Leaderboard

Kevin and Jerry, thanks for weighing in on this! I’m with you, never want to be reliant on an assistive feature, but would be a nice safety net on pro jobs. The seller is also offering me two days of training if I fly out to pick the unit up. So based on your price opinion, Kevin, I feel like this is a safe deal.

I disagree. Keep the Volt. Practice like hell without it, but there is zero point in risking a minor horizon flub when on a real job. The point is to get the shot, and get it well. Who cares how on the day? It's your career and reputation for getting the shot, being efficient, artistic, pleasant to work with... and the Volt will only help you.

-Beaming- I am pleased to say that I taught Brant how to operate in D.J., as he took my Rockport Workshop approximately 2 thousand years ago. Charles is right- I am a huge advocate of it. I use it frequently and since I was taught that the rig doesn't give a rat's ass which way you are standing in relation to it, as long as the operating level is clean and fine, why not D.J. ? Unless pressed to, I hesitate to do it on live t.v. events because switching with cables is a hump. I did some D.J. work for the Atlanta Olympics Opening Ceremonies- but had a minute or two between shots so that I could re-orient my cable for the position. I would never argue with the fact that it is a visual compromise as well as a physical irritation. However, since I have used it for as long as any other technique, and rely upon it heavily, I can't imagine NOT thinking of D.J. as an option for many shots. Different strokes- if the shot works and the work is clean, then hey! Go for it. Best to all, Peter Abraham p.s. Charles Papert is just as fun as always to hang with. p.p.s. His girlfriend is staggeringly lovely. Bastahd. :P

I don't mind DJ, it can be useful for faster paced moves, although I would always prefer to do it with the Marell electronic bubble for some extra confidence in my horizon! I much prefer walking backwards, helps with composition and control (and for video, easier to control zoom movements). I will only walk backwards if I'm working with one of my usual guys to have behind me, just in case. Even in DJ it is useful to have your assistant at your side or somewhere in front of you to clear the path / guide you through.

One trick to make DJ a bit more bearable is this: I use a short extension rod, about 12-15cm (5"-6") rod with a hole in one side and a stud for the gimbal pickup on the other. This makes my arm a bit longer, it gives more clearance when switching from Regular to DJ I also use this with low mode, to get more clearance.

Gents-- I would prefer not to use DJ but it has proven to be a "must have" ability that gets out and used more than most would admit. Just last summer, I executed a shot in Fenway Park out on the hallowed grass, that totaled over 1,100 feet in running length. I preceeded a Red Sox pitcher, Bronson Arroyo, and his band, from the Sox' dugout down the First Base line, past the bag and out across Center Field, through the back wall, under the bleachers and around the concession area, switched to Missionary and then followed the group out the back of the Park, down the street, across the street, up a ramp, turn 90* and into Club Avalon through the stage door right onto the stage where the band starts playing. All in one shot, one take, LIVE. The feed from my camera, PS SDX-900, was hardwired into a video truck and projected onto a massive screen in the Club. So the screaming fans knew we were coming and had nothing to do but watch my shot and then erupt into more screaming and yelling. About 1,200 people in the Club, mostly young scantily clad women in heat. The scent hit me as we entered through the stage door along with the adreneline shot and relief of making the trip without hastle or hiccup. Tried to work it out through the four rehearsals as a walking backwards routine but gave in to pain and drove the shot home in DJ for over some 800' of travel. I use DJ without fear but as many have said, not always the first choice. Best, Brant S. Fagan, SOC Steadicam/Camera Operator