shooting ENG-style.

Epic thread.

Chris do you have a pic? I don't quite grasp how it's working for you...thanks!

What Victor said. But you can also make a 15mm rod holder by drilling and tapping a couple of holes in a Redrock rod clamp so you can screw it to the dovetail. Much cheaper.

Will consider reasonable offers. This unit, though it's an older one, has had all applicable updates, and has been carefully maintained by me and serviced by Jim Bartell.