Bruce Alan Greene

I use a fixed post all the time. But, all the components can slide up and down the post to change the CG. I do have a short post and a "super" post for special situations but very, very, rarely use them. My sled has no built-in wiring, so the posts are just hollow tubes, and there is a a wire bundle that runs through it.

Thanks Jens, I think I'll call Terry.

My J-Boxes are based on the PRO. My connecting cable is not. It's a 10 pin Lemo at each end and is not built into the sled. My center post is just that, a hollow tube. My connecting cable for video is coax connected to the big Lemo at each end. Inside the junction boxes, are not coax but very short cables from the BNC to the big Lemo.

Jarrett, I guess I'm a half knowledgable diy'er. I built the sled 16 years ago and did all of the soldering myself. I copied the PRO wiring diagrams as I had a big inventory of cables for film cameras all based on my old PRO sled. Are you saying that it's just the small 4pin Lemos (power and video) that are causing the issue? Since videotaps are pretty rare these days, I guess I could disconnect the video from these small Lemos and run BNC should a film shoot ever materialize. Is there an additional issue with the video connection to the main power/video lemo that goes to the green screen as well? Is there also an issue of how the video ground is wired in the old PRO design? I'm trying to remember if the power and video share the same ground...

And... who is David Hable? And where is he located?

Thanks Alec, I'm trying to remember how I wired this thing. My jboxes are connected by a large lemo, maybe 10 pins. A coax cable is wired to the big lemo and goes to the BNC plugs in the jboxes. But, as this is based on the old PRO, there are also connections to small lemo plugs and the main lemo to the PRO green screen plugs. It's possible that I could just disconnect the coax from the main power/video green screen connection and the mini 4pin lemos that we used in the old days to cinema video tap cameras. Do you think that would do the trick? I do have two sets of jboxes, so I guess I could experiment on one set and see how it goes. I can always just get power from the green screen lemo, and connect the green screen by BNC when called for.

I'm using a self built sled that I constructed during the analog days... My wiring is based on the PRO II I believe. My coax BNC connections work for analog, but not for digital signals like HDSDI. What do I need to change to enable digital over this cable? Is it about the ground connections? I'd like to add an HD screen for monitoring without running an external cable to the display. Thanks!

Thanks for the kind words Janice! My recent projects are unusual in that I've been working as the DP, "b" cam op, and .... colorist. When conforming the original shots to the edited reference movie I see every shot that's been repositioned. While the last couple projects I haven't operated steadicam myself, the previous two I was both DP and Steadicam op, which is really way too much to do at once! And, of course, when you do all these jobs yourself ... there is no one else to blame. Whatever it looks like, good or bad, I'm responsible. :) Links to a couple clip reels of my work as DP, Steadicam, and ... colorist (if anyone is interested:) http://www.brucealangreene.com/8-first-dates.html http://www.brucealangreene.com/love-in-the-big-city-3.html

On my last couple pictures, about 1/3 of the shots have been reframed in post. Almost always for the better :) Once in a while I'll even add post production stabilization to a shot if the imperfections are too distracting. Since I'm deeply involved in the post production of the films, I've seen all the "before's and "after"s so no need to watch the video assist split screened! -bruce alan greene cinematographer / Steadicam op

I've created authentic cards in photoshop using a self portrait and bar code generated from some Internet site. Laminated at kinkos. Be sure to use the real company logo and contact info for your employer. They might try phoning them. Logo seems to be important as well.

I am selling my back-up PRO green screen monitor. I believe it is the 2nd version, like the current model, but with the analog controls. It was used for about 1 year before becoming the back-up. I don't know the current value, though a new one sells for $16000 on the GPI website. I will consider any serious offer. Please respond by phone to 818-802-9252 or by e-mail to bruce@brucealangreene.com I am located in Los Angeles, California

Bruce, I'm glad you got you post to work, but I totally disagree with the idea that all telescoping posts inherently vibrate too much: it depends on the clamps, materials, diameters, etc. All of this was all worked out just fine about ten years ago, and is of course, a core feature of the Ultras, Clippers and various clones. Perhaps model III's and the like with thinner aluminum posts couldn't do it well enough, but not the modern carbon fiber ones. Telescoping posts also give you a full range of post lengths, from minimum length to six feet, and they extend or retract in seconds, require no extra parts, cases, etc. Jerry Can't argue with you Jerry, I'll just say that my design has some advantages, quickly changing to a super post isn't one of them:) -bruce

Eight years after I built my super-post I've used it on a shoot for the first time a couple weeks ago. I've always used another simpler way to get that low, or the ceiling was too low to use a long post, more often than not. I'm so thrilled that after the effort and expense (about $500) to build this thing that I've actually used it. Woo Hoo! My post is a simple 5' long carbon fiber pole that replaces the main pole. It also required building a long main power/video cable and an extra long monitor cable as well. The long cables double as emergency back ups for the regular length cables though. I was also pleased to see that the whole rig did not vibrate too much using the extra long pole. I think this is where not using telescoping posts is very helpful. And it worked well for chasing a small dog around a pet store, though we also did shots with a dolly, the Steadicam was better at making tight turns with the unpredictable animal. Installing the post took about 20 minutes and 2 people and a ladder. With practice, I think we could get that down to 10 minutes--but I don't think I'll be training for this...

I just received my equipment policy for renewal, and after reviewing the language in the policy I feel that I'm not necessarily covered when at work! Or basically when the equipment is not in my "custody and control" or something like that. And it's only covered to $5000 when rented out. It's not clear if rented out while I'm working on the show qualifies. It's all just so vague and I fear I might not be covered when it really matters such as when the production lets their own insurance lapse. So if anyone has a suggestion about where to buy insurance please let me know ASAP. Thanks so much! -bruce

Chris, I'm using the original PRO donkey box on my home-made sled. I did a lot of testing when building my sled to reduce this problem and I found the biggest contributor towards this shake is post length and resonance. I found the telescoping PRO post to be very problematic and my new sled now has a carbon fiber non-telescoping post. This has mostly eliminated this effect, but if I slide my batteries to the right position on my post I can induce harmonics that will find their way to the image (so I try to avoid that). I have also learned that a well cushioned shoe can make a very large improvement as well. Ultimately, all vibration begins in the foot and travels up the bones and into the sled. Unless your donkey box is very out of adjustment, I would look at the center post first to reduce the vibration. Keep it as short as possible as a rule of thumb. Also the f-900 is a very long camera with a high center of gravity. Make sure it is screwed down securely as well. Hope this helps some. I found that each time I eliminated some vibration, it would show up in another place. Even a very stiff sled will resonate at some frequency.

For my DVD I've put two reels: The first is a "montage" reel put to music and the second, for those interested is a series of extended takes and sequences in their complete form from the movies with the original soundtrack. For the montage reel, I opened it with some shots from a musical dance scene in a movie. When we shot it I bought a CD from the band that contained the same track that was used for playback. When I edited the reel I used the CD track and, at first, it seems like it's the movie track because it's in sync with the picture, but having the original recording, I was able to continue the music without the sound effects from the film and place all the other clips over the same music. If anyone's interested, my montage reel is on the net at My Webpage. I haven't updated it for a while and it shows it age a little... :blink: -bruce

As a long time gyro owner, I think Mishka has it about right. When we mount the gyros on the steadicam, we work against their stabilizing force to pan and tilt the camera. This makes operating with the gyros a challenge and a compromise. On the other hand, I've used them very successfully on vehicle shots and heavy wind for dialog when there was no other way to get an acceptable shot, but fast panning and tilting isn't possible when the gyros are mounted and working. There have been a number of times I would have liked to use them, but the sound was just too loud, but they worked well at the beach where the wind and wave noise overwhelmed the sound of the gyros. That said, I don't think I've used them in the past couple of years... If one does get them, the mount should be as solid and stiff as possible, the gyros stabilize enough that even strong looking metal can bend when trying to overcome the gyro for panning. This bending can create a standing wave that will wobble the whole rig uncontrolably (somehow the spelling here looks weird to me and I don't have a spell checker in firefox ) ;) . -bruce

I came across this blast from the past recently and thought it might be of minor (very) historical importance. Way back when I had just started in the Steadicam profession I faced the classic chicken and egg question. I had a new (well, used) Steadicam and prospective clients all asked: Well, what have you shot? Of course the answer was...nothing yet, but I think I'm pretty good at it! As the payments mounted month by month I knew I had to jump-start my new career. I would make my very own epic film, the first movie shot entirely with a Steadicam! And so I did. And every set-up was shot with the Steadicam...except one. And now, this long lost treasure has been rediscovered! And through technology that I never dreamed would exist when it was made (1984), it is now available for all at click here. The movie runs 8 minutes and I hope it's good for a few laughs. :lol: -bruce

I've actually used this a little bit on a feature I shot with a dvx100. I did not use it as a Steadicam substitute (I used my full sized rig with a 15lb hunk of iron under the camera). I did find it really useful for a chase scene, shooting from vehicles. It worked especially well for background plates for parts of the chase. The director used it for some 2nd unit walking footage and while not quite steadicam, it looked remarkably good and less distracting than hand held.

I think the really cool thing about the Steadicam is that it has personality. When I started operating there was a real reluctance to use the machine. One could tell that it wasn't a dolly and the movie looked floaty sometimes. It was only used when there was absolutely no other way to get the shot. If they could hide a dolly track, or crane up the stairs, the steadicam stayed home. I can also recall many repeated takes for a few directors who wanted absoute perfection (dolly like). Today the machine is often used just because it is not a dolly and contributes it's personality to the shot. The look of Steadicam is now considered a normal part of filmaking and not a compromise. Floaty is good. We should embrace it! I"ll be removing the level from my rig this afternoon :unsure:

Hi all, this is just a test to see if I've changed my display name successfully. Thanks. :)

Carl, I drilled a hole in my carbon post to insert an aircraft pin to safety the camera platform in low-mode. (my donkey box is just clamped on my pole) In no time at all the weight of the camera pulled the pin through the carbon fiber and turned the hole into a slot. This was discovered when the Panaflex hit the ground, oops. I still use the same design for the pin, but I've added an aluminium sleave/stent epoxied inside the pole and drilled through the aluminium and this has never failed, and the hole does not spread. I can't promise you'll be ok, but drilling the hole might just work out as long as the wire doesn't rub on the carbon fiber. If it does, the hole will get bigger and bigger over time and you might need a stent. -bruce greene

Looking at your photo, it does look bad. If yours is a telescoping post and there is a post inside, behind the crack, you might get away with using it. If you extend the post so that it has no internal support all bets are off. I would expect it to snap when someone lifts the rig with a heavy camera on it by hand. Carbon fiber posts are very strong in only one direction. You can place it between two chairs and stand on it (maybe:)) but if you tighten the gimbal too tight you can crush it pretty easily. So, when you have the tube replaced, make sure your gimbal clamp is properly adjusted. Otherwise, you may just crack the new post. If you think about it, unless your gimbal is a perfect fit to your post (round wise), and it won't be, I promise, than it always puts pressure on just 2 points on the post rather than distributing the pressure around the pole. If it tightens with a cam latch, maximum pressure occurs before backing off at the locking position and that might be the problem. I built my own rig so I have some true life experience with failure of the carbon fiber (and dropping a panaflex). I now carry a spare pole at all times :) Good luck. -bruce greene

In the early days, there was a lot of contempt and slandering about the Steadicam. Like, "always looks like you're on a boat". "It's only good for running and stairs. It will never replace a dolly" etc. Or as John Landis once said upon being introduced to me on his set, "you know, I never really liked Steadicam". Others were quick to say they just hated it. I mention this because a cool thing has happend in the last 25 years of Steadicam. The traits that everyone hated about Steadicam in the beginning like "tilting horizon" have become the mainstream look of filmmaking now and accepted as artistic expression and not a "flaw". I tried on the AR at cinegear and it worked quite well (for my 5 minute demo). I haven't bought one beacuse I am a cheapskate and I've grown accustomed to the look and feel of traditional Steadicam. I even like being able to change horizon during the shot... If the AR had been released 20 years ago, we'd all be buying them. Today, it seems like more of a special use item to me. So, does anyone rent these for those of us who will want to use it only on occation? -bruce alan greeene Steadicam owner / Operator

PAG makes a cute adapter for putting PAG mount batteries on AB sockets. They also supply their batteries in AB mount as well if you're thinking of replacing the entire batteries. I have found that it costs about the same to recell as to replace the battery, but I'm using PAG batteries on my sled. I'm kind of in the same boat as you. PAG USA will not open the battery case and ships it back to London for repairs. Hope this helps a little. -bruce greene