Mariano Costa

Thank you, Adi. That's roughly the info I gathered so far. But still, a little video would speak a thousand words. Right now, I, without access to a wave owner, don't have any clue how significant the visual impact of this device can be...

I'm wondering why there isn't even one single video showing what the wave can do? Only a few videos of itself during tests.

I believe it was called the Continental stabilizer or so...

http://www.theasc.com/ac_magazine/January2017/Paterson/image4872.php

Huh? What does this mean?

Didn`t hear about this so I`m surprised to see someone bought it:

18 years??? How comes???

Oh, that's not my video, don't have the wave yet. I was curious about the helix but having heard that it's not very reliable and given that the wave comes from Christian Betz I'll rather go this route, even though it doesn't have a "high to low mode" range.

You're very welcome! :-)

...looks like someone`s already using it at the EM: http://image.stern.de/6915758/16x9-940-529/5936ebefbdfde92f2fc8907eb2622c36/Vx/island---kommentator---video---netzhit.jpg

...at least Eric Fletcher chimed in later on to correct some of the ridiculous statements that guy did towards PRO...

The guy who did that video explained on his website that the bridge is 100 years old and wasn't built with that height clearance in mind. To protect the bridge those yellow lights and a steel beam had been installed, that's what these trucks are grinding into. Regarding my original video: I really wonder if these people ever took a moment to take a look at their invention and judge for themselves if this is A ) practical and B ) the most stupid looking thing that ever entered a movie set...

The guys in charge must be in some contracts with AC manufacturers and workshops, otherwise I can`t understand why they seem to not give a f*** about that bridge being crashed over and over. What does that mean for stability of that bridge anyway...

No further comments - but it definately looks like a big step into the future...

This is a very surprising move. I've never guessed that Arri would go into this direction. I've now seen that the Artemis in the presentation videos from nab already carry the Arri logo.

Just read that Sachtler is selling the Artemis system off to Arri - is this true???

...sorry to be this suspicious but it seems like "King Julien" posted about his own stuff... ;-) Just guessing...

And it doesn't play in Germany as well...

While the new sachtler rig looks impressive, the sample footage from that WW2 docu thing was underwhelming to me. Unlike a rig which has horizon and tilt stabilization it looked quite jittery.

I'm slightly puzzled. Shouldn't be the first question be if a steadicam is the right tool for the job/budget at hand rather than to suggest training already?

Victoria was the first and probably last German movie I watched for a long time. The logistics were insane (kudos!) and a few bits were nicely done acting wise (for example in the cafe when the girl played piano) but the rest: meh...story was mostly awful and the camera work: not my taste... I think it was an interesting experiment but proved once again how essential good editing is.

Don't worry. It seems that the current version is tough to set up properly and takes more time than the warp stabilizer inside of premiere pro. Generally these software stabilizers almost never will replace any kind of mechanical stabilizer as you need a very fast shutter speed and high or gigantic resolution (depending on the amount of jitter). You either go for it for a certain effect or, like it was intended in the first place, use it because someone didn't do his job and delivered crappy shots.

What's that disc shaped thing at the bottom? And what's the new possibilities Andre Perron is talking about? To me this looks like a Maxima extended with a second axis, so nothing we didn't already saw... or what an I missing here?

I think one of the changes that is happening is that we now have a similar situation like it was when the Steadicam came into existence. Back then directors and dops underestimated how extremely complicated Steadicam operating was, put the rig on and very quickly handed off to the pros. With gimbals we have the situation again, only that this time, thanks to smaller + lighter cameras and electronics which does most of the fine grained work the operator has to do before, it is doable and everyone seems to own a very capable rig. "Luther" and other shows are good examples. At this point it is very diffuse to tell what is going to happen.