Markus Kuballa

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I'd go for Superconductor-Dolly on a foldable track.

In my experience the rest periods in Germany are usually as defined by law at around 11-12 hours in between work times. The length of the day varies a lot though. Usually for me it's at least 12 hours on set and 15-16 at the most. But I also had a music video shoot as a day player where we worked 23 hours with almost no break of wich 20 hours were only Steadicam. Needless to say at the end of the day my fatigue showed in the footage but the director didn't really mind.

Sold

I'm selling my Ultra 2 Vest. I had it for three years and its in great condition. Only minor scratches around the shoulder buckles from opening and closing the vest. The reason for the sale is simply that I never could get used to the thick padding of the vest and therefore switched to a Pro vest recently. Asking price is 2.200 €. Vest is located in Berlin, Germany. ​For pictures please PM. Best Markus

I just want to say thank you to the guys and gals at Pro for the outstanding service I received when I ordered my vest. Not only did Michelle respond to my order almost within the hour but they also managed to get my vest ready and shipped to Germany within 5 days even though I was told it would take about threes weeks and they were ready to close shop for Christmas. As a first time costumer I am stunned by that kind of commitment even though lots of you guys on the forum already made many comments on how good service was at Pro. So again: Thank you very much especially Michelle and Chris I surely will come back for more in the future!

Thanks Ed. I came across it about two weeks ago and I enjoy it very much.

Hi Tilman. Curt Schaller is the man to talk to for workshops in Germany. Betz Tools also offer workshops but I don't know if it's more than once a year. Their workshop could maybe provide you with more than one system since they sell and service Tiffen, ProGpi and their own sled the Rig. You are saying that you study cinematography in film school? A thing you should not leave out in thinking about starting a career in Steadicam is that it will take quite a lot of time to get to a point where you can operate properly and it might interfere with your future work as a DP. I know there are some people who are DP's as well as Steadicam operators such as Charles Papert or Ruben Sluijter but as I understand it they started as operators and moved on to DP later on. I'm not sure if you can become a good operator as a side project to being a DP as main job in the future.

A friend of mine is involved in the production of the hurricane wheels. I already signed up for a pair and knowing him I'm pretty sure they are great.

I used it before and it's a nice addition especially in staircases with actors running around. As far as I know it's build by a guy called Braun ( no relation I think :)) here in Germany and you can rent it at his company M.A.T.

Mounting the gopro on a Vibration plate and shooting at a higher frame rate (60fps) should eliminate most problems you get with the rolling shutter. If course there are limits to that solution.

where is the fun in that?

I just saw a presentation of this on the news and the first thing I thought was: They should make a handsfree version of that just like the segway with a hardmount for steadicam. Maybe Chris Fawcett should have a look at that. ;) http://martinjetpack.com

Movietech markets the dolly as the ARCO. It is made by Cinetech Italiana as the Falcon and re badged by Movietech. It looks like the PeeWee in the same way that a Basson or Chinese equivalent looks like a Steadicam Ultra 2 or PRO rig. 😄True.

Thanks Janice. Steadishot.org was of course the first site I looked into but for some reason all I get when trying to open a video is a message that the video isn't available anymore. Also it's not the site to get nice pictures of operators in uniform from ;)

Hi Guys and Gals of the forum, I was asked to put together a class for this years Talent Campus at Sarajevo Film Festival. I wanted to focus on special Camera equipment like Steadicam, Telescoping cranes and stabilized heads. The class is for about 20 young directors so its not aimed at how the operating is done but to show them why and when it is a good idea to implement those tools, how a scene can benefit from it and why to use professionals to get them done. I think it's a good chance to get a new generation of directors to have our back when production is trying to argue against the use of proper equipment or personal again because they want to save a dollar or two :) What I would like to show are little scenes in which those tools where essential to tell a story where handheld, tripod or dolly just wouldn't cut it. I was thinking of the shots like from "Raising Cane" in the hallway done by Larry McConkey or the shot at the Berlin Bus Station from "Hanna" by Peter Robinson. I also remember a video on this forum that showed Job Scholz I think who was taken by a crane from a balcony to a boat and then to the streets while doing Steadicam. What do you guys think? What shots would be helpful for the purpose or what else do you think needs to be put into young directors heads to teach them our ways? Any input or maybe even footage, stories or pictures of you guys pulling off crazy camera work is highly appreciated and what I choose to show at the workshop will of course be accompanied by the highest praise to the operator who did it.

I find the drag very irritating. No whippans I guess

Listen to Sanjay!

Is there going to be an operators night for meet and greet like Tiffen does in the US? It would be great to get together for a beer and chat.

I see this tool more as a new option for shots where you would use a stabilized head than as a replacement for Steadicam operators. So no thread there ;). For me working as both Steadi op and Grip its certainly interesting for vehicle mounts and such. Going Handheld with a full size camera doesn't seem like an option so...No worries.

As it turns out, the cases completely build (all 4 with all AKS), were exactly half an inch to long to fit into a standard european elevator, the fact is, the drawings where correct, but by trying to maintain the inside dimensions rather then the outside dimension the builder grew the cart by 2 inch. Normally it wouldn't be a problem (in the states) but here it is. Since I'm located in Germany that could become an issue at some point. I think I will wait on what you come up with next and then purchase something that will fulfill a European operators needs. :)

I'm very tempted. But I actually like your new upgraded version you posted on this forum better. Are you selling those as well or could I come to Switzerland and have one custom made for me?

I would be interested as well but I think there are none. I'm located in Germany but work in other European country's as well

No worries :) There'll be another time. Hope you had a good trip.

Hi Erwin! I'm up for a beer or two. What are you doing tomorrow night?