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Showing content with the highest reputation since 02/29/2024 in all areas

  1. This XCS HD2 Sled was purchased with the intent of assembling a high quality rig; regrettably a knee injury sidelined me before I could complete my mission. Mr. G Bubb of XTended Camera Support worked with me on the purchase and can be contacted for confirmation. I paid around $40K for the gear, and Am looking to recoup as much of the money spent so I'm looking for 19k the best offer as it will do no one any good sitting around unused. Only serious buyers need reply as i don't plan to give away good equipment for nothing, but all respectful and reasonable offers will be considered and the best will will be accepted. Reach out and we can exchange private email info Respectfully, J R Renaud
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  2. GPI Titan Pro arm including 4 blue canisters for EURO 8800,- Arm is in excellent condition! Europe sales preferred - (Netherlands, Maastricht area) Included: - Bag with soft padding - J-Bracket for 5/8” post - Sachtler/Arri D-bracket for low-mode setup - Flowcine low mode grip handle - Allen keys for arm and canisters - GPI keys and spare kit for Titan Pro arm
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  3. Hello everyone, I am selling my Tiffen Exovest purchased last Year from Tiffen UK. It has only been used a few times over the last year and has only minor wear on the buckles. It comes with a soft bag and spacer pads in original packaging. Its based in Munich, Germany. i can sell locally or worldwide. Asking: 4.700€ +VAT if you are from Europe Original price: 5.249€ Buyer pays shipping. If you are interested or want to make a price offer send me a message.
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  4. I took the plunge and bought a used one last week. Very impressed so far. The build is incredibly solid for the price. and it feels very capable. You are of course saving money in lots of places but it feels like conveniences mostly. Incredible value for money. The arm is defiantly the first upgrade. Just not as responsive as a G70. But again at the price... I cant believe it does what it does. The docking bracket is so so. Very happy with the rig so far.
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  5. I have one for sale actually ha, definitely works and is a great value to fly
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  6. Hi Max Rever has been on the market for many years, and Luciano -the owner- is very active with all his clients, asking questions into the forum or being attentive to any after-sales service, which is always a great sign. I tried out his new post and the new Rever band arm (The arm is really smooth and strong to lift any heavy camera setup), All I can tell you are positive things. Just my 2 cent Gus
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  7. Hi James, I sent you 2 DMs
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  8. Hey gang! After having countless discussions on set about how to train for what we do, I decided to put together an article which outlines in detail; how to train and condition our bodies for the demands we face on set as Camera and Steadicam Operators! Please take a moment to check it out. Share it with fellow Ops! https://www.daviddesiocinematography.com/blog
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  9. Hi Josh, I remember being in your shoes clearly - it was the late summer of 2012, I was on my first feature film, having operated “semi-professionally” for about a year, and on two occasions I had to either put the 85mm up, or do a shot on the 50mm in low mode, and I remember both being seemingly impossible. So, you’re not alone in the difficulty of doing long lens work on Steadicam when starting out! I’d say about 1/4 of my work is tighter than a 50mm. Generally I don’t see many lenses above 135mm (though I have from time to time), although especially when doing anamorphic, 135mm is a pretty typical lens, and I regularly fly 100mm spherical lenses. A 65mm or 75mm is a sweet lens for Steadicam, and if you can get well in-sync with your actors, you can produce some truly beautiful tracking shots. I’d say to get to the point where I was completely unafraid of long lenses took me about 3 years of operating, and probably about 5 years to actually be able to back up my big talk with the skills to really pull it off. I will say that with long lenses, not only is it a technique issue, but it is also a physical feat with your body, and there is a significant component that the quality of your rig plays. When I upgraded my rig after that first feature, one of the biggest things I noticed in going to a new gimbal was that there had been some friction and play in my previous gimbal that just destroyed any chance of precision in long lens operating. Even the slightest friction in your gimbal will translate your body’s movements into the lens, and those errors will become much more pronounced on longer lenses. The same goes for your arm, although to a lesser degree (as the issues will be translational rather than angular). Additionally, having your rig trimmed for the tilt you will be holding is crucial, as is keeping your speed consistent. If you’re holding pressure with your hand to hold tilt, any little twitches and tremors in your hand will get into the frame, and if you’re speeding up and slowing down, any pendular swing of the sled will also get in, unless you’re good enough to keep 100% of it out (which very few are, although I think we all hope to get close!). And biggest of all, relax! I even get called out on this by DPs I’ve worked with for a long time. If I’m tense, that tends to telegraph into the shot, and sometimes I just need to take a deep breath and shake out my hands and try again. I hope that helps and gives you a few things to think about! Best of luck on your adventures!
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