Bryan Fowler

I'll give a go... I haven't seen the full film, so I'm at a bit of a disadvantage, but I can go with what I felt while watching the shot. The length seemed fine, until the main character left the shot towards the middle. At that point I expected a lock off (on the singers), and then a cut. So I guess there was a bit of tension there in the middle. But, I think multiple cuts would have chopped up the rhythm. I liked being with them the whole time in the camp, instead of jumping ahead, watching them pass, then jumping ahead. (If you were cutting through the camp walk) It seems like it did a good job of slowly letting us in on what what happening on the beach. At first we see there are lots of people, then showing what was actually happening with the mini scenes as we walked was nice. Having several separate setups to tell those mini-stories, (horses, men singing, fighting) I think would have been a little contrived, without more problems with involving the characters. I liked seeing almost all of the camp in little bits, then everything at the end... kinda reminding, and emphasizing what we just came through. I felt like I was missing something with the main 3 men. Their trek through the camp seemed unmotivated. Maybe I felt like they were searching for something, but their movement (after the "general" left them) seemed slightly unmotivated. I did like the man stopping to watch the horses, then appearing again later. Granted, if I had seen the full feature things might feel different. Overall, only a couple times did I "feel" a cut coming, and then it passed quickly. The composition, starts, slowdowns... all seemed to contribute. I can hear it now, "roll sound, camera, mark it, action..... ..... .....and cut, change the mag" =) Bryan

Yes, Agreed. I think Chris would be a great topic starter. Maybe set the feel of the room a bit? Then we can chime in from there? Chris, any thoughts?

Yep, James is correct, NTSC, and no region coding on the disk. It should be fine in other parts of the world. Bryan

On the line? tell me more about this "on line" thing I hear the kids talking about.... =) Hey Mike, did you meet a grip (or key grip) on the set of true lies named Wells Smith? Cajun'ish guy with a mustache. Just wondern'

...Just one...but they make me buy a full set. I know.. it's only $3 But still, I end up having 10 4.5mm hex tools but non .050mm. *sigh* ok, rant over....

I need a few Lemo jacks and plugs. (2 of each actually... so I can put them inline on a cable) They can have bare cable on them, new or used, dirty or clean. I don't even know if they make female and male plugs, or if they just do plugs and jacks. Honestly i get lost in the secret high-class plug language. =) Anyway, if you got'em I can pay for'em. Maybe send me a photo first so I learn to talk plug. Thanks Bfo WOW! that's a giant photo.

Charles (and others) I re-read the other posts....yeah, I see your point, and agree. I guess it boils down to just me wanting more knowledge about film making, visual storytelling, and how steadicam (or even moving camera) fits into that. After reading my above post, I should say that example was what I, being a "young" camera op (10years), would be able to bring to a discussion. *heh* Bottom line for me I guess: if I have the chance to listen, and learn a little bit of what/how other think and process stuff, it's a good thing. However that happens is good. Now, I must let that coffee escape.

I'm not sure if this goes along with Chris' idea, but what I'm imagining would be a video clip of a shot, (youtube, vimeo, whatever) along with commentary from the operator on what happened to make that shot what it is. Like, on one thing that I did, we were loosing light, shooting with an A-Minima, and my weight cage wouldn't fit. I had to do the shot with a janky setup, and "muscle" the arm down. It was really a result of poor prep on my part, and by looking at the video some might not be able to tell. Others might be able to, or at least learn something from the shot. We also had other issues with the shot (wardrobe issues) that I had to work around with the framing. Seeing what I did, and what made me do that =) might be helpful to someone. I always enjoy the behind the scenes commentary that people have with a production. Anyway, those are my updated thoughts. Bryan

Oh.. but... the word aesthetics is so much cooler! =)

Chris, I think it's a good idea. Learning the technical part of operating is great, but the more subjective aspects of film making (choosing shots, making the mood match the action, stuff like that) are great to learn. I've found that listening to others talk about their decision making process always helped me. It also helps when I explain why I did something, or what got in the way. So yeah! you got my vote. =)

Good deal, I can't wait until my free movie theatre vouchers get here! I heard all guild members get 125 a year? or was that 25 a month, I can't remember. Either way, it's good news. I'll start making room for another bookmark in my bar. =)

Does is count if the Li-on is scratched out, and Ni-cd is written in it's place... with nice penmanship? *shrugs* Just wondering.

Yep, I get the same question about my back. I'm a small guy (5'8" and 135lbs) and I think people don't believe me. =) I tell them my back gets a mild workout, like I was swimming, but not as much as my knees. Svenson and I were talking about standing still, and how much of a pain that is on our knees, and feet. A recent job where I was a steadicam-tripod reminded me of that. Poor knees, what did I ever do to them. =)

John mate, Very glad to hear you'll be ok. Thanks for the posture reminder. Did you get my christmas present of a new PM? I wasn't sure if it was on your list. You may be able to return it if it's not to late. =) Fowler

Thermis, If I understand correctly you are talking about 3-4 inches higher on the vest? If so, I think you're fine. It's common for people to move their socket block up and down depending on the shot. good luck.

Rule #1: No shot should be composed underwater. Rule #2: No shot should start at an angle in which a live bullet traveling at common bullet traveling speed should intersect with the operator or the rig. Rule #3: No angle should be contrary to the previous angle unless the tranzell-bognut is used. Those are the only ones I can remember at the moment. But it is sunday and I'm sleepy.

I'm just curious what you guys do. I get American Cinematographer. Sometimes when I see an article about a film, I like to read it before watching, In hopes of knowing more about the production. But then sometimes I read stuff that spoils it. soooo.... I dropped a poll on here.

Yeah, Alan Dague did this. I'm pretty sure directly for the Tiffen dudes. It's cool. Great job Alan! What's even better is it was all done on his iPhone!

I'm looking to replace my vest and arm with newer gear. I'm looking for a front mounted vest, in a compact size in good condition. I'm looking for a G50 arm in good condition. Also some Anton Bauer plates for a battery modification to my sled. 1 or 2 if you have them. I figured I check you guys first before paying B&H. Email me if you have any of these. Naturally, photos are a plus. Thanks

Put a piece of gaffers tape between the camera and the plate. That will give some squish to the union of camera and plate. It might help. Also, 24pfreak explains what style you might choose to to shoot a video in , but at the steadicam forum we are more interested in who you are. Search the forum for how you can change your name to your real name. Don't worry, it's easy. =) Thanks and good luck with the Merlin.

Yeah, I'll finally be a professional stEAdYclam operator. Look! Tilt head! So now I'm looking for a lowmode cage to fit. oh, and an arm and vest. I think I might use an old backpack and a bungie cord. If I paint them black I'll be fine! =)

Darren, Hi, welcome. Here are a few things I found beneficial from the workshop. 1. I was able to use several different types of rigs (all Steadicam brand. Everything from the flyer to the Ultra2) and not just for 5 min once. I had 6 days to use them. That helps me realize the differences in them. 2. I feel like it jump-started my skill by at least 2 years of trial and error. I too had not just a manual, but a 2 hour VHS tape with my rig. The 6 days I spent at the workshop taught me FAR more then the manual and tape did. Having the instructors looking at your technique and form is great. Seeing how others operate is good too. Being immersed in the craft is effective. 3. If you have a rig, and have been operating some, a workshop will let you see what the Steadicam "logo" has to offer in comparison to what you have. I have a Steadicam but I still know what I want to improve on it. Largely because of workshops, and using the new rigs. If you are planning on $25k + on a rig, the price of a workshop is well worth it. Hope that helps some. The Sachtler is decent. If I was given one I wouldn't complain.. much. But I would try and sell it for a clipper2. =) Bryan

I ordered two, just in case the first one breaks. I can't wait for you to click here

Hi Rob, Thanks for the reply. It's the producers that don't have a steadicam op that I'd like to meet with. I'm not wanting to take work away, just do as much as I can to get as much as I can. =) Thanks again Bfo

yeeeeah... so.... Afton, that's a cool iphone photo. I like mine too. I got one for my wife and she loves it. She's on her second one since the first one freaked out. but they were good. She got a new one without waiting. later