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Hey Y'all! Camera assistant here in NYC, helping a friend and camera operator sell his X Spine Vest. It was only used a handful of times, setup for a Klasson Slingshot, not a steadicam arm. $4000 + Shipping from NYC (or pickup in Brooklyn) Pictures Below.

Hi Marc, same goes for vertical and lateral. Sorry for being not clear with my statement. What you can do to practice keeping the camera at a precise hight and on a precise path (straight line or arc) is a variation of the line dance. Instead of sticking a crosshair on a wall as a target you put it on a window or use a stand with a tennis ball on top of it. You need to see the back ground as well. Try to move in arcs or diagonal lines towards, away or around the target. Make the movement slow. Be close to the target as well. You will instantly see on what you have to work on. Hope this makes sense.

Anyone else bought one of these yet? I have seen them being tested. I have yet to receive mine. It has been 3 months since I paid in full! It was supposed to be delivered within 28 days. What’s the story? Anyone else in the same boat? Dean told me earlier this year they were ready to ship, but now I am told still in beta! Out $8k and still getting the runaround.

I think the logical conclusion why you got a timely reply and Taj is getting the runaround is sadly simple. They already have his money. They don't have your money YET. So they are being prompt and informative. I really hope they do deliver Taj's unit on monday like they have promised. All of those who are tempted by thier new product but dissuaded by thier horrendous historic customer service are watching. I am very interested in the level but the MKV reputation is holding me back until they have shipped many units and have many happy customers and the finished device proves reliable.

Progress! if anyone needs to connect with MK-V please contact Nikita for sure!!! lots of great new products coming out of MK-V and he is the direct contact for them and any customer needs my level will hopefully be sent out this Monday

$500 bump

FOR SALE: PRO CineLive Volt Steadicam Kit – Titan Arm, XT90 Batts, 703 UltraBright – LA – Mint Selling my fully loaded GPI PRO CineLive Steadicam Volt kit—barely used, meticulously maintained, and in like-new condition. This is a top-tier system with all pro-level upgrades. Purchased new from GPI PRO in 2022 and lightly used on select commercial and narrative projects. This is a serious kit for serious operators. Perfect for union and indie work alike, or as a high-end rental package. INCLUDES: SLED: GPI PRO CineLive Sled DB3 Top Stage VZ Gimbal Grip Gen 3 Battery Rack Tiffen Volt System (factory installed – $10K value) Pelican case + soft bag ARM & VEST: Titan Arm (4 blue, 2 black canisters – wide payload range) PRO Vest (soft bag) Walter Klassen Hard Mount Kit MONITORING: SmallHD 703 UltraBright Cam-Jam Monitor Mount Transvideo Mount POWER: 8x Anton Bauer XT90 Batteries Anton Bauer LP4 Quad Charger EXTRAS: SOS Plate Power cables from (Terry West), extra PRO cables, tools, spares American Stand Yeagar Pro Senior Steadicam Cart CONDITION: Everything in mint condition Purchased new in 2022 directly from PRO Low hours, light studio/commercial use All original packaging included PRICE: $55,000 OBO Willing to entertain serious offers, especially for local buyers. Prefer to sell as a complete package, but may part out for strong offers on individual pieces. Location: Los Angeles Shipping: Available, buyer pays shipping + insurance Contact: DM or email opticstudiosla@gmail.com or on IG @opticstudiosla More photos and serial numbers available upon request.

Hello Steadicam Operators, I’m parting with some incredible gear that has served me well over the years. The Steadicam G-50X Arm, ExoVest, and Sled are all in excellent condition, ready for a new owner who can put them to work on set. Over the past several years, I’ve transitioned more into a producer role, so I haven’t been in the camera department as much as I once was. Parting with this gear is bittersweet—it represents many great creative days on set. I know it will continue to serve someone very well. One notable selling point: the sled is the base for the Steadicam Trinity, and as confirmed by ARRI, it’s also upgradable to the 1.8 Volt post. The asking price for the complete package is $19,500 USD. If you’re looking for a high-quality rig that’s been well cared for, this is the one. Feel free to reach out with any questions or for more details! If you are interested, please reach out, and we can discuss the details further. Kind regards, Richard Included in the package: ARTEMIS 1.8" Cine HD Pro Sled (V-Mount, 12V/24V) G-50X Arm ExoVest Additional Accessories:Peter Abraham Zalex Longplate ACT 2 docking bracket 8" dovetail plate ExoVest Replacement Parts Telescopic Monitor bracket Custom milled G50X Pin to Mount Pro sled gimbal Cables: 12V XLR HiCap cam power cable (4pin Lemo 1S to 4pin XLR) 12V XLR power cable (3 pin Lemo OS - 4pin XLR) Cam Power / 24V ARRI 2pin Fischer cables Preston MDR Power 12V cables (6" and 2') RED EPIC Cam Power Cable (HiCap, 4pin Lemo 1S - 4pin Lemo) RED Cam Power Cable (HiCap, 4pin Lemo 1S -> 6pin Lemo B2) Cam Power cable (24V Panavision 3pin Lemo S) Case: Robust build, originally $800

Hi all, I won't be using my rig for the next 12-24 months and am looking to rent/lease it long term to someone, preferably in Los Angeles but open to somewhere else for the right person. We can work out details and price over the phone/email, but the price & terms would be very fair, ideally a 3 to 12 month term. Perfect for someone who wants to upgrade their current rig or starting out in Steadicam & doesn't have the funds to buy a new rig. Entire kit is like new. Kit consists of: - PRO Atlas Arm (2 black & 2 grey canisters) - PRO Sled (Cine Live Upper & Lower Box, PRO gimbal, Gen IV battery rack) - Volt Stabilizer - PRO Vest - TV Logic F7H Ultra Bright 3600nits Monitor - Power cables for RED, Arri, Sony, etc - Soft cases for all the above Send me a message for more details, thanks.

SELLING: TIFFEN VOLT KIT WITH M2 GIMBAL AND BRAIN WITH PADDED DOCK. In excellent condition with usual signs of wear. This has always been my back up gimbal and therefore has seen less use. Purchased new through OS 2023 for £9,860 + VAT Selling for: £7.5k + VAT UK BASED

Hey, Selling GPI PRO Vest. Like new. I've only used the arm a handful of times. 10 times or less! Great condition. Asking 4k. CHEST - 36.5 WAIST - 32.5 When putting my order in with Michelle she said you have about 2in in each direction so there is a decent amount of room to adjust. Located in Los Angeles. Opening to shipping. Buyer pays shipping. Included: - GPI Pro Vest - GPI Pro Vest Soft Bag - 1 1/8" Allen "T" Wrench. - 1 x 1/4" Allen "T" Wrench - 1 5/16" Allen "L" Wrench

Hi Marc, by vertical inconsistencies you mean headroom, correct? A couple things to try, you can re-trim your fore and aft adjustment to set the headroom you need for the shot to avoid having to do any unwanted tilting or booming of the rig. Try to keep a consistent pace and distance if you are leading or following a subject. Detuning the arm will make it less "springy"which will help, but will in turn require you having to work a little more to hold the lens height. Soften your steps as much as possible. There are a number of great posts in the forum about moving very slowly with the rig. Antlers when setup properly can help with tilt inertia giving you a bit more control, but as Benjamin said, practice is going to be your best friend over time.

I'm selling XCS ULTIMATE HD 3 Sled, Its in great condition ( like new ) . 1.75" Post, length is 17" compressed, 26" extended. with Volt and Tiffen Gimbal. Monitor bracket is available. There is nothing wrong with the unit. More pics available upon request, Located in NYC. Call or text for price. 212-518-1665 Tomek

Just adding to this old thread! I'm a Zephyr owner. Purchased it in 2022. Part of me wishes I would've waited for the Axis which was recently released. There were rumors of a Volt upgrade for the Zephyr. I would LOVE to upgrade my sled to include the Volt but I think they released the Axis. Anyone hear differently? This is what my setup looks like. I'm flying a C300 Mark III with DZO zoom lenses Mattebox, Tilta Nucleus M motors (for the zoom and focus) and a Teradek Bolt 6 LT 750 transmitter. I often also am pulling my own focus (at minimum F4) with a clamped Tilta Nucleus Nano II onto my gimbal handle. Not sure what the total weight is but it doesn't feel quite topped out. I still have a little bit left on both sections of the arm.

$3500

Price drop $8,000.

Boland BVB07A in excellent condition. Screen is perfect with no blemishes. This was my backup monitor and lived in a case. https://www.bolandcom.com/product/bvb07/ 7" Monitor features: - 2000 nits - matte finish screen, great for reflections - 3G/HD & SD inputs - PRO monitor cable style input - see attached tech specs for all details Sale includes: - Boland BVB07A monitor w/ PRO connector on rear - clear protective screen - Cam Jam monitor yoke (no spud included) - x2, PRO monitor cables, 24" & 18" - spare PRO connectors for future cables Asking $1700 USD or best offer. Everything new list prices total $3500. Located in Atlanta. Buyer pays shipping. Please contact me at markkaravite@me.com.Boland BVB 07A Tech Specs.pdf

I'm selling my backup Arri Artemis Vest with a solide custom-made handle in excellent condition; overall looks clean but may have minor signs of use/surface marks for sale. (The left clamp has some marks on the surface.) There's a velcro for attaching patches and a custom-made patch (stabilized with TRINITY) but it can be easily removed. Retails at $4390 before taxes. Selling $3800 US Bought this for a feature and used it a total of 45 days. Buyer pays shipping and fees otherwise. INFO FROM ARRI: Highly adjustable and modular vest. Only the most comfortable and modern fabrics are used for the ARTEMIS vest. Fits any operator with a height from 1.5 m up to 2.1 m/4.9' up to 6.56'. Weight: 4.5 kg/9.9 lb with standard industrial vest-to-arm connector.

Hello everyone A few days ago a scammer contacted me outside the forum trying to sell me a sled - which was posted on the forum by another user - I followed the game to see how far it went.. He called himself "John Weekend", and his email is: johnwkd468@gmail.com Googling his email I found that he had already tried to scam in another forum: https://www.thecj2apage.com/forums/scam-user-name-johnwkd_topic50570_post514794.html#514794 The paypal account where he wanted me to send money is: ndungufran23@gmail.com Be careful. Greetings to all, Gus

Hi Donald, You’re right to assume that the answer is quite variable, but there are some rough guidelines that may help. One of the things that I particularly like to do at a workshop is to have a student take their post hand off of the gimbal completely. (Obviously leaving the other hand on the gimbal grip - no need to go totally hands free!) Many new operators get frustrated by what they see as “the rig wobbling”, and yet the moment I ask them to take their hand off, the rig floats magically through space without a wobble. However, as they then see, the camera is now aimlessly drifting, and the frame usually sucks. But hey, it’s stable! What this immediately shows, however, is that every “wobble” is coming from your hand. So the trick is to apply the input you need to frame the shot, but only that much input. There are times where you will need to apply more input - like stops and starts of a move, and there will be times where you need to apply less input, like a very slow consistent speed move. But the challenge of Steadicam is always applying just enough input to the sled. So, as to how that relates to pressure on the gimbal. The general rule of thumb I’ve found is that it’s almost always on the light side. Times when you need to apply more pressure would be when doing a tilt with a heavier drop time, or when counteracting violent stops and starts with a bottom heavy rig, or when changing directions mid-move. Apart from that, applying as little pressure as possible is the name of the game, as the tighter you are holding onto the gimbal, the more likely you are to make the rig wobble, or throw off the horizon, or cause pan wiggles. As for keeping the horizon level, that comes with practice, but there are a few additional tricks there. First of all, if you can, there are many new tools that can provide assistance for horizon as you’re operating (such as the Wave and Volt). While I think it’s important to learn how to operate without those tools, they have given a lot of operators the freedom to remove chasing the horizon from their attention loop while operating, and that’s incredibly freeing. It also takes away what was always one of the curses of Steadicam - it’s the only tool we regularly use on set which goes off level easily - so it makes it much easier for Steadicam work to blend in and be less obvious, something I know I appreciate. As for tricks without those fancy horizon aids, think about the blocking of your shots to avoid having to change direction unexpectedly. Every time you change direction or speed in the side to side axis, you introduce a tendency for the rig to go off level, and you will have to fight that. By blocking shots that limit these speed and direction changes, you limit the amount of times that you’ll need to be absolutely perfect. In addition, I run with a set of grid lines on my monitor, and regularly check them to the vertical and horizontal lines of the set. I also run a “CineLevel”, which is an acceleration compensated digital level that mounts on my rig, and seems rather effective at giving me a horizon readout, and it is relatively inexpensive, which is a pleasant surprise! Finally, and I’m sure others will echo this - if you haven’t, please find time to take a workshop or some private training from a reputable operator (and of those two options, I really recommend the workshop if you’re starting out, for a variety of reasons). While there is much you can learn on your own, and from videos and books, having experienced operators around you, critiquing you, and building your form is invaluable. In addition, there is a ton of nuance to how each individual operator crafts their shots, and handles their rig, and being around a group of extremely talented people gives you tons of people to “borrow” ideas and techniques from, and will vastly broaden your skill set in a very short period of time. If you can logistically and financially make it make sense, the SOA provides some of the best workshop experiences I’ve ever seen, and I’ve been lucky to be able to instruct there a few times.

Larry, that reminds me.... About six or seven years ago, I was scheduled to work on a documentary (where they obviously don't have the grip truck, etc.) on Icelandic horses. By coincidence I was in a rental house before this job prepping for something else when I discovered they had a set of old baby legs for sale (dirt cheap). I bought them, went home, found a large piece of wood, drilled holes in it for the tripod's spiked feet to be inserted into, and added rings for ratchet strap hooks. Between the holes and the straps, it was very securely attached to the board. Called production and told them to bring a HUGE pile of sand bags and we'd be all set. Indeed we were. Plunked the thing dow inside a pick up truck and off we went. Very easy solution, gave me a good lens hight for horses, and I didn't have to worry about hanging off the vehicle when we didn't have a platoon of grips looking after my safety. I have since used this very set up in a utility golf car on another documentary. Mitch, thanks for pointing out Jayson was the DP - I was actually wondering if he was the grip. Jayson, just make sure your op has a Garfield mount to begin with! Good luck.

Before working on films that are supported by a whole truck full of grip equipment and very experienced grips (that was a long time ago), I used to carry a 4' square of 3/4" plywood and a lost of sandbags, or cement bags, or whatever I had available. Any of the popular hardmounts could generally be attached to the plywood base with a small supply of bolts and nuts, along with ratchet straps, ropes and any other bits I could assemble (like caribiniers, climbing harnesses, C clamps, etc.). The simplest hardmount probably is based upon speed rail and a small collection of various fittings and pipes could be very useful as well. Larry