Jump to content


Popular Content

Showing content with the highest reputation since 07/02/20 in all areas

  1. 2 points
    Here's another one of David Hable's masterpieces. He modified my Wave to provide power outlets and BNC's as well as a back-lit bubble level. Now the camera sits 2inches lower minus the weight of the Dbox and topstage. I use the XCS side-to-side plate in the Wave for balance within the Wave. I have side-to-side adjustment on my monitor for Sled balance. The sled was a PRO Lite that has been upgraded to HD and the 2inch post and gimbal are MK-V. It's a fantastic rig that had become my pre-pandemic work horse. The loss of weight and height between the gimbal and wave allows me to keep the sled compact and tight to my body. I love it! David is such an innovative problem solver. There isn't much you can throw at him that he can't adapt.
  2. 2 points
    I thought I’d take a moment to share little bit of history which might be fun. Scrounging through some really old photographs I came across a couple of beauties dating back to around 1989. As aged as they appear, they indicate a counterculture that was taking root as Cinema Products struggled to understand the needs of the Steadicam Operator. While still living in South Africa, I met some aeronautical engineers whose day job was designing the Heads Up Display for the Rooivalk Attack Helicopter. As the technologies that applied to Steadicam covered some common ground, it seemed like a good place to start. I explained some of the quirks that we endure with the Steadicam, particularly its desire to depart perfect level when in the hands of a faltering and inadequate operator. As a member of that club, I pitched the idea of a cradle coupled with level sensors and a stepper motor that would take away our pain. It took a few months and these photos are the only evidence of what we came up with. It was a rough prototype but mechanically it worked pretty well as long as I kept the post travelling from left to right. The hitch in the giddy-up was the processing speed along with the level sensors of the time. As a concept it was limited, but the best sensor of that era, which might have improved our chances and which were probably only the equivalent of the sensor that was put in the very first iPhone, would have cost us around $18,000. If I remember correctly, it worked on the basis of a harmonic or acoustic signal that would distort as it departed level. After playing with the prototype for a while, it was clear that we had a long way to go. When I arrived in the USA and got into similar discussions with George Paddock, the challenge seemed more achievable. We were sadly humbled as we endured however. It is one thing to produce a rough prototype, but to consider putting it out to the world is another thing completely. Over the years we tried three times to launch the project but each time we encountered another problem and I have to say that the cash required was somewhat daunting. In a strange way, I was divided between the elegance and exclusiveness that lived within the Steadicam, while at the same time trying to create what amounted to be both a shortcut and a crutch. One of our attempts was in the era of Lynn Nicholson’s development of the Alien, and with the amount of money he had already invested, we felt that it would be underhand and deceptive to proceed with a vaguely similar concept. A group of us had been invited to a private demonstration of the Alien in a motel room near Universal and essentially Lynn demonstrated that he had solved the challenge of Camera Orientation according to planet earth. As the years past and the dust settled, we took one more stab at it and agreed to call it a day. It started to feel like we were in conflict our initial intention of keeping the PRO simple, clean and beautiful. I kept these two photographs which I carried with me when I settled in the USA on the off chance then I would find myself in a complicated conversation regarding the origination of the idea and the tricky issue of “Prior Art”. That may have been astute but as the years passed it became redundant. I'm also including in this collection a particular design that George and I approached along the way. We came to the conclusion that the arc of the leveling system actually needed to run in the inverse of what was conventional. When we mounted a camera and wore the Steadicam, we fully understood in about 2 seconds the concept of a mechanical system that has become un- coupled. That has to be one of my strangest Steadicam sensations I’ve ever felt, and thousands of dollars lay at our feet. It was with a certain amount of whimsy that I watched Chris Betz so elegantly achieve what had eluded myself and George for so long. It is one thing to tinker with prototypes, but to bring a product as complicated as the WAVE to a fickle and demanding market is a sign of incredible perseverance and fortitude. When George and I ran out of gas, others were better equipped to embrace the emerging technologies. What may have been telling, is that throughout the years we never came up with a name for it. The future is now saturated with camera stabilization that we couldn’t even imagine back in the 80’s and 90’s. Ironically, no matter how much technology is brought to bear, the best results still emerge from a neutrally balanced system and Garrett’s fingerprints can be found throughout.
  3. 2 points
    Find a used PRO. One and done, you will never need to buy another rig again
  4. 1 point
    I do have a Betz top stage with the same modification on the way. Actually if the wave stops working I'll just operate old school. In fact David installed an on/off switch on the wave so there are times when I do deactivate the wave and fly old school. Since there's no extra height It's not a big adjustment. R
  5. 1 point
    Hi Nick, Clearly this should not happen. Even if you did bump the vest, bits should not fall off it—sorry for that. If you send me your address, I’ll have some new screws shipped out to you. That joint with the circular plate is there so you can confirm the vest to the shape of your shoulder girdle. There’s an explanation of how to do that in the manual, and there’s a video on my website, link below. Once the vest is the right shape for your body, and the shoulder latch closes easily, all 8 screws holding the shoulder section should be tightened and sealed with Loctite 222. if you’ve any further questions, I’ll be happy to arrange a video call with you. Please contact me at chris@steadivision.com Here’s a link to the Exovest videos The one you’re looking for is Sizing the Exovest You’ll find other videos about working with the vest there too http://steadivision.com/info/tips/index.html All the best, Chris
  6. 1 point
    letting Go this beauty since I have too many sleds in hand. This one fully collapsed measures at 22.5 inches in length. Original Cost breakdown as follows (total of $33800 USD) ----Betz Tools Top stage $3500 USD new batch spring 2019, minor design change, absolute vibration free. ---PRO 2 HD Hable Mod $4000 USD (eliminates traditional top stage, gimbal is closer to camera CG as a result). top : 2X HD lines, PRO CINE/LIVE 2B 303 CAM POWER, PRO/TIFFEN 0B 303 12/24v accessory power x2. Arri Standard 2 pin lemo x1. bottom: 2x HD lines. 8 pin monitor power. PRO/TIFFEN 0B 303 12/24V power x1 ---XCS Gimbal + Ergo Handle + Custom short 15" carbon fiber post $14700 USD handle custom drilled with PRO style low mode bracket Holes. ---Optical Support monitor mount $1400 USD ---Transvideo 6 inch X-SBL $4500 USD --- GPI PRO gen 3 battery mount $5500 USD --- Custom 12v All parallel jumper block (makes all 3 battery hot swappable) $200 -------------- All together letting go for $25500 USD . serious inquires only. PM or email me STEADIPANDA@GMAIL.COM
  7. 1 point
  8. 1 point
    David is awesome — this is a great mod (and what was originally intended when Greg first started playing around with roll correction). this would be so perfect for an XCS sled since it already has the x/y at the bottom. It could definitely work using only the side to side of Greg’s plate as a course adjustment but I would miss the fine corrections. That being said I want
  9. 1 point
    Teradek Bolt Sidekick XT For Sale Compatible with all Bolt 500, 1000, 3000 systems + XT and LT Dual SDI outputs + HDMI output 3D LUTs and 5GHz Spectrum Analyzer built-in Used very little and in brand new condition…see photos. $1,750 If interested please email, text, or call. Thanks! Scott scott.camera@mac.com (213) 880-2550
  10. 1 point
    Aaron - With a sled neutrally balanced, the slightest imbalance will cause the sled to tilt or roll. If you are tilted up or down and the Volt is engaged, the Volt will try to level the rig, but it can only attempt to do so with motors not connected to the pan axis. The net result is that the sled pans. To more perfectly balance your sled, engage the Volt in regular mode, tilt to 30 degrees or more and set the trim to this angle. If the sled pans, tweak the side to side balance to stop the sled from panning.
  11. 1 point
    I've been holding off on saying much, as I know many who've gone the Volt route who I don't want to discourage, but I've had a very different experience than many with the Volt and the Wave. My experience with the Volt was that while it did offer some immediate advantages over the Wave (like its size and weight, and also the added bonus of having a rig that is neutrally balanced and thus can be moved around without any pendulum effects), it significantly changed my operating, and not for the better. I do a lot of tilting in my operating (something I wasn't aware of until I switched to the Volt), and the M1V electronics altered the way tilt felt, which required a lot of retraining, and additionally, I always saw a little pan wobble at the beginning and ends of tilts, no matter how much I turned the tilt strength down. There was also the issue (that I'm hoping eventually gets fixed) of the M1V tilting on a diagonal, and not in a straight vertical line, amongst a few other things that I found over my year and a half with the device. The work I did with the Volt was simply not as clean or good as the work I could do with the Wave, so I have since moved back to the Wave and sold my Volt. I urge each operator who is moving towards any augmented stabilization technology to try using both (and make sure they are both set up correctly, as many do not balance the Wave correctly), and see what they prefer, and most importantly, to analyze the footage critically.
  12. 1 point
    Really? I never would have guessed that Howard would copy someone's design.

  • Create New...