David George Ellis

And closer still...

here's one closer

The Merlin really isn't a good choice. The 7D doesn't have a true autofocus option like most video cameras and unless you're using wide-angle lenses, you're gonna be limited in keeping the image sharp without a follow focus system. Also, looking at it from a feasibility standpoint, I don't see how the Merlin can support a wireless FF WITHOUT additional adaptors. Maybe some DIY'ers will share wisdom in the matter. I've been watching videos of "steadicam-like" shots with their 7D's and while I've seen some impressive shots, the majority has not produced anything useable in a professional setting. It's commendable that people are trying to push the ingenuity factor, but it seems that the general consensus is that good enough is good. Enough. My best advice for you is, team up with a local operator who has gear. I'd say nothing lighter than a Flyer or Pilot. preferably someone with a FF and an assortment of gear pitches that match your lens. You'll solve problems better when you have someone with the gear to experiment with. Another suggestion is to take a workshop and bring the 7d. You can't beat years of experience and true amateurs of the craft giving you options to solutions. Good luck. Let us know what you concoct.

Good reel. Watch your headroom towards the end. A DP will be critical of that. Unless of course, you're the DP. Think about one other question... What's your labor rate? I might catch flack for this but, money is money. I could do a $1000/rental $1000/labor gig one day, and a discounted rental and free labor the next. It all depends on circumstance, the nature of the gig and your contact. If a buddy who's gotten me work for years tells me he's only got $350 for the day, how can I turn him/her down? A stranger is a different story. I'll always push for my rate. I let them know what I'm worth. The important thing is to STRESS the value of what they're getting. Aim for the stars... When I started, I jumped at any opportunity to do a job for whatever money was available because I wanted to work. The rig ain't making me anything sitting in its case in my house. Now is a different story, some days. There have been times I cursed myself for taking these jobs, but some paid off with Producers, ADs, ACs DPs, etc, calling me for better paying gigs later on. It's all about growing with people, being flexible at times and looking at the bigger picture. Some have burned their bridges and stopped calling me after I've pressured them to raise their rate after working with them a few times. That's fine, because (I say in a moment of hubris) chances are, whoever they get for the rate, might not be good. I've burned some bridges by quoting my rate and getting the, "Okay, we'll see what we can do" line, never to hear from them again. You will make sacrifices to show how good you are although Producers can use this against you. But as Alec stated, you can't negotiate up. I use this philosophy to console myself during those lean days. Sometimes you have to show you aren't a money-grubbing prick. Sometimes you gotta be a prick. Whatever rate you decide to quote, make sure it's what you think you're worth. That and, your rate is comprised of your rental and labor.

First things first, I have no animosity, no vitriol, nor spite. It's hard to translate sincerity on a social networking site. I am in no way trying to be a sh*t-stirrer. We're all beautiful, baby, and I thank you Michael and Eric for being beautiful. Mike, I agree with you saying Obama's just as black as he is white. Just as he is neither/either. Splitting c-hairs, he would be considered mulatto. AKA, mixed-race, biracial, multi-racial, oreo and so on. But when that dude filled out his college application, I'm willing to bet the farm he didn't check off "Caucasian". I also agree with you on the Theron Factor. That's why I take such umbrage with the term being categorized for Black Americans. We all know that when we trace the ancestry of the entire world, we all end up being of African descent. I hope you don't think I'm trying to isolate myself, Eric. Some of my friends are white (I've always wanted to say that). I was just replying to let Nikk know there are ebony (ebony, another word I like) operators around. Now I want you to understand my my point. Yes, we are all human, a species. Scientifically, we are broken down into subcategories based on characteristics that physically differentiate us. Caucasoid, Negroid and Mongoloid, which have now been broken down even further. Just like the pigeon and the dove. They are both birds, which are very similar, but have differences which are sufficient to classify them as such. Admiral Adama was very commendable and ideal, just as yourself, to believe we are one race, but we are not. Through disambiguation, our species has evolved into ethnicities, cultures and races. You can't hide from the fact that we are different despite being similar. I know, we share 99.99% of the same DNA, but just like fighting terrorism, it's that .01% we all worry so much about instead of celebrate. The only way we collectively will be considered one entire race is when there is a known and vigilant enemy we can all share hatred for. That is a comet, the Yellowstone caldera or, an alien invasion I find it laughable that Morgan Freeman wants to do away with Black History Month. Black History is American History. Right, because the only blacks making history are American. If that's the case, American History is World History. World History is Solar System History. We can expand this concept ad-infinitum. In order to make racism go away, we shouldn't discuss it? That's ridiculous! We need to discuss it, bring it out in the open. But do it in a scientific, educational way, with pop quizzes. This should be taught in schools, and not left up to ignorant parents. I lavish in the variety of skin tones and colors we share. My last girlfriend was a very pale Scotch-Irish girl. Before her, an olive-skinned Spaniard. Before that, Ghetto Brooklyn Booty Brown. Hell, my family photo is a Benetton poster! We're all a shade of brown, even you, Erwin. You're like a pinkish-brown. I bet you crisp up real nice in the SoCal sun...

Nikk, black operator here. 3 years late as well. I'm based out of NY and you can see my list of work on imdb and my website noted in my signature. Man, do I love you guys. So supportive of all people being seen as equals. It makes my heart heavy knowing you guys feel inclusive this way. A minority may include any group that is subnormal with respect to a dominant group in terms of social status, education, EMPLOYMENT, wealth and political power. - Wikipedia It makes me giggle reading the divergence this thread took. I don't even think it was meant to be a discussion. This is the greatest forum to get answers in ALL THINGS STEADICAM, so why can't a colored operator seek the existence of other colored operators here? Where else is he gonna look, Facebook? Twitter? Talking about race amongst various ethnicities is like men talking about sex with girls. Sometimes it's gets a little awkward, but in the end, everybody learns. With respect to Alfeo's original post, I am not appalled. It's the avoidance game people play with race. It's so taboo. Even here in New York, the "Melting Pot of the World", where racism is hidden until you cut someone off coming down 62nd Street after crossing the Queensboro Bridge. I remember being hired for a job sight unseen, introducing myself to the directors (who were black), tell me, "You're David Ellis? I thought you were white!" To which I replied, "I'm not. I was raised by a man who taught 7 languages and happened to be black. Just like you but, even blacker." Blacks in this industry are very aware of the uncommonness of blacks who operate Steadicam. I'm pretty sure everyone else is also. As inane as it may seem, it's still an issue. Blacks are a part of an American minority where chances of distinction are seldom given. In the past, a woman, Alice Guy-Blaché, beat Oscar Micheax, a black man, to the Director's chair by 23 years! What it means to this thread, I don't know. Why do you ask "Why?" if Nikk already stated that he'd just like to know. It seems that you guys clicked on the thread just to reply, and not to answer. He wrote it was personal. Now if he was trying to compile a list to kill all the black operators to become the only black operator, you sons of bitches better trace his ISP in the case of my untimely demise... Sometimes, if not most times, I am the only black person on set. To me, it's great. In actuality, it's stranger when I get to set and it's full of blacks. I get the whole, "You're either are an operator, or not" gag, but the man had a question, asked it, and had a sh*t taken on him. When Obama was inaugurated, he wasn't credited as being just the 44th President, but the 1st African American President. Nobody said, "You're either a President or not, doesn't matter what color you are." BTW, I don't like "African American". I'm not from Africa. I'm from Brooklyn. I prefer "Black", or even better, "Negro". Sounds so much cooler than the application-approved subcategory term you find on questionnaires and, it takes less time to say and write. Maybe it would have made a difference if a white person posed this question. What if a person from yellow Thailand asked? Would it be inane if Rob, Eric or Matt asked, "Who are the white operators out there?" I wonder why that was never asked. And while we are on the topic of race, who was the first negro Steadicam Operator? May not matter to the majority of you, but it matters to me.

Good job, Michael. Would have liked to see more of your work in a not so chopped and screwed manner, but I guess that's the music video in this ADHD Generation. That and, having to cut around the men running the carousel in post. I agree with Charles in regards to the "zoetrope" effect comment. I thought they were used to create the illusion of movement, not make my left eye hurt. It seemed to be a little tight to get in there and really let your wings spread. Too bad. I would have rather seen what you got, as well as some inside shots of the band with the lights moving in the background, not just moving light support beams with the band in the background. But hey, that's just me being a Monday morning quarterback. It's all relative and doesn't take away from your good work.

Never done this before. Again I am reminded of the importance of ACs. I'm Trying to figure out how to come up with a fee schedule for overtime and meal penalties. Do we charge for labor alone or rental? What are the time increments? Basically trying to not gouge a good client that I've worked with a few times. Don't want to shortchange myself, either. Thanks

Awe man, Thank you guys, my two beacons in this world of industry. I want to thank you both for your guidance through all of my professional and personal trials. You both mean more to me than you may ever imagine. We three must never be in a burning building or a sinking boat, cuz if I have to choose who to save first, it'll be hell on my conscience... Happy Holidays to you all! David

Hey John, This may seem retarded, but I was given a little piece of advice from a very well-known operator/instructor when I took the workshop. One of the things we pay heavy attention to in our work is our levels. This instructor told me from time to time he would take out one of those small bubble levels that fit in your hand and place it on his thumb and pointer finger to practice keeping it leveled while moving around pretending he is holding the post. You'll obtain a muscle-memory that remembers to keep the horizon flat while preventing you from dropping your thumb. You can practice this at any time, without a rig. I have done this and believe me, it's not as easy as it sounds. What I feel it does is help you keep it level while taking your body's energy transference down to a minimal affect in your physical arm. Before you buy that rig, consider the type of cameras you presume you will work with. I don't know what the specs are for the Pilot, but if you plan on shooting with cameras heavier than what it can take, you've just bought something you can practice with or do small camera jobs with, but as Charles puts it, not any and all gigs. One of the problems of getting a smaller rig is that clients may not call you again if they know you have a rig that cannot handle the camera they plan to use. Not to worry you or complicate your decision, but I have used cameras ranging from small handycams to the Cadillac of Arriflex, the 535B. Fortunately, I have a rig that can do all, barring the Pana G2 and maybe the IMAX, although I have yet to fly the latter. As you know, a rig that handles heavier cameras can handle lighter cameras with some ingenuity and adding weight. Lighter rigs will struggle and ultimately fail trying to fly larger cameras. I would save for the heavier rig if you expect to work with such cameras. If not, then go for the lighter setup and when ready, opt out for a larger rig when you feel comfortable or financially secure. Good luck and let us know which way you decide to go. Definitely take the workshop. If not the week-long, then the 2-day for sure. ONE, David

Hey Guys, There's been some hot mess going on with this company I took a "loan" out with. I'm in the hole and I'm awaiting the title for my gear. I feel like I have been dealing with some really shady practitioners and I just want to make sure that these creditors are legit in their doings. In my naivety, I took a risk with some financing company who agreed to give me a "loan" to purchase my rig. Painstakingly, I paid it down and worked my ass off. When I thought it was paid off, I get a lis pending notice for not returning the equipment a few months after the term of the LEASE was over. They were planning to sue me for $25K for rental charges not paid after the lease was up and interest accrued, legal fees, etc. They offered to settle with me for $10K and I accepted. I have not taken this to you all since this started, only because I fully thought I was in the wrong, but now I'm getting really nervous that I've thrown my money uselessly to someone who doesn't deserve it. If any of you know of a lawyer you can trust in New York where I reside or CA where the loan was originated, please contact me on or off forum. I look forward to hearing from you. BTW, BEWARE OF NORTH AMERICAN CAPTAL (CA), UNITED FUNDING GROUP (CA) OR FINANCIAL PACIFIC LEASING(WA)!!! If you don't believe me, look them up on the Better Business Bureau. More on that at a later time. Slime. So pissed. So fucking pissed. Not just at myself for allowing myself to be taken, but at them for taking advantage of some neophyte willing to take a risk at furthering his career... Thanks for your help in advance Pardon my language if you read this before my edit... I'm still emotional about it. When I'm done, I'll give a full report on the low down. Thanks again.

Not sure if our TV guys can comment on this, but I found it online and was wondering if any of y'all have had a chance to work with it, or at least tell if it is something feasible for us to work with: http://www.rfcentral.com/rfxcmt.html Didn't see anything on price, but it looks pretty cool.

Dude, The headband is NOT dorky. Chicks do dig it. Headband hair is irresistable! I wear them all the time now. On a show, my eyes started stinging like all Hell and I asked Production to get me a set as it was getting really bad. From that point on, it was all good. If you're a sweaty bastard like me, Grow a fro and lace one up, shon! Headband is the way to go... Good luck

My bad... A buddy informed me of the fecal storm that was about to rain, but I glossed over the post too quick to read it was carbon fiber... I'd stick with cat urine. Or maybe contact the people who manufacture the post and ask them what to do. You just might enlighten them to revolve their notion about making a mark for the near-end. David

I use cat urine to mark stuff. It never wears off and I got a whole box full of it. Anyway, have you tried etching a mark? Dremel has an etching tool or you can use a razor blade of some sorts to give you that line you need. I have that silver Sharpie and use it to mark my paddle/wallball 'cuz the little thuglings at my park think it's funny to claim somebody's ball when his lady skies a moonshot over the wall. Sharpies wear off and smear. You'll have to continuously reapply it, thus further propogating the smear. May make for a cool two-tone..., NO! Don't use ink to mark something you want permanent. ETCH! ONE, David

Elliot, Here's my call and response: *When I arrived on set, I introduced myself to the DP, I told him my name and he told me to call him "boss!" Some people like to have names b/c they feel comfrotable being called that. What if his real name was Dipshit? You don't want to be called "Dipshit" all day on set. *Seriously, I still don't know his name. It's probably better that way... *I was flying an ARRI 435 with my EFP, a fairly heavy rig, for 6 hours straight. I put the rig on at 2:45 and did not take it off until 8:45! Music Videos. Expect it. Live for it. Love it. You get respect from your Grip/Electrics, and they're hard to impress. Besides, Grip/Electrics are potential DPs who'll remember your tenacity. *"Boss" kept saying, "just stand here and be a tripod" or "I need you to be a dolly for this shot, very slow and perfectly smooth." He changed lenses almost every take and never let me rebalance. He even at one point had me do a walk and talk with a 135mm lens. Music Video DPs. Prepare them. Console them. Love them. PROS: They will put you through some of the most challenging experiences under the strictest time constraints. CONS: They will put you through some of the most challenging experiences under the strictest time constraints. Treat them with RESPECT continuously, regardless of how you are treated, and save them from mistakes. He doesn't know you yet. He's gonna rub you. It may be the wrong way. But if you adapt and get the shots, deep down you will be the hero despite how they recognize you. *I actually pulled it off fairly well, but it was still pretty ridiculous. Nice. Don't get cocky. *The first AC had never used a wireless follow focus before, but was still a pompous jerk the whole time. Yeah, and I bet he wished he was the Steadicam Op or DP, too. So he wouldn't have to take anybody's shit. ACs who don't know gear can sometimes get job-scared. They are supposed to know everything camera. If they don't, they worry that somebody you know or the DP knows (if that DP didn't know the AC directly), knew their job better and he/she only got the job b/c they were available, not b/c they know anything. Was he alone? Was his 2nd really green? Was he getting paid well? Was he getting the same treatment by the DP? Accept the AC into your bosom. Sometimes ACs need hugs. Hug your AC. You'll see their attitude change. It may help them not become "Dipshit" DPs. At least not to you. *It even got to the point were the DP, instead of telling me how he wanted the shot framed and discussing the move with me like a human being, would just grab the rig and pull me to where ever he wanted me to be! Sometimes DPs need hugs, too. They invade your space, invade theirs. If you don't care to have them touch you, tell them. It takes a few tries, but it works. I invested in a protable tv and put it in the DP's hands. They're too busy holding the tv to hold you. *This just felt like abuse to me. The film business is abuse. Followed by neglect, which is a form of abuse. *I don't really know my rights on set. I am not in the union yet and I have only been operating for six months so I am trying to develop a good reputation. Since there's no constitution for the non-union world, it's based loosely on the Union guidelines. Everything is up to interpretation here. There's the three rules you probably already know: 1. Don't suck 2. Have a great attitude 3. Don't suck *The only positive was that they paid me a great rate upfront.I actually showed up 30 min. early and cashed the check before crew call just to make sure it was good. (these guys are notorious for not paying). That should have been your first of a trouble shoot, so get yo-self ready for the abuse. *What can I do to protect myself from this kind of abuse? Is this normal? How do I assert myself and maintain my integrity on set? 1. Stay calm, like Job says. Nobody likes to see a Steadicam Op who is unsettled. It creates a nervous baby. 2. Take control of the set. In the laws of possesion, "He who has camera, has power." 3. If you need time, tell them. As Ramon mentioned, explain to the AD or DP that if you don't get the time to balance your rig or take a break, the next shot will be compromised and you will have to do it again and waste time/film/tape. And that doesn't guarantee it will be better the next time. Thus wasting more time/film/tape. Only you can stop the vicious cycle and regroup. Remember, you have camera. You have power. No one can do what you do on set. The worst that can happen is they take it off Steadicam and cover it another way. And that takes more time. 4. Use your judgement when getting into discussions with stubborn DPs. You don't want to walk off. They don't want you to walk off, either, I think. There was a job I heard of recently where the Dir and DP didn't want to pay the Steadi Op his rate and instigated him to the point where he talked himself into getting fired. They eventually got someone for less and is not as good. *What would you guys have done? Win the hearts of all those watching ONE, David

Long story short... I'm letting this go b/c I purchased a new Liberator Jr. cart and still had the topshelf from my old one, but ran out of time to return the new one. Never used except when putting it all together in my home. Comes with the screw-in type of holes on the handle along with the necessary screw. New $175.00 Me $150.00 PM or email me with questions ONE, David

Hey Y'all, In an effort to make room for my lady's coffee maker, I am forced to let go of this item. The CRT is going bad and I don't have the inclination to repair it. I'd rather offer it to someone who can do something useful. It will come with a Rock Steadi Gear rain/dust cover, but no cable for pwr/vid. It had been checked out by GPI back in 2005, but since then, I've rarely used it b/c I live in LCD World. I believe the replacement for the tube isn't cheap, but combining the cost to purchase this and do the replacement still puts you in less than than what it costs to purchase new. $5,000.00 neg I do as a sidenote, have the Gen I bubble level as well, but do not have a confirmation on its functionality. If interested, I will alert you of when it has been checked out and I will offer you first right of refusal. PM me or send me an email and I'll be more than happy to talk about it. Thanks ONE, David

There's something about a man and his love of fire...

Katie!!! Dunno if that was me who told you this, but you would benefit from having a rig of your own like I did when I did the workshop. But don't let not having a rig be a dealbreaker. Chances are whatever you have will not compare to the new toys there. It just helps you develop a more intimate relationship with the rig you'll be using in the field as it becomes your familiar. It made me not feel as bad seeing the new Master, Clipper and Vector rigs twisting around my bad ass 3/3A. The workshop alone is an amazing tool to have in your arsenal. You benefit even more when you show up at some dude's house at 3 in the afternoon and stay till 1 the next morning talking about what every cable and button does on your "new" rig the day b/4 your next job. And thank you again, Alec, for that (along with killer martinis). You have my number. If not, you can find me and others here. Shoot me a PM... See you on the next ONE, David P.S. I dug this one of you from my ish. Good form! BTW Alec, that just goes to show you even skinny people can fit into my thick and rugged vest. Or maybe I'm actually too big for it???

I think it comes from an inherent propensity to show than tell. I can understand that. Annoying, yes. But if they can't say it, then I'd rather they put the hand on during the blocking, not the take. Sounds stupid, I know. But I just let go of the post and have them try to frame the shot themselves to show just how sensitive to touch the rig can be. After they show me, I then put what they said into words such as, "Oh so you want me to frame out the drunken cheerleader and then reveal her when the midget crosses into frame?" Whatever it takes to get the shot right, I'm all for it. In the field of communication, touching is as much a part of communication as speech. To put my two cents in Jeffery, the Director should have a storyboard of the shots in question and spend a little time blocking on the day. Also, if the Director insists on looking over your shoulder during a take, they must give you an arm's-length distance to cover any miscues by your subjects. Good luck, David

What was even more alarming than the unveiling of the iPhone was the 8% bump up in stock price it got after Mac World. Great product made by a great company with solid fundamentals. Wait for some profit-taking, a little weakness from the nay-sayers, then load back up. As Jim Cramer says, "BUY BUY BUY!!!" The fact that they have been in cahoots with Cingular since Apple agreed the use of iTunes on their ROKR phone and now the iPhone makes me sad to know there may not be any portability to say, Verizon. It sucks b/c Verizon is the best network I know in NY and the Eastern Seaboard for that matter. Not to mention, all of my travels through 40 states in this great union, including Juarez, Mex. Crystal clear reception in the most remote of places. Mr. Jobs must know something I don't. Now if only they can combine the potential Sirius/XM merger with Apple's iPhone/iTV together... Hot-swapable high-capacity flash drives coupled with wi-fi/Bluetooth capabilities. Oh damn, my pockets won't be chock-full of gadgets anymore. Give it time, folks.

Hey Guys, It could also be an issue of updating the software in the RX. Real quick, easy and affordable. I had intermitent drop-outs on my BFD. No clue what was going on until I called Jim and gave him my serial #. He informed me there had been a few updates to clear up these hiccups and since then, not a problem. If you haven't already done so and have a "certified" pre-owned BFD, contact Mr. Bartell and see what you've got. I did expeience a little "twitch" once during a job inside an insulated sound stage. Walkies, cellies, all sorts of RF bouncing all over the place. I literally opened the doors b/t takes and within two hours, the skies were clear again. Good luck ONE, David P.S. Jim rocks, so sit on it

Gents, You can buy cables from GPI, but only if you intend on getting at least five per order. If you need cables a la carte, contact Fred Davis (AKA Super Fred) @ Production Cable Services 626-794-1534. Seeing how you're in NYC, Denny, you can also try Girvan @ Able Cine Tech 888-223-1599. Girvan's really good to know as he can do diagnostics to some degree on your rig. He doesn't normally carry all the Lemo connectors in stock, so Fred would be my first call and Girv the next. And if you really need a cable in the interim and can't get one by the time you need it, contact me off forum and I may have the one you need to borrow. Congratulations and good luck. ONE, David

Jerry, I have no question about its performance. What I'd like to know more about is its ruggedness/longevity. How will the arm handle after enduring harsh conditions, i.e. sand, snow, salt, dirt, fake/real blood (it's happened). I wear my gators when I shoot in hellish situations as well, but there are times when an AC drops your arm and then decides to drag it out of the desert dirt without an apology. So much for the gators... 12 water bottles later and WTF? More sand... I have a few curiosities. Such as; -How do you approach cleaning/maintaining the arm thoroughly/periodically? -I've been warned about handling titanium. Are the springs titanium? Machine-forged or die-cast? Does that matter? Are they delicate to the touch in regards to being accidentally scratched? -Would it be better to use a steel or titanium socket? -And what about all the other moving/exposed parts? Do they need the "kid glove" treatment? -In the event of worst case scenario, what would be the estimated turn-around time for diagnostics/repairs after the house receives the unit given the premise replacement parts are in-house? -For parts not in-house, how long can we expect for the house to receive them? -Can these parts be available to us a la carte? -What parts would be in need of periodic replacement? -How far disassembled can be done by us laymen at home w/out sending it out? Can we repalce the springs/knobs, etc. at home/in the field? -What can/can't/should we use as far as penetrants/lubricators/oils/grease? -Have you answered these questions somewhere else? I've had my Master arm overhauled once in the year and a half since owning it, and don't intend to do that again 'till I sell it. In the meantime, it would be nice to know more and more about the G70 as it develops in the field. Thanks in advance.