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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.

This is my personal technique for making whip pans. I’m sharing here in hopes that it might help a newer operator who is looking to improve their whip pans during this quarantine.

I myself prefer a short rig but will change that based on what is needed within the majority of a shot. So, if I need the lens at a higher or lower height I will change that to a longer rig. Danny, take advice from the guy with more experience and who actually wrote the book on Steadicam, contributed to Steadicam with multiple inventions and who has devoted decades of his life to teaching Steadicam Operating to thousands of people across the globe. My two cents.

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.

I think post length should be altered to get the specific shot - either to change the lens height range and/or the rig's inertia. Choosing to configure your sled only one way is like playing 10 keys on the piano instead of all 88.

Ha, I guess this is why we should mark items as sold. Someone just contacted me about this 17 years later!

Just remember folks, it is not just the weight, but the weight distribution that influences the "feel." Spread your masses to add pan inertia and you'll likely much prefer it.

Speaking of New Kid(s) On The Block and Steadicam...this was a long cold night 25 yrs ago.

Just wanted to reach out to any of those out there that are on the hunt for an alternative monitor to the current choices. I recently bought direct from the manufacturer in Italy, "Smart System". Im very pleased, actually impressed with the build of this unit. Super solid Aluminum billet casing. Actual buttons (some programmable) for functions. Easy access to menus. Optional Battery mount installed. 2 SDI BNc inputs. HDMI input if you need. This company seems to cater to a DSLR using crowd. They offer sliders and even a reasonable looking full sized Steady Rig with a really interesting looking Arm. But don't be put off by all that, this is a much more professional build than you'd expect, feels more "pro" than Small HD honestly- and I don't mean to put down Small HD, the 703 is great, but it needs an additional kit to make it yoke mountable. I don't put too much stake in NITs, because we all know that mirror effect of glass trumps almost brightest...that being said, this monitor offers a 3000 NIT rating. My ONLY detracting point for this unit is that it employs a standard glass face which reflects like all of them. Its got a substantial bit more weight than the DP7 I also use as backup. which I believe the DP7 is the same or close weight to the 703. Its not as weighty as my now defunct Cinetronics Gen1. Which I miss. I really like the extra weight to help me preserve my monitor extension options. I am working on designing some weight system to put on a Gold mount plate that will help me tune it up for a little extra weight. As far as the company is concerned. Lara and Andrea were my two main contact in the process of purchasing. They were extremely communicative never letting more than 24 hours pass before responding to my emails. I paid with a bank transfer wire which I'm used to some after purchases of WAVE and and other items over the years. Not my favorite mode of transacting, but these guys really did leave me confident in their dealings over email. They also make a version of this monitor that incorporates a integrated digital level. they also offer that digital level as a separate unit. another Operator friend has purchased that level and feels like it is a really well conceived and executed unit. I cannot say enough about how high end this monitor feels. And now the clincher. With the optional gold mount batt plate installed, international shipping, and an included power cable (which they did custom for me at no extra charge) I paid less than $2300 USD. It mounted almost perfectly in my CamJam yoke set up for DP7. I added a slightly thicker set of delrin washers to big the 1mm or so gap. Just wanted to share this.

Selling my Steadicam Aero 30 System, great condition, very well looked after and maintained. Location: Bristol, UK. Price: £5500 Collection preferred, willing to ship at buyers expense. Whats Included: - Steadicam Aero 30 Sled - Steadicam Aero 30 Arm - Steadicam Zephyr Vest - Steadicam Aero 30 monitor - Steadicam V-lock battery plate x2 - Steadicam docking bracket - Steadicam low mode bracket - Custom monitor yoke - Peli Storm IM2950 Case with custom foam - Steadicam vest bag - Steadicam arm bag - Steadicam sled bag - Pixapro heavy duty c-stand - Counterweights x8 - Smallrig 15mm rail baseplate - Smallrig 15mm rail clamp - Smallrig 15mm rails x2 - SDI cable x2 - Monitor power cable - 4pin XLR to D-tap cable - D-tap to 3x D-tap cable - Tiffen vest screws x4

Stiffness is a function of the OD of the material, and of the ID of the material, and of the material itself. With carbon fiber posts, there are a host of factors affecting stiffens, and stiffness can be quite different form one post to another, even if the first two factors (OD and ID) are identical. I'm sure any post that Greg makes (okay, and the M1 post) are super-stiff and won't give anyone any problems.

Steadi in the rain isn't fun. This looks like a whole new level of no thanks lol.

Totally stupid? Cut holes? WTF are you talking about? It's our responsibility to not infect others if asymptomatic and keep production from shutting down. That is partially accomplished by wearing a properly fitting mask without a vent. Breathing through a mask is no big deal; I've been doing it for months while humping the rig around. Hope others let you know that if that's how you act on set.

Hi Henry, Since nobody else is weighing in. I designed a vest that works front or rear mounted, so maybe I can answer your questions, or at least give you my perspective on them. DM me and we can arrange a call on the subject. Chris

Includes transmitter, receiver, all entennas, ac power supply, several D Tap to lemo power cables and bnc cables. Works great, just not the range of newer models. $1700 OBO. 859F71DF-B42B-4143-B2B9-1F2531510C9A_1_201_a.heic

Yeah, what do you know about steadicam, Jerry?... ... mmm what?... ooooh.... wait...

I guess that all depends on how short you are and how high you need to go. But yes, I often use a long arm post. Arm posts longer than 12" are frowned upon, based on strength. I'll try to raise to socket block maybe but really how much does that gain if your torso isn't all that long. Depending on the height one needs, one may need to do one or the other or a combo. My point is being dead set on one set up is limiting to what one can achieve as an operator. Personally, I think it makes one less versatile in a world where shots are never the same.

i hear ya, but we’ve managed to handle this site for twenty years without it. not that i need to hear the whole backstory, it i’m curious if there was some egregious hacking to prompt this. anyways...more apps

It’s two pieces bolted together (as you no doubt already know). The base is Mitchell mount for hi-hats/dollies/risers/basically anything on most sets. The piece with the socket block on it can also be mounted on speed rail with the u-bolts in the kit (or from a hardware store). It’s not a complicated thing to do but I’d advise against doing it by oneself unless you have done it a few times and/or someone has walked you through properly rigging the mount etc. — lots of things can go wrong without a solid base and disaster can ensue and gear can be lost as well as people injured. Definitely don’t go out in your truck (or any vehicle) without a safe solid mount, a good safety harness for you, and a driver who knows how to handle a vehicle with your life (and your life savings) hanging off the back. it’s usually not used as often as one would think (especially nowadays with all the stab heads and gimbals) but it’s a godsend when ya need it.

"Undercutting" comes naturally early in your career. You do not have the experience quite yet to be charging what experienced ops charge. Make sure production knows why though, as you don't want them having high expectations. Also, don't take a gig if you aren't ready for it. Word travels fast which can either work against you or for you. Best of luck and you have us all for information and help. Also, nothing against Greg but taking a SOA workshop will also work in your favor. Many experienced ops to learn from, giving you exposure to different techniques from different people. Discover what works or doesn't work for you. You will develop your own style in time, generally a combo of what you have learned from the various instructors. Any questions, feel free to ask.

Hi everyone! I always love perusing this site and reading about other ops journey and setups so I figured I’d finally give back a little and show my current set up. After years of being a gimbal op and hating how the ArmorMan 2 was on my body, as well as just the restriction of doorways and the absence of a good low-mode option, I finally pulled the trigger and got the SmartSystems Matrix sled with X1 arm…. And boy do I LOVE IT! I get the ergonomics and operability of a Steadicam with the roll control and smooth action of a gimbal. As well as being able to do some pretty crazy moves (with the execption of the trinity low to high jib mode in 1 shot - the tail gets in the way) + being able to switch to low mode in 15 seconds. :) Feel free to use this post to ask any questions of the setup or operation of it. I’m currently on a show that we are rocking the Venice + recorder + k35s + Preston … a 29lb camera package. With counter weights, the total sled comes in at 73lbs It’s a beast but with some workouts, smart operation, and taking care of my body, I’ve gotten exceptionally comfortable with it. We’re regularly doing 15-20 mins walk and talks + 100meter+ moves. It’s not for the faint of heart (or back) but neither is the Trinity or Omega. Happy operating and shooting!

I've owned the Betz Handhled rig for a number of years and if you are using one camera body for all modes, it is a wonderful device! The baby pin receiver on the bottom is a great addition . Both my ACs and my Dolly Grip on the film I just finished kept commenting on how it was the best setup they've seen. Andre, I do wish the camera were a little lower on the shoulder though - I often just put a long Steadicam plate (like the one Peter Abraham makes) on the bottom of the camera and place that directly on my shoulder so I can find the CG. I was switching between modes so often on this job that I wanted to use my XCS plate (best plate for use within the Wave because of the side-to-side adjustment) at all times and it is too short to put directly on the shoulder. Nice within the Betz unit though as you can slide it to find the CG.

Update: Nick got me over everything I needed last night, Thanks!

Hello everyone, Hope you're safe and well. Ever since I upgraded to the M-1 rig, I haven't been using this one. Originally planned to keep it as a backup kit but it's been sitting around for quite some time now. I'm the first and only owner of this rig; bought new from Tiffen in February 2015. Below is what's included in this sale: - Steadicam Archer 2 sled - Dovetail plate with two screws - Steadicam G50X arm - Rain cover + bag for the arm - 1x 12V Lemo to XLR 4-pin cable - 1x Transvideo Lemo power cable (5-pin to 8pin) - 1x 24V Lemo to Fischer, Alexa power cable - 1x 24V Lemo to Fischer, Alexa Mini/Amira power cable - Low mode bracket - Docking Bracket - Thermodyne hard case for sled and arm - No monitor is included The rig has some normal wear and tear, but is fully functional. You only need a monitor and a vest to have a fully functioning kit. I taped two small pieces of tape on the top stage to keep the dovetail firm in its position. (This was a known issue for these sleds) I'm asking for 13,500 US dollars for everything plus shipping. Item is located in Beirut, Lebanon. Payment via International wire transfer. If you're interested, please send me an email at the following address: contact@christopherkechichian.com Have a good day. Best, Christopher

Hi Andre, I own a G70x arm and recently I bought the rain cover from Flowcine for their X-ARM...it fits perfectly. I also own a base electronics rain cover form Sachtler and it's great! I don't know if they are still producing them but it's worth asking. Hope it helps! - Haris -

From ICG - It is with great sadness we announce the passing of long-time Camera Operator and National Executive Board member Dan Kneece. Dan was a member of Local 600 for over 30 years, serving on the NEB since 2010. I had the absolute pleasure of attending the Ted Churchill Desert Center class of December 1988. Dan, along with Mark O’ Kane, Chris Squires, and Guy Bee (to name a few) were on hand and couldn’t have been nicer to a group of people looking to perfect their Steadicam skills. Dan was patient, helpful and friendly. Though we never worked together professionally, Dan always remembered me when I would reach out to say hi or bump into him at Cine Gear. just as nice then as when I first met him. I will miss him and always remember his big, beautiful smile and happy soul. Goodbye friend. You were an original. Bud Kremp

This is a 1st Gen Steadicam Flyer package that I picked up last summer and modified as a project. Now for sale! The Flyer was the first of Tiffen’s really serious lightweight rigs that could be used for professional jobs. It supports cameras in the 15 pound range, which while limiting for big jobs, would allow you to fly a lot of the smaller cinema cameras that are now out. This rig has been re-wired for an HD-SDI line down the post, as well as a more modern Tiffen-standard 3 pin power plug. The rig has a baseplate with standard 15mm rods on it, allowing for monitor and battery mounting, and a lot of flexibility in terms of which monitor you can use. Includes arm and vest, both in working order, though all of the pieces show signs of use. Asking $2000 for this rig (arm, vest, and sled together) plus shipping, or pickup in the New York/NJ area. Contact me at willsvideo@gmail.com or 215-796-8938 if you’re interested (please be patient, as I’m working!)

Bump still for sale! $6000obo

Thank you for your input Lawrence & Andre, The more secure and readily available Gold-Mount seems like it'll be the one for me.

I’ve seen a Transvideo monitor broken by a fallen V-Mount battery. Low mode with V-Mount can be hazardous. If you have the chance to choose, go for G-Mount.

I have a Steadicam Master Series sled and hard case for sale. It has not been used in some time and would like for it to find a new home. It comes with everything shown in the pictures and listed below. - Master Series Sled - 3 arm post lengths - XCS camera plate - Docking Bracket - Assorted Cables: 2X 3-Pin Lemo to 4-Pin XLR power cables, SDI video jumper cable, 4-Pin male to male hirose cable, 2-Pin Lemo to 4-Pin emale hirose cable - Mastercase rolling protective hard case I am selling this kit for $3000.00 OBO I will not ship, local pick up only.

Bump! don't need anymore so all offers considered

Well, my website is gone but don't worry I'm still here. My site was originally hosted at my ISP provider until they stopped offering free hosting. Then I found a place offering free hosting but they went belly up and took my website with them (without bothering to tell me). At this point I do so little business there's no real reason to find someplace else to host it. So if you try to go there and can't be assured I am still here to do repairs and sell any spare parts you might need. My e-mail hasn't changed: jim@bartechengineering.com. Later, Jim Bartell BarTech Engineering

ADMINS- Please get rid of this. there is just absolutely no reason why I should have to use a 3rd party app to get into a website. unless this is some setting that ive got on my omputer that ive never encountered before, i think that this is a result of the website. i just absolutely cannot stand stuff like this and there is no reason that on a discussion forum, not a place where any real important or secure information is secured, that there sould be some kind of authentication beyond username and password. sorry, this is extremely frustrating and annoying. hopefully im being an idiot and this is something having to do with my computer or internet browser settings... brett.

Hi, I’m selling my G70 steadicam arm (no X upgrade). It’s been serviced by Planning Camera (Paris, France) in march 2020. Every bearings was changed with new ones (arm bought in 2007) so the arm is in very good condition. Includes arm bag, 3/4" arm post and 5/8" arm post. Located in Paris but I can ship it worldwide. Price: 8500€ + shipping fees If you have any questions feel free to write me: contact@williamoger.com

Hey Everyone! Selling my Archer2 VOLT and G50x Arm. I just got it back from Tiffen Service and everything’s been tuned up and polished. Running real smooth. - Tiffen Archer2 Steadicam SLED (V-MOUNT) -Foldable Design for Compact Storage and Travel -Integrated Tilt Stage (Still useful even with a VOLT!) -Original Gimbal handle and housing included (In case you want to take off the VOLT) -Archer2 Steadicam Plate w/ Hardware - Tiffen Steadicam VOLT - Horizon Assist -VOLT Power Cables included -Archer2 VOLT Blue Whale Tool included -Control Box has been updated to the latest Firmware by Tiffen - Archer2 VOLT Padded Docking Bracket (Original Archer2 Dock Included) - Tiffen Accessory 3RD BATTERY V-MOUNT Plate (Dovetail system on bottom) - 7” Marshall V-LCD70XHB-3GSDI - Tiffen Universal Monitor Mount (I used this for smallHD 703) - BRAND NEW - Original Archer2 Monitor Bracket - Archer2 Mounting Plate w/ Screws - Tiffen G50x ARM - Standard Arm Post - Low Mode Bracket - Archer2 STEADICAM CASE - Fits Sled+Arm+Vest or Accessories - 2x Monitor Power Cables 8-pin Lemo to 4-pin XLR (1 Original, 1 Custom Rencher Industries) - 3x 12v Power Cables 3-pin Lemo to 4-pin XLR - 8-pin Lemo to 2-pin Lemo Monitor Power Cable (smallHD 703 compatible by Rencher) - Motorized Stage Remote (Volt Upgrade Nullifies the Motorized Stage) Minor cosmetic scratches here and there but overall taken care of extremely well. $25,500 Buyer pays shipping If you have any questions at all, or wanna see something in specific, fell free to reach out! Thanks! -Joe jblodgett77@gmail.com

Selling my Artemis with everything you could need for transport, power and camera support. All gear was never loaned or rented, and always treated like royalty. Asking 28k, Located in NYC, willing to ship at buyers expense, but priority given to local buyers first. Not looking to part out. Arm and Vest NOT included as I am keeping those. For a full gallery please look here. Full List: Cases: 3x Pelican Storm iM2450 with pad Pelican iM2950 Storm with pad Power: 6x "Switronix HyperCore GOLD 150Wh (14.8V, 10A)" Anton Bauer TM4 Core SWX Fleet Q Gold Mount Four-Position Charger Core SWX GP-TA Gold-Mount Hotswap Power Plate Adapter Anton Bauer SO-XLR 4-pin XLR Snap-On Plate Transport: American Grip Steadicam LS32 American Stand Leg Adaptor Wheels Inovativ Scout Evo 37 Inovativ Steadicam System Inovativ Stand Hanger Video & Focus: Teradek Bolt Pro 300 TX Teradek Bolt Pro 300 RX Bartech Handset Heden M26VE Motor fStop Wireless Receiver v2.1 Run/Stop cables for Arri cams 2x Rechargeable D Batteries w/ Charger Steadicam: SmallHD 703 UltraBright On-Camera Monitor Blackmagic Design Video Assist Arri Artemis Cine Broadcast 1.8in Artemis Docking Bracket with Pivot Yoke Upgrade, 1.8in Cam-Jam QUATTRO II Monitor Arm with integrated yoke Artemis Focus Bracket Steadicam Support: Artemis Camera Dovetail Plate, 8in Cat Griller 16x9 Cine Lock Quick Release Arri Alexa EVF Adapter 18” PA Long Plate w/mount accessories Various screws, tools and other accessories. Can be detailed separately. Steadicam Cables: "Aux Power, Lemo 0B 2pin" "Cam Power, Cine, 12V, HiCap, ALEXA" "Cam Power, Cine, 12V, XLR, HiCap" "Cam Power, Cine, 24V, ALEXA Mini" "Cam Power, Cine, 24V, Fischer 2pin" "Cam Power, Cine, K2.0010540 12V, HiCap, ALEXA Mini" MultiTap Breakout Cable

Hi All, Just a quick mention... I just saw the new BVB07 panel outside in bright SoCal OTS sun. Its 2000 nits and looks, well, really really bright :-) Did I mention that cover glass (matte finish) is now built-in over the panel? Please lemme know if you'd like to take a look..... Also...for those of you that have pre-ordered....they are shipping today.... Many thanks...

Exactly,, Lawrence....

Steadihacknoun.A person that buys a rig and uses it but lacks the respect for the craft and intellect behind it. They never try to improve their operating while delusionally calling themselves a Steadicam Operator.

Did you end up shipping to your buyer? What service did you use, how much did it add to the cost? I'm about to put my Zephyr up for sale.

Hi All... this may be premature, but I wanted to get it out there on the market and on peoples radar. I’ve been slowly forging ahead in my transition to a directing career, and at some point in the next 6months I would likely be selling my entire kit... And more! I’m not looking for a quick sale, and I’m open to a lease to own scenario as well which some young operators might be interested in. In particular my gear will be sitting unused in my shop through the end of April. So if you’re a competent, and trained young operator looking for your first rig... this could be right for you. In addition to the equipment list below, I have a significant investment in tools and parts for making cables. I’d like to include it all in the sale, along with anything else I have that I will be unable to make use us moving forward! And it’s probably important to know I live about an hour north of Philadelphia. No pictures yet... but at some point! Here’s what’s in my package: Ultra 2 Sled Tilt Stage Wireless Trim Brand new case Whales tale tool Tons of Cables 1lb & 2lb Bottom Weights Alexa Steadicam Adapter Plate Beefy Dovetail Plate 3x Dovetail Plates 15mm Dovetail Bracket & Rods (x2) Rain Covers 3x Monitors HD Ultrabrite 2x DP7 Pro w/ Artificial Horizon G70x Arm Fixed socket block Arm / Rain covers Arm Posts (6”, 8”, 12” & 18”) J-Bracket F-Bracket (ultra 2 style) Klassen Harness with Perfect fit for 5’8” and 34” waist... but should have tolerance either way Regular Side Operator drop down arm Extra Set of Klassen Pads (useful on hot days) Klassen AKS Wave (great unit and working condition) Balancing Weights 3x Betz receiver Plates (for use on heads etc) Cables Garfield Bracket (mounts for Mitchell or Speedrail) American Stand with Wheels Gorelock Dock System Balancing Dock Magliner Dock 2x Gorelock Rings Antlers Gyro Kit 3x KS4 2x Custom Inverters Brackets, Cables and AKS Batteries 12x IDX HL9 Batteries (need re-cell or replacement but will get you started) 2x IDX Battery Quad Chargers IDX to AB adapter x2 (so you can use AB Batts on the Sled) Backstage Shotsaver Rickshaw w/ Brand New Dune Wheels Compact Custom Steadi Cart Preston System 2x Custom Lightweight MDR-2 Both in lightweight 3D printed housings Built in interface cable electronics so no more unwieldy interface cable. HU3 Single Channel HU DMX1 with PAM DM2 with PAM Heden Motor Tons of Cables and AKS Misc Butt Dolly Various handheld gak Dana dolly, seat and parts Practice Cage Spare Sled Case Sled Bed for Truck Handheld Pad & AKS Various Plates, Brackets, Etc Hirose Crimp Tool & parts Lemo Crimp Tool & parts Windscreens x 2 3x High Density Plastic Pallettes for shipping gear.

Arm protection from sand, sea/salt moisture and direct sun. The Teflon coated, waterproof 4 way stretch material has a slight reflective quality so it deflects sun rays and keeps the arm cooler making it more comfortable to operate in blistering sun/heat conditions. Doesn’t limit or impede on the Arms range of motion. It’s easy on easy off from Dock. Drys fast after rinsing/ washing. 2 sizes. PRO Titan. PRO Atlas/ G90 $140.00

Tiffen includes a handle that will accept PRO sized posts (5/8") with a Volt. Did you not specify that when you bought it?

Titan arm, 4 blue canister and 2 black canister plus accs. 14000 U$S ,buyers pay shipping

This scene in total is about 4 minutes and I believe I can see a break between two shots that they edited into one. I was lucky to be in a Q & A with the actors where they said the steadicam op, Chris Haarhoff was given little direction especially at the point of the argument. I love this movie, and although the moves are simple they're very telling to the story!

maybe i’m an admin...unlikely i’d be selected as the salty fellow i am, but maybe this is my peak in the steadicam community... not sure why i am getting hit with it on both mac and iphone. anyways. just had to put it out there

Trenton, Best bet for what you are looking for is the SOA workshops. https://steadicam-ops.com/ Multiple instructors for 5 full days of intensive Steadicam lectures and shot rotations. They start from complete basics moving to more complicated work later in the week. They all care deeply about the art and sharing their knowledge. It's where I learned and have participate in ever since (when I can...work can get in the way) -Kat

I'd be so glad to fly down to the island to work on-site..... ;) Logical that you'd feel rocking when inertia the bottom is reduced. Spreading out the weight tends to suppress any rocking. It's very similar to balancing the rig. The faster the drop-time, the more minimized any off-balanced issues are to your fingers because the mass of the pendulum has been increased top to bottom, and the rig is holding itself upright rather aggressively. ( A 1 second drop opposed to a 3 second drop, for example ) I am a HUGE fan of taking an extra 2 minutes when doing a build to build the rig and then set the gimbal to neutral. Zero G, as I call it. Then very carefully arrange both axis so that the system is perfectly balanced. Even a slow drop time is using bottom-heaviness to overcome elements that are trying to pull the rig to one side or another. Only way to know if your build is perfectly centered is to trim fore/aft and side/side while neutral. Then, ASSUMING your gimbal itself is centered, your rig can and will behave exactly like a planetarium machine. You can tip it upside down and to an extreme axis- and it should hang there immobile. Any slow roll or sway is then easier to locate. I used to do it at workshops I taught. If there's a rolling or tilting that you cannot pin down to errant loose cables or trim, then cast your eyes to your gimbal itself. A useful bit to engage in every single time you build. It MUST be done out of the wind, of course. Any breeze will push a rig that's at neutral around. As to the issue of how to center your gimbal, there are written guides out there depending on which gimbal you are using. Glad to help you with this- but better to get those already well-proven guides into your hands. Which gimbal is it?

Hi Kevin, What rig and arm are you working with? Everyone has their way of doing things. Try this. Super light touch with your operating hand when keeping your frame. If the rig is balanced correctly trust that it will stay that way with out you overcompensating with your operating hand. Arm hand can be as firm as you like. Footsteps should roll. Not flat feet of course. I operate regular. Walking forward I tend to have very short strides. Rolling from my left heel to my toe and then onto the outside of my right foot rolling onto my right heel. Then back to my left foot and so on. Backwards, it is simply rolling from my toes to my heels. Harder to explain than to physically show this sort of thing. I hope what I wrote is clear. If not, please let me know.