Hans Roth

Thanks, I'm glad to get some feedback. I did indeed forget to mention that my assistant was previously a cable puller on a number of shows, and they've done spotting for steadicam ops before (not to mention we're both still training hard). Thanks for checking though, always nice to know people have your best interest in mind! Janice, I have taken a workshop, but while I learned a lot about Steadicam, I didn't learn how to make myself less decisive :P I know I was happy with both 1.5" and 2", though I did all my post-workshop training with a 2" post, but that matter is really down to cost. If I'm going to cut in an area, I'd like to cut in one that won't reduce my capabilities. Thanks, I'm very glad to hear that the equipment will work for me. I'm definatley going to be looking into the used market, especially since operators take such good care of things. When I say $1000, I was only talking about the controller, but it seems like I could get a system from Bartech, complete without the motor, for a little over $1500 including cables and the steadicam modification (though I'll have to try the ZC-9 to see if I like it), then there's just the motor. Should I still invest into a BFD then, incase there's the chance to have a focus puller? It looks like an amazing deal considering what I've heard about lifetime and accuracy, but I don't want to throw money at something that I don't need. Cheers!

It's mainly a cost thin. The 1.5" post is cheaper, and the 1.5" gimbal is much cheaper. What are the advantages? I mean this as a legitimate question, since I don't know, not as a doubting of your statement. Obviously there are more compatible accessories for a 2", but I can find everything I need for a 1.5" as well.

Hello, I'm making a big upgrade for my sled, to support my found niche of live TV (or live-to-tape) work. Of course there's a budget, but I'd like to find a good compromise between something that's affordable, effective, and upgradable. The rig I trained on, which belongs to a fellow operator, is an MK-V deluxe topstage, with V3 j and d boxes, a 2 section 2" centerpost, the 2" deluxe gimble, the Genesis 2" monitor arm, the Transvideo HD SBL monitor, and the Evolution base system. I'd like to keep working with a similar rig, since the one I trained on is used for the same kind of work I hope to be doing. The Evolution base is especially important, since I found it's useful to set the rig down on a table, still linked to it, while the director is shouting at me :P However I'm thinking about a few "downgrades", which could later be upgraded if needed. For one, I'd like to switch to a 1.5" centerpost if able, and resultingly a 1.5" Genesis gimbal and 1.5" Genesis monitor arm, as well as the standard topstage. I also wouldn't mind going down to a v2 j and d box set, but I'd assume that there would be some problems with downconverting HD as well as the tally. Could somebody give me some feedback on how a downgrade to the 1.5" post might affect me? Would I still be able to handle most television work? And how does the standard topstage compare to the deluxe? I'm still open to upgrading in the future, but I'm looking to enter this as a full profession now, not another sub-level before the real work begins. Cheers!

I'm moving the second post to the more appropriate section of the forum for sled discussion. Unfortunatley I can't edit my post, so I'll wait for an admin to kindly delete it :) I'm still happy to hear answers on the first post, of course! Cheers

Another quick question. Currently the rig I'm considering is listed below: Vest: Walter Klassen backmount vest + bag Arm: Luna Arm + bag Sled: MK-V deluxe topstage, V3 j and d boxes, 2 section 2" centerpost, 2" deluxe gimble, Genesis 2" monitor arm, Transvideo HD SDL monitor, Evolution base. The thing is that I'm not made of money, and once I add in all the other accessories, things are looking expensive. On the other hand, I'd rather get the paying out of the way now rather than end up having to re-upgrade soon after. Could I downgrade the 2" to 1.5" and still be able to do your standard television work? I'm not exactly sure how this would change the weight capacity, etc, or if it would even save money (I'm assuming so?). Also could somebody voice their opinion about the V2 j and d boxes vs V3. Is it worth the extra cost? How about the topstage? Could a standard topstage compare to the deluxe? Thanks!

Hello all, It's been a while since I last was on the forums, but in that time I've been busy doing some hands on training, and taking a regular camera operators workshop to learn the ins and outs of your basic shot framing, work on a set, etc. Not to mention hanging around some shows as an assistant to learn the way things work in the industry. Now I feel I'm finally ready to enter the big game. I did some market research, and am quite confident that I can get a loan to help with my initial expenses, I've found an assistant to go in with me, and even a few potential clients lined up. My main focus, as it's what I love and what can be found in my area, is live television work. Obviously I'm not thinking about trying to start out with the big shows, but there are a lot of music show ideas in my area that need a demo made (non-live but in the style of live), and I'm hoping that after that one will get picked up by a small station and I can work my way up. The wages are much better than I was hoping for the beginning of my career. I've read a lot of posts here recently and have some good idea about what I need to buy for my first real rig. But I'm still unsure about focus pulling. My soon to be assistant is not a qualifies focus puller, just an assistant that comes with the package, helps carry the stuff, helps building the rig, switching batteries, spotting, etc. The way I learned the steadi was with a gimble mounted focus zoom remote, which I plan to buy. The operators who trained me never worked with focus pullers, they just had assistants and did it all themselves. This is what I'd be most comfortable with, since it keeps my company small, I don't require the show to supply one, and a $1000 focus system for the gimble ends up a little cheaper than a full remote system. My question is will it fly? Not the steadi, I mean the idea. Will shows and producers be okay with this? I'm not sure if people already have focus pullers hired for the show early on, forcing me into using one. Not that I'm against having one, but I wouldnt have the equipment. Any advice from somebody in the television industry is welcome.

I'm covering a wedding next weekend using an HMC40 with the Merlin (w/ arm&vest), and due to a scheduling conflict, my setup time has been cut rather short, and I'd like to see if I could go into the job with the settings already written down. What I'm looking for is the weight configurations, mounting hole, and general arc setting for dynamic balance. Dealing with the stock battery and the lens hood and handle on. Thanks!

Grüezi! I am a somewhat new Steadicam operator in Switzerland. I'm working with only a Steadicam Pilot, but it fits well in my market. I also am using the Flyer vest as I find it more comfortable. Already though I have worked many jobs with DSLR rigs, which is what I hope to work with for a year or two when I can move up into a big market. I have also just bought other accessories too, so now I have most of the gear an operator should (I hope :P ) I will also be going to a workshop when they come back in Switzerland or France. But for now I am being helped by other operators. The only accessory that I am missing in my equipment is a follow focus. Up until now my clients have not wanted one. But I think if I am to be a full time operator some day I must take this step and buy one. There is a focus puller in my area who also is newer (but very good of course!) who wants to work with me. This could mean we each only pay for half of the follow focus and also gives us both more business. I am not sure though how a company will see this though. I can not do this if they do not pay more to have a focus puller with. Will most clients have a focus puller already, and not want to pay more for one with the operator, or might they pay more for somebody who works only with myself and has good experience in that area? Thank you for your help, I hope to one day be working with you! BEA. Sorry also for my bad english! I hope you can understand OK! Hans "Hansi" Roth