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  1. the hardmount system lets you attach the arm to tubes and other places when we are in a vehicle correct? definitely needed and would me more efficient to operate that way then holding it the standard way on my body.. will check final budget.. haha i saw there is a coupon section on the checkout, asked lara if there is such a discount, if there is then will add the hardmount i guess. for low mode, you use the J bracket right? is it easy to go from regular to low mode with your setup? i am adding the dropdown kit for low mode, Lara already quickly replied to my mail, will check what the dropdown kit has. Best, Vicken
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  2. Loren, in regards to backpain and Easyrigs, I had the same issue, where even with the vest waist straps super tight it's still a bit lose. What I can reocmmend is getting a windbag / air wedge liek shown in the picture below and place that in the middle of your back at waist height. Then have the AC pump it up to your liking. Massive improvement
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  3. Ready Rig Vest- Pro Arms - VEGA- DJI Quick Release - BAG I purchased the vest new, it has never been a rental only used by me and not that much. The Vega has only been used once since purchased, its in perfect condition no wear at all. I have all the parts from the upgrades, check out the pictures. The vest is located in Chicago, I will ship to anywhere in the world on your dollar. If you use paypal, you pay the fee. I will take money order, bank transfer, Venmo, Zelle Shipping: I only charge exactly what the shipper chargers, shipping will be around $100 with insurance. If its less I will refund the amount if its more you refund me. If you have a Fedex account it would be best, if you don’t have one, you should get one. I guarantee the vest to be exactly what I say or your money back. $2800.00 USD NET TO ME, OBO Justin Painter painter4270@me.com
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  4. I also own an ArmX1. It‘s been many years that I have tested the G50x and I remember that I liked it, it‘s a good arm for sure. But, for many reasons I would go with the ArmX1, it‘s an amazingly smooth arm, very easy to handle and weighs nothing. On top, I love the mindset of Smartsystem as a company in terms of customer relations. You can always get a hold of them, they‘re very responsive and try to help as quick as possible. So yeah definitely worth its money. Cheers
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  5. 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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