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Hi All I have had the Level on several jobs now. It performs really well. This is still a prototype. The final version will be shorter by an inch or so, and have WiFi so you can do software updates without sending it in. Plus more user inputs. Super simple to use, and much easier to set up than the Wave. The balance is not as critical. For example, this last show, I took the prompter and receiver off mid show and just kept going after just a regular Steadicam balance. This would have required a total rebalance on the Wave. There is still no manual lock, but this was not an issue because there is a pause button that locks the level in place. Really quick to do, as in this past commercial, I had to do some off angle shots as well. Just one button, press and go. Very low profile and discreet as the footprint is much smaller than the Wave. Although it only has 6° of adjustment, because it has a low center of gravity, it actually represents a big correction of horizontal control. You can see this when turned on and the level powers up. The locking screw is plastic but solid. Feels a little cheap. There are rubber footings that aid in keeping your camera plate from sliding at full tilt. The return to level after a full tilt is smooth. Looking forward to the final when mine gets switched out. One concern is how weatherized it is. You can see the inner circuit board between the level plates. I believe this too will be addressed in the final version. Looks to be end of this year. Cheers Taj

New 2nd battery mount for Axis A customer asked for this, so I made a secure, low-profile battery holder for him. One piece clips on and bolts directly to the bottom of the Axis. The 2nd piece holds the V-mount (or AB mount, not shown). Use the D-tap for power. Sold with, or without, the PV-2 or AB Gold mount. Note the heavy duty protector for the V-mount battery release button. Price without the PV-2 or QR-GOLD plate $60. With either plate, add $130. Price includes shipping in USA, international extra. jholway@comcast.net

Level has landed and will be using it thoroughly next week on a job. Cheers all and thank you for helping out.

Hi guys. MODULAR+ (Modular plus) upgrade kit for GPI PRO vest is now available for pre-order 🔥 Check it out 📍 https://www.ya-inta.com/store/p/modular-upgrade-for-gpi-pro-vest Detail: Modular+ enhances the versatility and modularity of your GPI PRO vest. •Adjustable socket height •Reversible socket block plate***, allows regular and goofy in one vest (ideal for rental vest or specific shots requiring a side swap) •Low mode socket plate is optimized to minimize torque stress in low mode •Normal socket plate is optimized to maximize arm-monitor clearance view •Enhanced multiple safety pin lock locations •Laser engraved reference position Engineered for strength and efficiency, the Modular+ is lightweight, rigid, and streamlined. Precision-machined in-house by Koon W. Ya-inta, SOC, ACO, using multi-axis CNC machine. R&D + field testing + continue improvements over 1.5 years Designed with the future in mind, the Modular+ system offers a clear upgrade path. Additional accessories in the Modular+ product line will continue to expand its capabilities. Specs: Material: Aerospace-grade 6061, Stainless Steel 304 ***The normal socket plate is reversible for both regular and goofy operation. However, when mounted in the goofy position on a regular vest, there is a clearance limitation. A dedicated adapter for using a regular vest with a goofy setup is currently in development. If your vest is already configured for goofy operation, this issue does not apply. Check out promo video here

All right, everybody level has shipped as of today tracking is in hand. looking forward to using it

Hello Steadicam Operators, I’m parting with some incredible gear that has served me well over the years. The Steadicam G-50X Arm, ExoVest, and Sled are all in excellent condition, ready for a new owner who can put them to work on set. Over the past several years, I’ve transitioned more into a producer role, so I haven’t been in the camera department as much as I once was. Parting with this gear is bittersweet—it represents many great creative days on set. I know it will continue to serve someone very well. One notable selling point: the sled is the base for the Steadicam Trinity, and as confirmed by ARRI, it’s also upgradable to the 1.8 Volt post. The asking price for the complete package is $19,500 USD. If you’re looking for a high-quality rig that’s been well cared for, this is the one. Feel free to reach out with any questions or for more details! If you are interested, please reach out, and we can discuss the details further. Kind regards, Richard Included in the package: ARTEMIS 1.8" Cine HD Pro Sled (V-Mount, 12V/24V) G-50X Arm ExoVest Additional Accessories:Peter Abraham Zalex Longplate ACT 2 docking bracket 8" dovetail plate ExoVest Replacement Parts Telescopic Monitor bracket Custom milled G50X Pin to Mount Pro sled gimbal Cables: 12V XLR HiCap cam power cable (4pin Lemo 1S to 4pin XLR) 12V XLR power cable (3 pin Lemo OS - 4pin XLR) Cam Power / 24V ARRI 2pin Fischer cables Preston MDR Power 12V cables (6" and 2') RED EPIC Cam Power Cable (HiCap, 4pin Lemo 1S - 4pin Lemo) RED Cam Power Cable (HiCap, 4pin Lemo 1S -> 6pin Lemo B2) Cam Power cable (24V Panavision 3pin Lemo S) Case: Robust build, originally $800

Hey Y'all! Camera assistant here in NYC, helping a friend and camera operator sell his X Spine Vest. It was only used a handful of times, setup for a Klasson Slingshot, not a steadicam arm. $4000 + Shipping from NYC (or pickup in Brooklyn) Pictures Below.

Hi Marc, same goes for vertical and lateral. Sorry for being not clear with my statement. What you can do to practice keeping the camera at a precise hight and on a precise path (straight line or arc) is a variation of the line dance. Instead of sticking a crosshair on a wall as a target you put it on a window or use a stand with a tennis ball on top of it. You need to see the back ground as well. Try to move in arcs or diagonal lines towards, away or around the target. Make the movement slow. Be close to the target as well. You will instantly see on what you have to work on. Hope this makes sense.

Re upload ! GPI PRO Vest with Cinetex padding and anti-slip waistband. Comes with soft travel bag and spares and Allen T wrenches. Located in London. Bumped to £3,800+VAT Buyer pays shipping.

I’ve been starting up a small maintenance shop in my workshop in New Jersey, doing maintenance and mods for quite a few operators. Obviously I can’t do warranty service, but for out of warranty repairs and maintenance and especially modifications, I’m happy to throw my hat in the ring if it makes sense geographically. If you’re on the west coast, I might check with the folks at Apex Cinema Gear, since I know they are working with Robert Luna who is an incredible resource for rig mechanicals (As well as both Justin and Stephen at Apex who do great work). There may be other resources (especially elsewhere in the world), and lead times may vary, but at least there are options!

Hello Selling my Smartsystem arm. It's upgraded and very good condition. Had it as backup. Does not find enough use. Asking 6500€ shipping worldwide on buyers expense. Located in EU. Fastest way to contact me, is to write siim@fookuspookus.ee Thank you

Arm x1 new price $6,500

Arm x1 also upgraded to steel socket this image shows the pin hole that fell off does not affect arm

PRICE DOWN to 1750euro

PRICED IN USD. wk slingshot 2.0 + wk Steadicam Hardmount + slingshot hardmount wk craddle in picture is NOT included (could be added for ADDITIONAL $1200 USD) slingshot 2.0 ($4555 USD brand new) handheld extender x 4 ($700 USD) WK STEADICAM hardmount no case ($1300 USD brand new) Possum solutions WK hardmount ($200USD new) asking $4000 USD. (or $3000 without hardmount). shipping from vancouver canada, thru UPS/DHL/FEDEX buyer pays shipping, could Bill at your account.

FOR SALE: PRO CineLive Volt Steadicam Kit – Titan Arm, XT90 Batts, 703 UltraBright – LA – Mint Selling my fully loaded GPI PRO CineLive Steadicam Volt kit—barely used, meticulously maintained, and in like-new condition. This is a top-tier system with all pro-level upgrades. Purchased new from GPI PRO in 2022 and lightly used on select commercial and narrative projects. This is a serious kit for serious operators. Perfect for union and indie work alike, or as a high-end rental package. INCLUDES: SLED: GPI PRO CineLive Sled DB3 Top Stage VZ Gimbal Grip Gen 3 Battery Rack Tiffen Volt System (factory installed – $10K value) Pelican case + soft bag ARM & VEST: Titan Arm (4 blue, 2 black canisters – wide payload range) PRO Vest (soft bag) Walter Klassen Hard Mount Kit MONITORING: SmallHD 703 UltraBright Cam-Jam Monitor Mount Transvideo Mount POWER: 8x Anton Bauer XT90 Batteries Anton Bauer LP4 Quad Charger EXTRAS: SOS Plate Power cables from (Terry West), extra PRO cables, tools, spares American Stand Yeagar Pro Senior Steadicam Cart CONDITION: Everything in mint condition Purchased new in 2022 directly from PRO Low hours, light studio/commercial use All original packaging included PRICE: $55,000 OBO Willing to entertain serious offers, especially for local buyers. Prefer to sell as a complete package, but may part out for strong offers on individual pieces. Location: Los Angeles Shipping: Available, buyer pays shipping + insurance Contact: DM or email opticstudiosla@gmail.com or on IG @opticstudiosla More photos and serial numbers available upon request.

Hi all, I won't be using my rig for the next 12-24 months and am looking to rent/lease it long term to someone, preferably in Los Angeles but open to somewhere else for the right person. We can work out details and price over the phone/email, but the price & terms would be very fair, ideally a 3 to 12 month term. Perfect for someone who wants to upgrade their current rig or starting out in Steadicam & doesn't have the funds to buy a new rig. Entire kit is like new. Kit consists of: - PRO Atlas Arm (2 black & 2 grey canisters) - PRO Sled (Cine Live Upper & Lower Box, PRO gimbal, Gen IV battery rack) - Volt Stabilizer - PRO Vest - TV Logic F7H Ultra Bright 3600nits Monitor - Power cables for RED, Arri, Sony, etc - Soft cases for all the above Send me a message for more details, thanks.

SELLING: TIFFEN VOLT KIT WITH M2 GIMBAL AND BRAIN WITH PADDED DOCK. In excellent condition with usual signs of wear. This has always been my back up gimbal and therefore has seen less use. Purchased new through OS 2023 for £9,860 + VAT Selling for: £7.5k + VAT UK BASED

New Price £12,500

Selling an m1 tilting top stage. Only selling because I swapped to an m2. Great used condition. List price is $6,625USD-will sell for $4,000 USD plus shipping matt@steadimoves.com.au

Thank you so much for your words Maxwel! It is very pleasing that you can see the effort and the time that I spend working on this sled, from these pictures. Your opinion is much appreciated and for me, it is like you have bought it!! Thank you again, - Haris -

boom 1.000.-€

Recently bought a new rig so I'm selling my trusty M1! This rig is in great condition and was recently serviced. Theres normal cosmetic wear but nothing serious. Aside from and arm and a vest you'll have everything you need to get oping. Included: - Tilt stage - 2 section post - Transvideo 8'' X-SBL - 8- 150whr Core Batteries - Core Quad charger - 10+ BNCs - Camera Power Cables - Starlite 5'' low mode Monitor with 2 power cables - Hill Dock and Mag dock - 3rd battery plate - SOS plate - MDR plate - Full set of back up screws from SJS - Low mode collar - Steadicam Dovetail - Betz Dovetail - Thermodyne rolling case - Gimbal tool Originally everything was around $35,000 asking $22,000 Located in NYC, pickup preferred! Email jessecoyote14@gmail.com if interested

You’re welcome!

Steve, Would you accept $3,800 plus shipping? Best, Joe Fitz

Hey guys! I'm testing the waters to sell my Titian arm and 2 grey canisters in April. $11,000 for the Titian arm with front mount & back mount solid socket block and 4 blue canisters. $6,000 for 2 grey canisters reach out to me 949 412 7135 Quaid C De Baca @ Gmail.com

Hello all... Anyone have or seen this new monitor from Smart Systems ? Looks very interesting + being water resistant... ?! https://www.smartsystem.com/product/smartcam-monitor-sm7-pro-3g/ regards AJ.

I'm selling my backup Arri Artemis Vest with a solide custom-made handle in excellent condition; overall looks clean but may have minor signs of use/surface marks for sale. (The left clamp has some marks on the surface.) There's a velcro for attaching patches and a custom-made patch (stabilized with TRINITY) but it can be easily removed. Retails at $4390 before taxes. Selling $3800 US Bought this for a feature and used it a total of 45 days. Buyer pays shipping and fees otherwise. INFO FROM ARRI: Highly adjustable and modular vest. Only the most comfortable and modern fabrics are used for the ARTEMIS vest. Fits any operator with a height from 1.5 m up to 2.1 m/4.9' up to 6.56'. Weight: 4.5 kg/9.9 lb with standard industrial vest-to-arm connector.

If these are for a Tiffen M1/M2’s sled rods, I would use Zacuto rods. Tiffen standardized on the 1/2”x13 thread standard, which Zacuto is one of only a few companies to use, unlike most companies which seem to use the M12 thread standard. I source mine from B&H as I’m in the NY area, and they are findable as “Zacuto extension rods”

I would doubt that - the Flyer LE handle is a much thicker aluminum part with approximately 1/8” thick walls of aluminum, whereas the Pilot’s gimbal is a very thin bent aluminum tube, and seems like it would easily break under extended loads. The Pilot really was built down in weight so that the sled could be as light as possible. It’s actually quite impressive! But it does make sense that to save cost Tiffen would use the same bearings - they are a commodity part and only come in certain sizes anyways.

Wanted a 2nd vest as a Backup and then Thought Better of it. Wonderfully designed and very comfy. I have never used it on set but for a few hours of fitting and trying it out. Definitely haven't sweat in it. Comes with the optional back pad and the hanging bracket and pin. Gotta make some room for incoming gear. Located in New England/New York Pictures to Follow... Don't hesitate to call. 917-208-5644 Tom Schnaidt

Looking for arm x1

Zeiss Standard Speeds, industry workhorses for years, have been used on some of the best looking feature films of the last 40 years. Small size, good sharpness and contrast, and a large selection of focal lengths have kept these lenses relevant even today, adding a filmic quality to digital cameras. They are often used as a slightly less sharp and less contrasty alternative to modern lenses. As a bonus, they are some of the smallest and lightest lenses available, most weighing below 2 lbs. Zeiss Standard Speed lens set of 7 primes. 16, 24, 32, 40, 50, 85, 135mm T2.1. PL mount. 80mm front diameter. Included is a pelican 1520 case w/ Trek-Pak divider system . $28,500.00 I have had these lenses for 10 years. In that time I have shot 5 features, and over 100 commercials with them. I have cut them against, Angenieux zooms, Arri Signatures, Cooke S4, Supers, Ultras, and still photo glass. They look naturally and they blend so well with other media. These are a crowd pleaser, always a cinematic image. It's hard to let them go but it's time. Best, Joe

Located in France. 2500€

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.

Hey Tim, Just sent the $50 via pay pal. Thanks, Brett

Betz Twister in good condition. I bought this last spring for a show. Now that the show is done, I'd like to find it a loving new home. It comes in a padded soft case with the accessories pictured below. Sale prices seem to be between $1700 - $2000 on the forum. I will entertain all serious offers. Shipping in the continental US, paid by buyer. Email me at gregfaysash@hotmail.com

Selling my GPI PRO VEST, $3800, purchased in 2018. In good working condition, minor wear and tear in the form of some scuffs and scratches from use. I’m no longer in the stesdicam game so looking to offload my last piece of gear steadicam gear. 6’2” operator, 36” chest and waist measurements. 190-205lbs operating weight over the years. Priced to sell! $3800 Buyer pays shipping, based in Charlotte, NC.

Price?

Complete Trinity 1 systems, I picked it up for a feature last year but haven't used it since so selling it make room. Minor cosmetic marks but otherwise in excellent condition. Comes with NODO 3-Axis Wheels kit, PC laptop, all necessary cables and backups, a slew of AKS, and cases. Message with any questions. $40,000.00. Located in LA. Email nicklangley4president@gmail.com for inquiries.

Hi all; I've got a new vendor and all stocked up again with plates. I've even got a couple of new holes in the edges so that you can configure the posts in many ways, rather than just the four corners. I've got some good pricing, probably a bit better deal. Pictures to follow. Janice Have a wonderful 2024 after an horrendous 2023.

For Sale: Transvideo 8" SBL Evolution monitor with HD and SD analogue and SDI inputs, level indicator and frame line generator (SD analogue). All pixels work, and the screen is in great condition; there is a very faint hairline scratch going horizontally that can only be seen in certain light and angles. It is so minor that it can’t be seen in the photographs. There is slight chipping on the monitor housing (very minor) which can be seen in the photographs. Selling with case, original paperwork, and cleaning cloth. It has only ever been used on a Steadicam. For sale for £2,200 (excluding VAT) + Shipping (located in London)

XCS gimbal in great shape, smooth as buttah. Hasn't been used a lot, mainly keeping it as a backup. Purchased it new from Greg, never abused it. Got a couple small cosmetic scratches but besides that, it's in perfect shape. Gimbal can be used on either a 1.5" post or a 2" post by simply swapping the sleeve. Comes with 2 hand tools. Buyer pays all shipping charges. Asking US$3800.00 Francois.

Hey Remi, I bought a Volt the end of last year. Knowing Tiffen has (admittedly) had some problems with the Volt, I think you're on the right track to continue to carry a spare. I went a different route, purchasing the new Volt 1 3/4" gimbal, and the new XCS 1 3/4" carbon fiber post with PRO connectors. I had a XCS 2" carbon fiber post with PRO connectors before, with a XCS gimbal, and I keep that as my backup post / gimbal. I also am holding onto my Wave for now. With all the above, including a MDR4 (I still had an MDR2 on my sled), cases, cables, etc... it was close to $30K, but I have a solid system and am basically state of the art from an equipment standpoint. People are starting to ask for a Volt, but that's not why I bought it. It was really Garret's and Geoff Haley's comments on the Walking Backwards podcast that convinced me the Volt was more than a crutch for guys with bad horizons. Flying neutral balanced and removing all pendulum effect is very nice. I've also lightened up my sled quite a bit. Where I used to add weight to cameras for stability, now the Volt provides that stability in a lightweight setup. Aside from the operating advantages, I think the Volt will extend my career, much like I feel my Klassen harness did. The downside is that the Volt is not as robust as PRO or XCS gear. You will have issues, and it's frustrating. I've had more equipment issues in the last 4 months than 30 years of operating. Some of the issues were my lack of familiarity with the best way to setup and dial in the Volt. Tyson at Tiffen has been very responsive about working with me on this. But some of the issues were straight hardware failures (I had a motor go bad in the first month) and issues related to design flaws (like an assymetrical gimbal). When it works, I really am coming to like the Volt features, particularly changing headroom via the push of the button. Larry McKonkey's button extender is a must. I'm sorry I don't have any experience with modifying a PRO gimbal for the Volt. I would suggest sending both post and gimbal to Tiffen for fitting, which I did. If you decide to pull the trigger, give me a call and I'll point out a few deal points. Best, Mark

Hello everyone A few days ago a scammer contacted me outside the forum trying to sell me a sled - which was posted on the forum by another user - I followed the game to see how far it went.. He called himself "John Weekend", and his email is: johnwkd468@gmail.com Googling his email I found that he had already tried to scam in another forum: https://www.thecj2apage.com/forums/scam-user-name-johnwkd_topic50570_post514794.html#514794 The paypal account where he wanted me to send money is: ndungufran23@gmail.com Be careful. Greetings to all, Gus

Patrick, Please please do NOT become dependent on the Volt. If you have as much passion as you seem to have (referring to your first post on this thread) you should learn to be a good Steadicam Operator without it. You seem to have great respect for Garrett and Jerry and the entire world of Steadicam, to learn without using the volt (as they had and most of us had to) would be a great way to express that respect, IMHO. Your fellow op, - Kat

I haven't had any real issues with mine yet. At least nothing that has taken it out of action. The roll pulley has had the side pop off of two of them now. The dolly grip or assistant docking wrong and it pops super easy. If the belt is aligned properly there really isn't a need for it anyway. The other slightly annoying thing that happened was an assistant was putting away the rig and the gimbal was pushed way up the post. The plastic of the volt ended up rubbing on the knurled knob of the tilt stage and getting all scratched up. All cosmetic, but still a bummer. Electronically and mechanically where it counts its been rock solid. And I can't imagine operating without it now. Ive been able to nail shots I couldn't have even dreamed of before.

Paddocks Radical Options or "The GPI Story..." George Paddock was an engineer in the Navy, later became a Steadicam operator/owner when buying his EFP in 1990. Imidiately he started to modify it and that became his first brush with Steadicam modification/manufacturing. He was the person behind the modification that made Dynamic balance with the EFP possible/easier possible. The construction of a for and aft to the bottom of the sled. It was so successful that his upgrade was even sold trough CP directly. Paddocks Radical Options (PRO) came about as an upgrade for the stagnated Steadicam Model 3/3A that was not majorly upgraded in 12 years (Most of the parts and technology, like the Arm, electronics, etc. was basically the same since 1976). The PRO basically incorporated design aspects from Bob DeRose, using his "tele-post" later the GPI Center Post, as well as his DA-1 (the upper Junction box), the lower for and aft and all the little and big brackets and widgets that he had made for the 3A for years. Chris Haarhoff added his Donkey Box to it and George Paddock came up with the Monitor, Housing, the Power Supply, Batteries. (They were sold in parts as the Steadicam patents were still very much power. Many Steadicam hardliner believed that that was in direct violation and competition with Steadicam... It was a well deserved Option.) The interesting part about that was that for years many Workshops were conducted by CP and PRO with CP/DCE/PRO hybrids until that day when the war/break came about... And No I don't know exactly what happend... You will notice that many parts from the 3A will fit the PRO and vice versa... as the PRO design was initially meant as an upgrade and not as a replacement for the 3/3A. The Master Series was the answer to the PRO or at least got pushed quicker in production, which came with different diameter Post, Gimbal and Arm Post which were not interchangable with the PRO. A try from CP to dry out the supply of Arms and Gimbals for the PRO system. Which eventually turned out to be a shot in there own foot. (As we know CP went down... GPI is still here.) All customers of the first PRO were disappointed or fed up 3A owners that needed something more reliable. (Remember? Everytime you flipped the switch for the Monitor with anticipation... will it glow or blow up...) You still needed the 3A Vest, Arm and Gimbal to compleat the set up as Cinema Products did not sell single parts, actually they decidet what they sold you at the time. Later the PRO Gimbal got introduced as well as much later the Arm and the Vest which compleated the PRO set up and marked the departuer from all parts Steadicam. And the second compleat System (Sled, Arm and Vest) as an alternative to the original Steadicam. GPI was the first to introduce an interchangable Super Post as a standard item as well as the Gyro Module, Stand-alone Monitor, quickly disconnectable center post, drop in Camera plateform, true 24 Volt system (okay second as the Panaglide was first) and many more things not available to the Steadicam Community until the Master Series Steadicam. Besides George Paddock, Chris Haarhoff and Bob DeRose, Mark O'Kane, David Emmerichs and Ted Churchill were named additional Designers. (As Ted is not named on any patents, he was closely involved with the development of the monitor, and some technical aspects.) "Guineapigs", Testers and first Costumers were Chris Haarhoff, Mark O'Kane, David Emmerichs, Ted Churchill, Jimmy Muro, Andrew Rowlands, Colin Anderson, Steve St.John, Randy Nolan, Bob Ulland, Greg Lundsgaard, Scott Sakamoto, Mark Van Loon, Rusty Geller, Ian Jones, Jim McConkey, Mark Emery Moore, Rick Raphael, Bob Gorelick, Dave Knox, Guy Bee, Dan Kneece, Dave Luckenbach and a couple of others that I can't remember off hand... And again please feel free to correct me or add anything that I missed or compleatly screwed up... please... Here a 1993 picture (from an old GPI add), showing Mark O'Kane's PRO. With: 3A Gimbal, Donkey Box 1, Scissor Monitor Arm, 3 cable Center Post, Preston UHF and the original Leightweight Panaflex. I believe the rig is Serial #002. (Chris Haarhoff used to own #001, which went to Kurt Jones and now is owned by Brian Hart.)

It is with mixed emotions that I write this note to tell the Forum that I am officially hanging up my steadicam after 23 long years. Being a steadicam operator has opened the door to countless opportunities I never dreamed I’d be able to participate in. While I began my feature steadicam career with Roger Corman, I currently work with three Oscar winning DP’s, two Oscar nominated DP’s, and the rest of my resume is filled with ASC member DP’s. I’ve had several MTV music videos of the year (back when those were still shown on MTV), many Super Bowl commercials, several successful big-budget movies, and overall, I’ve been very, very fortunate in my career, and the steadicam is what allowed me to get there. I’ve thought long and hard about this decision, as it has been at the back of my mind for the past two years. I injured my back for the second time in early 2015 - a repeat of a herniated disc injury I first suffered in 2011. The second occurrence was pretty bad, and I was out of work for eight months while I tried everything to get healthy (physical therapy, acupuncture with cupping and electricity, epidural shots, chiropractic, ultrasound, whole body cryotherapy, sensory deprivation (floating), tens machine sessions, etc.). While I eventually regained my health and went on to operate on several more projects with the rig, I began to wonder if the next injury might be more permanent, and if I was doing myself a disservice by continuing. I found myself watching the blocking of a scene and hoping the actors didn’t start walking down the hallway, or alley, so that I wouldn’t need to put on the vest. I began to not enjoy picking it up anymore, being far more content to ride the dolly, hop on the remote head controls for the crane, or put the camera on my shoulder. It was time to make a change in my life, as it became apparent that the only reason I was still doing it was the fear of moving on, and the money I’d be losing by shifting to regular operating. In the end, I realized that while a change in occupation can be scary, I wasn’t going to let that fear define me. While I enjoy a payroll or rental check as much as the next guy, that was never the overriding factor in my life, and I figured it was better to be happy and healthy, then have a few more dollars and be miserable. The job is too damn hard if you don’t love what you are doing. There have been many things to love about this occupation. The relationships with fellow operators is unique, in that you compete for jobs, yet still go out of your way to help your fellow man. I’ve tried to be as helpful as I know how to be with fellow operators in need of loaner gear or advice, because the operators who came before me treated me that way. On what was a big commercial for me at the time, my sled went out while shooting a Disney World spot in San Pedro. Everyone I knew was working and unavailable to help, so I called Joe Broderick, who I only knew by reputation, and who didn’t know me at all. Joe responded by driving 80 miles round trip to deliver his sled to me from Burbank, and then refused to take any money for it. The opportunity to do a job that is both physical and creative is unique. While we sweat and endure while carrying the rig - sometimes with legs and back muscles quivering, there is a real artistic side to the craft that is addictive. Designing shots that tell a story is the huge reward that comes with working with talented directors and DP’s that either know how to move the camera in space, or trust you enough to listen to your suggestions. Once the basic path from A to B is established, it is our job to finesse it, and take it to another level so that it isn’t mechanical and enhances the story the script is trying to tell. The best operators in the world - like Larry McConkey and Chris Haarhoff make this sort of thing look easy, and the nuance and subtlety in their frames speaks volumes. During my time on set, I’ve have many strange and wonderful things happen: I had Madonna tell me “Don’t fucking hit me with that thing” when I first met her on her “Ray of Light” video. I had Harrison Ford embrace me from behind during an entire take while doing a close-up of Viola Davis: when we cut and I spun around to look at him, Harrison told me “Just fucking with you kid”. I had Ben Stiller repeatedly yell at me over his voice of God PA system while he was directing Tropic Thunder. My favorite of those moments had me up to my knees in a Hawaiian river, while Ben started yelling at me to push into a close up on Robert Downey Jr. I couldn’t push because there was a large boulder in my path that blocked the way. I could hear Ben ask John Toll (while still on the PA) “Why the fuck isn’t your operator pushing in?” Still rolling, I tilted the camera down to show the huge boulder that stood in the path between the camera and Downey, and after a pause, Ben said in a somewhat defeated voice over the PA system “Oh…”. Karma can be a bitch, and after our move back to LA, we were doing a scene with Matthew McConaughey playing an agent. In agent’s office, Ben had placed several of his personal items, including some of his Star Trek memorabilia. He had Spock’s ears, Spock’s shirt, and the head of the Gorn in a custom Plexiglas case, from when Captain Kirk fought it at Vasquez Rocks. There was a security guard that blocked the doorway to the set the entire day so nobody would steal Ben’s prized possessions. The on-set dresser went to move the Gorn head when we turned around and picked it up by the Plexiglas. The wood bottom that held the head dropped out of the bottom, and fell to the floor, where it rolled around a bit, while small pieces of 1960’s rubber fell off the head. Whoops! I did a commercial for the Spice Channel where we filmed an entire day of simulated sex. In the last “scene”, the director insisted that he walk with me and look over my shoulder at my monitor as I circled the bed with a couple, including a man who was not what most would consider anatomically correct. The director kept whispering in my ear “Tilt down to the cock”…I learned that day that if you ever hear those words whispered by another man in your ear, you are not in a good place in your career. I once asked Colin Firth if he could help me out with a shot. When he walked into the front door of the house, I needed him to set his briefcase down on an apple box instead of an off-screen bench, as that would allow him to stay nicely composed in the frame instead of leaning partially out of it. Colin turned to me and replied “I quite liked it when actors leave the frame” and turned his back and walked back out the door. We put the next wider lens on the camera. I was asked to do a shot from on top of an elephant marching in a parade. The DP (who also operated the A camera) had done a camera test while riding the elephant during the prep and quickly decided that he didn’t want anything to do with it, so up I went. Thankfully, our camera team rented an EasyRig, as I was stranded on top of the elephant for 20 or 30 minutes, and my legs hurt so badly when I came down that I could hardly walk – all from clenching them tightly around the beast so I wouldn’t fall off as she walked and I balanced the camera on my shoulder. I did a commercial at Vasquez Rocks where I followed a running monkey into the tent of an anthropologist. On three consecutive takes, the monkey ran into the tent, jumped on the desk, stood up on his hind legs and urinated in the face of the actor seated at the desk - priceless. Lastly, I got called to do a Prince video where we finished the day in his bedroom. I was handheld on his bed with a completely nude actress who was touching herself, while lesbian porn was projected on the wall of his room. At some point, the actress turned to Prince (who was directing the video while wearing pajamas that, depending on how the light hit them, were see-through) and asked him “How is this ever going to be in the video?” Prince laughed and told her “Oh baby, we’re gonna fuzz it”, to which she said “Okay”, and continued. I never imagined anything like this happening when I was a sophomore in high school in Montana and Purple Rain was racing up the charts. There are many, many more, but then we all have stories. For the first 14 years of my career, I did primarily music videos and commercials once I got past my low-budget movie phase. Once I started to do big feature films, I started keeping a daily journal of the key points that happened during the day. I have these for every movie I’ve done, and it makes for interesting reading before the movie comes out. It allows me to remember the little things that were funny, hazardous, or amusing, as so many of these moments get lost over the years. I would encourage those out there reading this to do the same, as it is a great reminder and memento of the hard work that goes into making two hours of entertainment. I was so excited when I got my first sled from Derrick Whitehouse. It was a Cinema Products model 2 that had been sitting unused in a closet at a university, and I had Bob Derose spend about 6 weeks modifying it – which was time that I didn’t have it to practice. When I finally got the sled, it was awesome, but it took me a long while before I became proficient at it. My first 35mm job was for Roger Corman, and my buddy Steve Adelson got me the gig when he was double-booked. It took me about 45 minutes to balance the Arriflex BL2 as it was very motor side heavy. My first 35mm shot involved 3 or 4 people exiting a helicopter and walking towards me for a long way across a field. When they stopped, they had a minute-long conversation at an Army tent. My previous work had been in 16mm with Arri SR’s, and the weight of the BL2 crushed me from the start. On take one, the actors started out nicely composed, but soon I was cutting the outside two actors in half vertically. I then scrambled to get wider, which resulted in a head to toe frame. I knew I was fucking up, but there was nothing I could do about it, because despite my brain knowing what needed to happen, my legs were exhausted and had a mind of their own, and refused to listen to my persistent urging. None of the subsequent takes were much better, and I knew I was going to get fired. When they called lunch, I went and sat by myself, thinking that when it happened, at least I wouldn’t be sitting by others. Out of the corner of my eye, I could see the DP get up, and approach me. Oh shit. He put a hand on my shoulder, and casually said that he liked my work, and asked if I was interested in working more days on the film! I wish I could think of his name now…hard to imagine anyone liking those early frames - must have been the poor UHF transmission from my Modulus 2000 into my tiny 7” black and white monitor (my first consumer monitor/TV also had am/fm radio!). Thankfully, I got a little better with time. Thanks for listening. Good luck to all of you - especially those just starting out on your journey. If you work hard, it can take you to amazing heights. Just remember to respect the gear and what it can do over time to your body - doing this job is like being a professional athlete (those who know me would never accuse me of that, perhaps that was part of my problem), and a career that involves this kind of physicality can be shorter than normal jobs. Stay in shape, and stay strong. If nothing else, it will help with longevity, in a career that often values the mindset and experience of age, but the body of youth. I will be selling off both of my XCS rigs in the next few weeks and months, as well as numerous other items (rickshaw, hands-free Segway, etc). I’ll post items on the Forum once I’ve had time to have them all checked out and done some research regarding pricing. I hope they bring their new owners as much as they’ve brought me. All the best, and thanks to all for over two decades of fond memories and comradery. I’ve learned a lot from this Forum, and I feel like I know a lot of you from your posts. Keep up the great work, and I hope to see some of you on set now that I'm not carrying the rig any longer. Brooks Robinson

There are multiple issues that I think are being discussed here. Both of which I am very familiar with. Pro manufactured two different height knurled locking rings. The first locking rings are shorter in height by about .040" than the current knurled locking ring. These rings were on all sleds they made for about the first 6-7 years. These are the two rings that hold the center post to the upper camera platform and lower aluminum housing. About eight or nine years ago, Pro increased that height which prevented original XCS posts with Pro mounts to fit firmly together. I then immediately redesigned the mount so that is no longer an issue and will never be an issue. When Pro went to the thicker mount, they completely stopped making the older mount for all their owners and only provide the newer version. There are really three options for a permanent fix if you damage your older knurled rings. The best option for resale is obviously to change the post ends in the 2" carbon fiber post. The second option would be to take your knurled ring to a machinist and shave off .040". I would take .020" per side -0/+.005. The last option is a .050" spacer that you can actually stick inside the knurled ring which allows a tight fit. I think the second issue is one that I have seen more than a few dozen times and can only assume Pro is aware of it. What a few other operators here are thinking may be related to the first issue. It sounds like James is speaking of this very thing. For those who are unaware, when you mate a Pro post to the upper and lower housing the aluminum post doesn't actually touch the aluminum housing of the mating component. The conical pins actually are designed to carry the load, and there is approximately a .010" gap between the two aluminum components. What I have seen and measured is an occurrence that happens when one or two stainless steel pins in the upper camera platform (most likely the culprit), or lower aluminum housing gets pressed into its own housing causing a scenario like a three legged barstool with one short leg. The end result of this will cause the camera platform to shift under weight resulting not only in movement, but your sled will not maintain balance. This movement most of the time cannot be seen. It is moving in thousandths of an inch and is almost impossible to see, but it can be measured. This small amount one may think is insignificant, but when you are talking 20 and 30 lb. plus cameras it will have your sled sitting at a 45 degree angle or more. Here is a quick test to show how little a few thousandths of an inch will throw off a sled. Left to right balance adjustment is a 10-32 threaded shaft. One full revolution moves the camera platform .031". If you balanced your sled and moved your inching knob 45 degrees, you just moved it .0077". If you move it only 22.5 degrees, that is .0038". You can see how your sled reacts to balance when you turn your inching knob 22.5 degrees after it is perfectly balanced. It very difficult to see .004" movement, other things are flexing that much already with a 30 pound camera. Stay level. Greg