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Many years ago I was on a show and this exact thing was happening all the time .Like Cedric I was using 2 magic arms and for most setups was quick and easy .My assistant presented me with this embroiled velcro backed slogan .I now use the SOS plate and it works great .

To those who missed my Chocolate Lab, Harley. Meet our new two month old Black Lab. This is Lillie. She will be excited to meet you!

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.

If you don't have any other choice, this could help you : - Have an assistant Raising or lowering your docking stand to the correct height for the shot - Put your Sled on the balancing stud - Put a magic arm between your post and the stand - Frame the shot, than tighten the magic arm Not as sturdy as a tripod but can sometimes help.

Pristine condition Tiffen M1 rig with Volt system. *Flat (equals rock solid) M1 topstage. *M1 Camera Dovetail Plate (unused/as new). *Two stage 1.75” M1 Centerpost. *M1 Gimbal with Volt. *Volt Control cable. *Volt Sensor Box Power cable. *Volt Sensor Box and attachment bracket. *M1 Monitor Mount (monitor not included). *M1 lower Junction Box and dual battery plate. *Eight IDX V mount batteries. *One IDX simultaneous Quad Charger. *Tiffen Volt Docking Bracket. *Spare Volt motor belt. *Spare Volt Sensor Box Power Cable. *Spare Encoder Sensor. *Case for M1 Volt Rig. *Case for Batteries and Charger. Price for all: $25,500 US. Buyer pays shipping (shipping account preferred). This rig has been fantastic. The only reason for selling is that i just received my M2 Volt. Serious inquiries only. More photos available. Email only please. I don’t always check the forum. Grayson Grant Austin, SOC graysonaustin@me.com

Will some one PLEASE buy this beautiful sled?! Such a good sled.

Just as a little signal boost for Rich, I’ve personally operated with this arm, and it’s in wonderful shape. Testing out this arm was actually the reason I ended up buying a Titan for myself!

I've been doing Steadicam for 25+ years which is over half my life, yet every time I visit a workshop, I'm humbled and inspired by the talent as well as inevitably learning something new! It's like a second honeymoon with this marvelous instrument and career. I highly recommend the workshops.

$8.5K Arm performs as if new. Selling because I am DPing full time. Selling with Gray canisters (32lbs to 45lbs) Includes pro arm bag, spare parts, tools and 5/32 t-wrench!

Low miles. Excellent condition. Must sell at loss. Great opportunity for aspiring operators. Phenomenal backup rig compliment for veteran operators. Contact Dennis (801) 201-4192. Leave message.

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

Hi, I'm looking for an M1 Sled with Volt Gimbal, so if anyone wants to upgrade to M2 etc., send me a message. Can have marks of usage as long as it all works. Cheers, jens

I hear these are super cheap. Charles, not sure about the latency though. We'd have to test it out.

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

bump

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

Hi Erez I would buy the flyer over the pilot for several reasons . 1. The Arm will carry a larger range of cameras . 2. The vest is far more substantial and better fitting then the pilot . 3. The sled, the top stage ,dovetail plate is far better then the pilot large plate. All considered the Flyer for me is a more versatile rig and you would use it longer then the Pilot . And Please it's Steadicam No Y ok All the best Louis Puli .

Im selling my trusted 3A arm This arm is a work horse and it has worked wonderfully for many years and projects. I bought it in late 2007 and Robert Luna did a complete overhaul on the arm in early 2016. I haven´t worked with the arm this since 2017. Carrying range is between 15-30 kg. (33-66IBS). Arm serial nr is 572. The package include. Arm, arm cover and allen key I can send it any were in the world if needed, but eventually VAT will be added. Im asking 4200 Dollar + plus shipping My location is Stockholm, Sweden.

For Sale Betz Wave with case, 3 power cables and manual. It has been serviced October 2019 - new locking pin, new bearings. In very good nick. Price: £ 4,500 GBP (+Vat if applicable) Buyer takes care of postage, etc https://www.betz-tools.com/en/wave1.php

Hi Justin. You have managed to be stricken with an affliction most on this forum have suffered for many years. Do it. But as Kat mentioned a workshop will not only give you insight and technical skills but contacts and relationships that can last a lifetime. Used gear has never been more affordable but most importantly available. There have been times when finding a used professional sled/arm in great shape on the forum was few and far between. Now its a monthly find. Unfortunately the current work climate may dictate pricing to be more in your favor. Good luck and don't quit your day job.................just yet. Ramon

To anyone looking for some free, honest, fun, and engaging camera department educational zoom sessions, please check out our SteadiSchool Youtube page where we have shared recorded replays of our past Q&A Sessions with professional Camera Operators and Camera Assistants during this time. Featured guests have been Operator James Frater SOC ACO, Focus Technician James Blyth Operator Ari Robbins SOC, Operator Jeff Muhlstock SOC, Focus Technician Bobby Mancuso, Operator Janice Arthur, Operator Ilana Garrard ACO, and Operator Kirk Gardner. https://www.youtube.com/channel/UCYuLPgum5SaPDOK-V3INHbw

For sale is my Steadicam Zephyr with 7" HD Monitor, Standard Vest & Gold Mount battery plates. A couple extras are included. Asking $6650 Shipped and Paypal'd, or best offer. USA shipping only, or local pickup in Denver. PHOTOS HERE: https://imgur.com/a/jkwrzkM Purchased November 2018 from B&H, only used in my home & studio for practice, has never been used on set or in a production. I am the original owner and only operator. Probably used less than 15 hours. My documentary work has taken off, and Steadicam operating just didn't work out in my grand career plan! Everything is in great condition, the sled has normal marks but overall looks great and all the ports are functional and clean. No weird gotchas or surprises. I'm also including a Skymagic CG monitor yoke for a 7" SmallHD monitor. This allows you to tilt the monitor without throwing the rig off balance. There is a second plate included with included 15mm rail attachment option. A Steadicam brand Mini Low-Mode F Bracket is also included. Manuals also included. Everything comes in the pictured flight case. Here's a balance test video: https://imgur.com/a/AQpB2AJ Again, photos are here: https://imgur.com/a/jkwrzkM Please feel free to ask questions or for more detailed pictures. I'm also available by phone to talk through any details.

It took a while to figure out the technique, I really didn't like feeling helpless (although it was fun to say to my AC "Arm me!"). I go by feel for the male into female socket block, only screwing the bottom screw, which is easier to reach. I wish I had a video to show, maybe when the Offseason is over. You must also remember to flip the socket on the arm so it bends the right way.

I’ve been asked why I did not purchase a new dual rod monitor mount instead of the single rod. For those interested, simply for better line of sight for objects that might pop up and trip up. here is a sample image

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Volt rain/dust cover for Pro Left side operation $65 please text 847-343-7255

Priced Reduced to $5,300.00 USD Buyer pays for shipping.

" 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." Excellent advice for all operating - not just Steadicam. I have found that 99% of the time I'm struggling with a shot (Steadicam, dolly, hand held, etc), take a deep breath and slow it all down a bit. Long lens Steadicam can be great fun, but I still hate long lens wide shots! With a long lens close up, you really zone into the subject and get to play. Long lens wide shots are so much harder for me. I recall one on "The Americans" where I was forced to track an actor head to toe perpendicularly though the woods on the other side of a small creek and I cursed the fibers of my being! Should have been a dolly shot, but no time (and the grips would not have been pleased) but at that distance, the slightest shift in headroom is so obvious (I wonder how a Volt would have helped that).

Sale pending for Titan Arm + Pro2 Sled.

Sounds like you do what I do. I'll balance the sled without the cable entirely. Get it into dynamic balance, attach the cable to the gimbal and the stage, pull camera aft just ever so slightly, and make sure my side/side's good as well. At this point, I don't even bother with adjusting anything else or even do a spin test. I feel like that cable could get tangled and snag on something if I do.

Rig Engineering Silver Spring Arm for sale. Well-maintained 3a style arm with 13-63 lbs (5.89-28.97 kg) payload capacity. There are cosmetic dings here and there on the spring covers. Great condition overall. $5,500.00 OBO pics coming soon. Comes with Storm case, nylon arm bag, proprietary spring tensioning tool, arm post(6", 8" 12") with arm clamp for each

Hi Connor, Having been to several all over the country - yes, people do come from all over the world, though the majority tend to be local. I had the same question when I was deciding between the Pennsylvania SOA or flying out to CA for a Gold. I'm east coast based, so I decided to do the SOA one. The connections I made there are now some of my greatest friends, and we've worked together countless times. Personally, I'd vote staying local. Lisa

Great condition, comes with case. Due to the size, local sale preferred. $1300 PayPal welcomed, buyers pay shipping and PayPal fee.

Hi everyone, I'm finally letting go of my G-50 arm with X upgrade! I've been the only owner for 10 years, and never rented it out. It got the X upgrade in 2012, and I replaced the hanger with a custom-made beefier version a few years ago. It's in perfect working order, only selling because I'm selling my lightweight rig. Depending on your location and my workload, I may be able to deliver it in person. Otherwise, I can certainly ship it. Asking $6,500. Let me know if you have any questions. Thank you!

Still available !!! ;)

Any reasonable offer will be considered.

Guys, this is from Jan 2014!

3 separate systems for sale. All in good working condition and all come in their own specially made Pelican Cases. All come with 2 Receivers to each Transmitter. All have Gold Mount battery panels. All include an Array Panel and complete set of mounts, antennas, assorted camera power cables, and short bnc cables. 1)Tomahawk2 2)Tomahawk 3) Bolt 3000 (barely used) Make me an Offer for any of the above

Time to go... 800 bucks. with some run stop cables and power cables.

Hi Everyone, Found these parts in my home I never used PRO GPI SD top Stage, GPI PRO Telescopic centerpost with SD Cable and CP IIIA Gimbal in very good conditions. Center post and top stage $1 250 CP IIIA Gimbal $ 850 accepts offers Parts are in Europe. Thank you for viewing. Chris

I designed these plates out of a frustrating need that kept popping up at camera preps - cameras often needed just a little extra height, either to balance properly on the Wave 1, or, as with the Alexa Mini and some Panavision builds, needed a little extra height so that some part of the camera or lens support would clear my dovetail. I’ve resorted to using washers in between the camera and the dovetail occasionally, but no more! These spacer plates are 3”x5” and 1/4” thick, and weigh 0.15 pounds (.06 kilo). They’re still quite strong, however, because of their design. And the slots are long enough to fit almost any camera hole pattern. If you use the Wave, you’ll be even more pleased with how these work. Balancing the camera vertically can sometimes be a chore - moving motors, adding tons of weight to a Noga arm, etc... Now, if you’re faced with a very bottom heavy camera, use one (or even two!) of these between the camera and the dovetail, and you can use a lot less weight on the Noga, and have a stiffer, simpler build. I made these to be a simple Swiss-Army-Knife type gadget, and small enough to fit in your usual AKS case to be there when you need them! Includes 3/8” socket head extra-long screws, for easy and secure tie down of cameras on the riser. $175 each. Email me to purchase - willsvideo@gmail.com

Hey all. Apologies on the delayed response -- I've been working and my schedule's been going from days to nights and then back again. The machinist had a bit of a health hiccup and was ordered by the docs to rest and take it easy. As a result there is a delay in getting the brackets out. I'm done with my current shoot on Thursday and will pop into the shop on Friday to hopefully QC the first batch and give the thumbs-up. Will keep you updated here. Cheers.

This would be funnier if this didn't happen to me on every rehearsal of every shot I do on the show I'm on. Take one is my first rehearsal. Sent from my Nexus 5X using Tapatalk

Couldn't help it... Bo - no no no no. That may sound negative, but hear me out, and I'll try to give the broad strokes here, saving details for later. No such thing as a half day rate, and who cares how long you operate for the day. 8 hour guarantee, 10 hour guarantee, whatever you can get. Whether they use you for 10 hours or 5 minutes - you get paid for a full day. And it's not because of all the hassle of phone calls, getting to and from set, etc... it's because once you take that half day - assuming you're an honorable guy and fulfill your commitments - you'll have to turn down every other full day that is looking for an operator that day. I've had producers at the end of a day where the Steadicam work was literally one shot try to negotiate a lower rate. With as straight a face as possible I ask, "If every shot today had been Steadicam, would you have paid me more than what we agreed on?" That usually ends the conversation. No introductory rate. You'll find it very difficult to dig out from down the road. And $800/day for labor AND rental???? Is that really the going rate down there? I guess if you don't have a big rig, and aren't in the union, you're probably in a market with which I'm unfamiliar. Perhaps that rate is fair. I wouldn't be able to advise. The first two points, however, should apply regardless. Be consistent. Be clear. Get things in writing. Try not to do "favors", especially for people/producers you don't know. An $800 day of Steadicam is already doing them a huge favor.

Robert, I guess my thoughts on split rate come down to end results. We've all heard the phrase, "your not paying me for what I do but what I can do". I guess with steadicam, I know what I can deliver (pretty much any and everything they can imagine). I've done it for so long and in so many different situations that it's basically impossible to stump me. I frequently get hired to do commercials at my full day rate for literally one shot that I could have done perfectly ten years ago in my sleep. But the high profile actor, director, dp, etc doesn't want to take chances so they tell production, "I want this guy". For me at least (I have yet to meet the Jimmy Muro of MOVI) I can do some cool stuff with the MOVI and I can frame shots and come up with nice compositions with a MOVI but I'm not a super hero with one yet (and It's kind of quirky so I'm not sure I ever will be). But I guess I just don't see the same end result possibilities (for myself) with a MOVI. I have no problem charging my "holy shit" rate for a Nike commercial when I'm doing steadicam but I would be (I'm not sure embarrassed is the right word) but I wouldn't feel right charging that kind of money for my MOVI skills. Does that make sense? And I guess I'd be curious to know, do you charge your full steadicam rate to operate a MOVI? Do you feel your as good with the MOVI as you are with your sled? Good questions, good topic.

A long time ago many of us used a battery-powered screwdriver with a hex drive for large weight adjustments (or the unnecessary, end-of-the-day relaxing of springs) - I had mine in a bag hanging from the stand along with other accessories. Lots of operators had (or still have) velcro or clips on the vest spar exterior, as some of us removed or reduced the chest pad, or simply liked that location. To me it seems like the most convenient place for a regular allen wrench, but might be tough for a big T-handled one. So do whatever works for you. Jerry

What are those strings hanging from her skirt ? Oh never mind those are her legs . . . . . =) Sorry couldn't resist Nevermind, back to discussion about the G50x and G70x arms --------------> Is your upper arm section pointing down while the lower points up in that vid?

Jess; You know what a portable annodizer is? A Sharpie! JA

Hi Michael, As Jerry points out here, newer arms are coping with greater weight ranges. The G-50 adjusts, tools free, and on the fly, in seconds, from about 5 to 26 kg (11-57 lb). The A2 sled—weighing 5 kg (11 lb)—is just a reaction to this increased range. The base is really light, so if you fly a DSLR, you don't have to add a weight cage; just use a half battery below, and some balance weights above. For the majority of cameras, the balance weights are unnecessary, though you can use them to increase pan inertia if you want to keep the rig compact. Between 12-18 kg (26-40 lb) camera packages, you add the weights below. So yes, the U2 has a heavy base for—among other reasons!—balancing heavy cameras. With 4 balance weights on the base, the A2's base weighs something more than a Clipper's, and less than an Ultra's. I hope this answers your question. I'm happy to answer more. All the best, Chris

Sooooo optimistic, good luck mate!!!