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Hey gang! After having countless discussions on set about how to train for what we do, I decided to put together an article which outlines in detail; how to train and condition our bodies for the demands we face on set as Camera and Steadicam Operators! Please take a moment to check it out. Share it with fellow Ops! https://www.daviddesiocinematography.com/blog

Selling my back up X1 arm, hasn't been used and have decided to move it on. 9000USD or best offer. Don't wait and get a brand new arm without the wait. Comes in a custom case with lowmode bracket. Can ship worldwide at buyers expense. Arm located in Australia

Selling my Betz Wave, only reason is because I have 2 of them! I absolutely love these things. this one is coming straight back from Germany from service so it’s gonna be in tip top shape. comes with a pelican case i don’t have an extra betz plate but I believe they’re probably easy to order. asking 5500$

Good morning. The Zalex group of accessories started in 1992 with the prototype of a Broadcast video camera low-mode plate. First tested at the Steadicam Workshops in Rockport, Maine, it showed great promise and inspired efforts to make bits that serve my needs. Since that first effort, parts have emerged such as an overhauled Model I/II/III/IIIA Vest, drop-forged steel docking bracket for older sleds, the Longplate, LensLift lens support system, Tally Light Kit, Arm Repo Mount and other items. The full complement of Zalex accessories can be found at our website: https://www.zalex-products.com We’re pleased to share that we have just taken delivery of another 60 Longplates. The Zalex Longplate fits all stages from all manufacturers. There are currently over 350 Longplates in use worldwide. This is the longest, thickest and therefore most rigid, dovetail plate available. Some of the benefits of flying with the Longplate include: º Comes with hardware that allows an Alex/ Amira/ Venice/ Sony camera to be mounted directly to the plate. Stop using a VCT-type of plate and mount right to the Longplate. º Slotted to allow for mounting of 15mm rod clamps for follow-focus, Talent Monitors, lights and other accessories. º Pairs well with the LensLift support system. º Notched for the safety bolt used by some models of GPI/PRO, XCS and Sachtler/ Artemis sleds. º Fully slotted for 3/8-16 lockdown screws, the Longplate kit includes adaptors that allow for ¼-20 screw use as well. º Readily locks into a tripod adaptor to save time on sled-to-sticks turnaround. In addition to the Longplate, the Longplate-M fits the Tiffen Medium Stage sleds. These includes the Archer 2, Zephyr and Scout. Email me for pricing and shipping information at: peter@steadicamproductionservices.com Fly safe !! Peter Abraham, S.O.C.

Selling my extra LX vest with large socket block. QC’d by Tiffen and pads fully hand washed in March. No tears or defects. Comes with carrying bag. In great shape. $1,700 shipped. (*US ground shipping or I'll take off $50 for international buyers; buyer pays shipping)

Betz Wave For Sale Excellent condition. Comes with - 1x Tripodlokplate by Betz-Tools 1x power cable 1x Dovetailplate by Betz-Tools 1x Travel Case USD$6000 include shipping (Exclude insurance, tax and bank charges) Located in Singapore Interested Kindly PM to discuss

New style M2 SledCover Waterproof Lightweight Material Zipper Front for easy installation. WrapSnap closure around post Cable inlets Leg room for bigger batteries Can also be built for slim battery setups Rear battery access YKK Zipper System BongoTies / Pouch $265

I´m based in Chile, and wanted to invest 37.5K open to offers. thanks in advance to everyone.

Received an email from Daniel Crawford, interested in selling me his gyros. he sent me stock images, and stock videos that don’t belong to him , a Google voice number. He said he was a steadicam operator and was unable to tell me what rig he owned. Didn’t know what the 600 was and a few other red flags. Buyers beware.

This XCS HD2 Sled was purchased with the intent of assembling a high quality rig; regrettably a knee injury sidelined me before I could complete my mission. Mr. G Bubb of XTended Camera Support worked with me on the purchase and can be contacted for confirmation. I paid around $40K for the gear, and Am looking to recoup as much of the money spent so I'm looking for 19k the best offer as it will do no one any good sitting around unused. Only serious buyers need reply as i don't plan to give away good equipment for nothing, but all respectful and reasonable offers will be considered and the best will will be accepted. Reach out and we can exchange private email info Respectfully, J R Renaud

I took the plunge and bought a used one last week. Very impressed so far. The build is incredibly solid for the price. and it feels very capable. You are of course saving money in lots of places but it feels like conveniences mostly. Incredible value for money. The arm is defiantly the first upgrade. Just not as responsive as a G70. But again at the price... I cant believe it does what it does. The docking bracket is so so. Very happy with the rig so far.

I am selling a complete Steadicam kit with a LX Vest, G-50X Arm, and a heavily modified Archer Sled. Complete kit for $13,000 OBO. Available near Times Square in Manhattan NY. Everything is in good working condition, this is a great starter kit! - It is complete with all basic accessories. Major Components: -Steadicam LX Vest -G-50X Arm (Label says G50, but bearings were upgraded) -Heavily Modified Archer Sled (Internal HD Wiring, 12/24v Selector, Sled base is modified-see photos, adjustable battery position ) Accessories: -Tv Logic Monitor -4 IDX V-Mount Batteries -V-Mount 2-Battery Charger -Low Mode Bracket -F Bracket for Low Mode -Docking Bracket -Sony VCT Quick Release Plate -Assorted Cables and small Tools (see photos) -Assorted bolts, zip ties, replacement BNC connectors (see photos) -Practice Weight Cage -Two large cases that fit entire kit Feel free to message me with any inquiries!

Thank you Gus!! Your reply may be great help to me. I was unsure which volt gimbal to buy. And your advice made a way to go. Thank you so much Have great day!!

Hello Yeshin. If your post size is 1.5", you can adapt the volt to your post. (I own an Artemis 1.5" and everithing was ok) You should buy the VOLT GK1 kit from Tiffen. This Kit comes with the docking bracket, control box, power and gimbal cables, gimbal and its adapters for the 1.5" post ( in addition to other post measurements) The control box is powered at 12V. I don't know what power cable you use from your movcam, but I think that Tiffen DOES NOT make cables that are not compatible with Pro or Tiffen. Find out carefully so as not to burn the control box. You have to let Tiffen know if you are Regular or Goofy and they will send you the kit according to your order. I hope the help has been helpful. Hugs, Gus

Bump

Please note that your account name has been updated to your real full name, James.

Selling my Mk-v revolution. Extremely lightly used. Perfect working condition. Comes with pelican case, cables & tools. Has rotating monitor mount wired for M1 post. $20,000 USD plus shipping from Australia matt@steadimoves.com.au

Yo Clean! If you speak of the post that goes in the arm and gimbal handle I have never experienced any issues with Aluminum. So no need for me.

Hey all. I don't know if anyone does this, but... I'm prepping for a song and dance number, so I was practicing out in the car park and set my phone on the practice cage and played the opening scene from "La La Land". I tried my best to match the footwork of the Steadicam operator (minus the cranes) as the scene played out. Forward, backward, switches, etc. I'm not comparing myself to them. Anything but. However, while watching the scene, it was good practice to have the blocking and music to attempt to match. Pretty cool!

Hi Mathis, Dig through the picture and history archives section of this forum. You’ll find a lot there. Additionally, I’m not sure how many old heads still hang out here. There are however two big Steadicam groups on Facebook. If you can get the attention of Charles Papert or Erwin Landau or Peter Abraham, I think those three have some of the most extensive archives for what you’re looking for. Best of luck!

Steadicam Sled - MK-V infinity For sale is my MK-V Infinity sled, with 3 v-lock battery mounts and Betz top stage. 2” , 2 stage post. Comes with cables, plates, and peli case for transport. Includes: 1 x MK-V Docking Bracket 3 x mounting plates 1 x Arri Alexa plate 1 x Dovetail plate 2 x Lemo power cables 3 x BNC Cables 2 x Lemo to 4-pin XLR Monitor power cable 1 x spare mounting locking plate Additional 15mm monitor bracket 4 x thin BNC 1 x 24V power cable 3 x Allen key tools 1 x additional follow focus mount £5995 + VAT, open to offers. Thanks!

@Jennie Jeddry SOC, a friend of mine wanted me to let you know he sent you a a direct message here on the forum with interest in buying your gimbal.

Done

Hi Everyone, With extreme sadness I would like to announce that my friend and former camera assistant and new up and coming camera/steadi op Ryan Nazar has passed away from a rare blood cancer. I am now helping his sister sell his rig that he was already trying to sell because of the course of his disease. The below ad is taken from his post, Please take a look and you can contact me at, ryanpurcell.ca@gmail or 604-812-2767 Thank you very much, Ryan Purcell FOR SALE: mint/like-new condition Shadow-V Steadicam, G70x arm, and Ultra 2 vest, originally purchased from Tiffen in January 2018. Lightly used and never sub-rented, would be a great starter rig. Want to sell as a package, not really interested in parting it out. Selling only because of recent marketplace conditions and finances needing to be directed elsewhere. Package includes: Ultra 2 vest G-70x arm w/ 12” extension post & rain cover (not pictured) Shadow-V rig w/ flight case Tilting top stage Camera dovetail plates x 2 (10” & 11”) 1.477” telescoping two-stage center post w/ 2 monitor clamp rings & 2 docking rings Tiffen low-mode/central rotator bracket Transvideo 7” SuperBright HD monitor w/ yoke & power/video cable Telescoping monitor mount Tilting 2-battery VL mount Camera power cables x 2 (12v – one w/o XLR connector) Third VL battery mount w/dovetail plate Tiffen docking/balance bracket Jerry Hill Mag-dock2 docking bracket Tiffen Blue Whale tool American Steadicam stand ALSO AVAILABLE: SWIT D-3004S battery chargers x 3 SWIT batteries (w/Pelican case): S-8340S 14.4V / 160Wh x 5 batts S-8260S 14.4V / 172Wh x 7 batts Selling for $38000 USD and the charger/batteries for an addiitonal $1500 USD. Serious inquiries only.

Greetings to everyone, For those of you who may be considering upgrading their Sled to HD we currently have several HD-SDI Wiring Harnesses/Looms available, which are purpose-built for 1 ½” inch Centre Posts. The Specs are as follows: ----------------------------------------------------------------------------------------------------------------- DESIGN FEATURES AND SPECIFICATIONS ------------------------------------------------------------- The cord consists of a coiled section with a straight tail on either end of it. Each straight tail is approximately 1 metre/39 inches long. The extra length in the tail gives the operator two options: The electrics person can cut off the extra length, strip off the outer sheath, and use the inner wires for the internals of the upper and lower junction boxes. This provides consistency throughout the wiring on the rig, with no need to spend time sourcing materials elsewhere. There is sufficient length to enable the cord to be installed into a Super Post. SPECS 4 cores, 18 AWG (red, black, green, white) 2 cores, 26 AWG (red, black) 4 cores, 28 AWG (red, black, blue, yellow) 1x RG 179 75-ohm mini coax (for HD-SDI) Wire configuration/order matches that of the industry standard Outer jacket colour: Black OD of the cord to suit standard Lemo plug OD of the coil to suit the inner diameter of 1 ½” inch centre post In addition, the wire is configured the same throughout the cable, resulting in a mirror image no matter where it is cut. This will make your electrics technician very happy. We have several in stock, and they are available through our Website. HD-SDI Wiring Harness/Looms for 1 ½” inch Centre Posts Upgrade - Steadyrig

Black Friday. In all seriousness i feel like it's a fair price for all involved.

Bump Price Drop Arm $9000USD Monitor $2300USD

*sold*

Good morning, There are times when we show up on set and the lens support for our lens isn't in the kit. Or it's in use on A camera. Now the LensLift can be put into play to solve this problem. It's a bit of kit I've always wanted and after seeing some Longplate builds that made use of such on-set fixes and piles of washers and wooden dolly wedges, it appeared time to come up with a bespoke solution. LensLift fits both into the Longplate as well as mounting into any 15mm rod setups already on the camera body. Email me to discuss both pricing and worldwide shipping. ( Camera & Lens used courtesy of Panavision NYC ) ( Lens build courtesy of Arri Rentals NYC )

Still available USD11000

I'm sorry the vest didn't work for you - let me know if you need any help in re-selling the vest.

This is a great deal!

Don't buy cheap power cables from an unknown source. They are unreliable and can end up causing damage to your sled or the camera. Be it knockoff connectors, the wrong gauge wire or worse, incorrectly wired, if they're cheap, there is a reason. Cableflexer (https://www.cableflexer.com) makes incredible quality cables of all types. In fun colors too if you want. Greg Bubb at XCS (http://www.xcsinc.com/) also does. Terry West (in California) and David Hable (in Canada) also make cables, but I've never purchased any from them.

Thank you Tim.

Upgraded!

Thank you, I have reached out to him as well. For any future searches, seems the correct bearing is a 61809ZZ

Preston Kit Used but in Fair condition Full presotn kit. -HU3 , side hand grip, zoom bracket, 5 pre marked rings, 3 blank -MDR2 , 2 x aerials -Microforce module with all brackets -Radio Microforce Module -10 x batteries -3 motors 2 x DM2 1 x DM1x -10 motors gears (various ) - 10 motor shims (various) -3 x motor brackets -Cinetape Interface Cable - 1 x charger - various power and zoom cables 5 x motor servo cables -Various command. cables -Custom PeliCase 1600 Any questions welcome. More photos also if needed. Located in the UK but will ship anywhere, Buyer pays all shipping costs. £12,000 plus VAT. Pounds Sterling Only. Selling for a friend so enquiries to Rob Hart rob@robhart-steadicam.com Or email myself on tomwilliams@me.com Many Thanks IMG_8426.HEIC IMG_8433.heic IMG_8432.HEIC IMG_8431.HEIC IMG_8430.HEIC IMG_8427.HEIC IMG_8426.HEIC IMG_8425.HEIC IMG_8455.HEIC IMG_8435.HEIC IMG_8436.heic IMG_8437.HEIC IMG_8438.HEIC IMG_8439.HEIC IMG_8440.HEIC IMG_8441.HEIC IMG_8442.HEIC IMG_8443.HEIC IMG_8444.HEIC IMG_8445.HEIC IMG_8446.HEIC IMG_8447.HEIC IMG_8448.HEIC IMG_8449.heic IMG_8450.HEIC IMG_8451.HEIC IMG_8452.HEIC IMG_8453.HEIC IMG_8454.HEIC IMG_8455.HEIC IMG_8456.HEIC IMG_8457.HEIC IMG_8458.HEIC IMG_8459.HEIC IMG_8475.HEIC IMG_8434.HEIC IMG_8435.HEIC IMG_8436.heic IMG_8437.HEIC IMG_8438.HEIC IMG_8439.HEIC IMG_8440.HEIC IMG_8441.HEIC IMG_8442.HEIC IMG_8443.HEIC IMG_8444.HEIC IMG_8445.HEIC IMG_8446.HEIC IMG_8447.HEIC IMG_8448.HEIC IMG_8449.heic IMG_8450.HEIC IMG_8451.HEIC IMG_8452.HEIC IMG_8453.HEIC IMG_8454.HEIC IMG_8456.HEIC IMG_8457.HEIC IMG_8458.HEIC IMG_8459.HEIC IMG_8475.HEIC IMG_8476.HEIC IMG_8476.HEIC IMG_8475.HEIC IMG_8459.HEIC IMG_8458.HEIC IMG_8457.HEIC IMG_8456.HEIC IMG_8455.HEIC IMG_8454.HEIC IMG_8453.HEIC IMG_8452.HEIC IMG_8451.HEIC IMG_8450.HEIC IMG_8449.heic IMG_8448.HEIC IMG_8447.HEIC IMG_8446.HEIC IMG_8445.HEIC IMG_8444.HEIC IMG_8443.HEIC IMG_8442.HEIC IMG_8441.HEIC IMG_8440.HEIC IMG_8439.HEIC IMG_8438.HEIC IMG_8437.HEIC IMG_8436.heic IMG_8435.HEIC IMG_8434.HEIC IMG_8433.heic IMG_8432.HEIC IMG_8431.HEIC IMG_8430.HEIC IMG_8426.HEIC IMG_8425.HEIC IMG_8427.HEIC IMG_8426.HEIC

if the monitor and battery c.g.'s are on the same plane, the camera c.g. should be centered over the main post, and the batteries and monitor shifted (or weight added) to get in static balance. Be sure the c.g's of all the components are on the same plane - that is all lined up as seen from the rear or front. Don't pan fast when testing, and don't get too stressed out about perfect dynamic balance. If the monitor is raised up from the battery c.g., then the camera will move rearwards, and the battery inwards to achieve dynamic balance. A higher monitor is better for viewing, and tends to promote better posture - no leaning over to see the image!

Selling 6x AB XT90's with AB quad charger. I used these on my Alexa Mini that I recently sold and my sled is setup in v-mount. Buyer pays shipping. Over $5k new, selling for $2500. Bought brand new in March of '20. Also comes in the Pelican Air case.

Bryan Amazing work... Check it out ..just for some ideas. (ex. Gimbal Wrap Grip) https://www.flickr.com/photos/jamielincs/sets/72157645642636192/

Sold

Found mine a couple weeks ago. Battery died at an amusing moment. Thought today would be a good day to post.

Part of the job of an operator is knowing which tool is the right tool for the shot. In this case, steadicam is probably not the right tool. If they insist, try your best, but manage expectations.

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 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.

Deke, While it is true that it’s now easier to reload the camera when right side up, I can’t remember a job that I’ve done where people don’t want to look at a frame before I put on the rig. Whether for lighting, or set dressing, or HMU and Wardrobe, someone always wants to look at a frame, and generally they want an approximation go what the frame actually will be (I.E. it doesn’t help the DP much in setting lights if the camera is about to be 3 feet lower than it is on the stand!). So I dock in low mode. It also helps me to have as little time flying the rig as possible. When I pick up the rig, it’s in the right orientation, pointed at the set, and I dock in a direction (lens to the right, contrary to what is taught at most workshops) that means that the rig is ready to fly the moment it comes off the dock. No flipping the rig, no spinning it around my body, no delays. With heavier cameras I’ll enforce this even more (such as when I did a music video on Primo Anamorphic lenses recently... 17 pounds for the 50mm) - we roll and slate on the stand, and I pick it up once everyone is ready to go, not before Vanities run in for a moment of touch up or before the artist puts away their phone. Hopefully that clears up why I still dock in low mode, and still think that it’s a useful thing to do.

Oh man, this is a great thread. I've heard these stories firsthand from Charles and Peter, years ago - when I was kid doing mods to my already ancient Model 2 (and later 3a). These were the days of everyone knowing everyone - all on a first name basis. These were the days where operators stuck together like glue; these were the days where we all knew our gear inside and out and modified it according to our taste. These were the days where people didn't freak out at minor problems presented to us; these were the days when we didn't feel entitled - we were all in it together.

I suspect it's a small amount of twist in the arm that does it. Both Eric and Robert work front mounted. I did some experimenting the other day. I hard mounted the rig to remove the human element from the equation. I tired mounting it in the Klassen orientation and I tried mounting it in the traditional orientation. I balanced the socket block with the arm post friction locked off. I was able to pull the handle in any direction within reason and the sled would remain floating in the area above a mark I placed on the floor. This shows that the socket block was correctly balanced. Once friction was released the handle would still flick back out. The Klassen seemed to always try to kick back out away from what I saw. There was no amount of socket block balancing or tweaking that would change this. I tried it in the traditional orientation albeit in goofy (I didn't flip the socket block around), and from what I saw the handle sits naturally towards the body more when released and balanced, giving the impression that its under control. I can't see how you would be able to have the handle stay anywhere you put it with the arm post loose. If you were to push the handle away from you or pull it into you the spring in the socket block assembly for front mounted operators would push the arm back out to where it sits naturally taking the gimbal handle with it. Even more so with a longer gimbal handle. I agree that with it loose it might stay in the same orientation as you are used to tho, depending on how you have the arm mounted. Happy to have some feedback from anyone else using a back mounted harness in a "regular" position with a PRO arm. Best, Rick.

I've begun work on piecing together a sled (it'll be a bit of a Franken-rig 3A, but it's a big upgrade from what I have now). However, the starting point of a sled I am looking to purchase does not include any electronics, and the wiring was all done by the previous owner. I'm planning on re-doing it all from scratch, and hopefully with some professional help. In beginning to work up some designs, and it's made me really curious as to whether I need 12v or 24v power for the sled. As more and more work moves to digital cameras, most of which are usable on 12v, would it make any sense to focus on having a really good 12v system, or would it be better to just go 24v from the start. Right now, the market I'm in doesn't even have any film cameras, let alone anything higher-end than a RED. And, while I'm sure I'd love to operate some film jobs, I think that the level that I am (and probably will be) at for some time will keep me planted in the video world. I also anticipate that this sled will eventually be replaced, once I do move up in skill and funds. So, what do people think? Is a 12v only sled viable? I really appreciate the help!

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