Iain Baird

That swich doesnt stop a signal from going the wrong way. It only shuts down the feed from the live video and isolates the recorder output to the monitor. If your recorder input output is the same wire then both signals use the same pinout on the 5 pin lemo. In rec mode that switch will still et the signal from the camcorder go the wrong way. Iain Baird i'm not sure if I should be insulted by your solution or not, what does the 12/24 switch do?

I must have used the wrong terms. It would only be info that could be seen if you clicked on the name of the member. IAIN

Having just clicked on another members name I felt like an important part of the personal profile options was missing. What type of sled do you have? or have you owned? It's great that we now all have names, but I guess in a weird way I also identify myself with the sled that I have or the ones that I've owned or used before. Just a thought Iain Baird To start off the knowledge base my rig is a muTT GPI topstage, Chroziel tilt plate, MK-5 superpost and upper junction, GPI battery III, Tiffen Ultrabright monitor, PRO Arm, Walter Klassen vest GB dual mount, Marell level - frameline gen, Canatrans transmitter and sony camcorder. But it's the mutt i love,

I use a sony camcorder, the smallest they make - the model excapes me, as my onboard recorder. The only issue I have with it is that the input and output connection on the camcorder are the same (the unit has an internal switch) , and it's unchangable default start up is in Camcorder mode. This results in a second signal entering the video line. It's a pro III lower unit. A couple of clicks later and the camcorder goes into record mode then it's a receiver instead of a transmitter and the double image (camcorder feed + camera feed) is gone. Even though I have to switch the camcorder over anyway the one moment that the signal gets messed up always seems to send video village into a panick. Has anybody had any experience with this sort of issue? I'm thinking of installing a zener diode to stop the second image. IAIN BAIRD

One small step for mankind, one giant leap for the steadicam operator Good luck, IAIN BAIRD ........and Sean I remember your first rig as well, Although I don't remember it looking quite as sharp as this one!!!

In the film 'The Untouchables' there is a scene where Sean Connery's character is about to get killed. The camera is the POV of the killer as we look in through the windows of his apartment. The POV aproaches a window to open it and go inside. For a moment there is a clear reflection of a Steadicam Vest. The only reason you could see it was because the Op. was wearing a white T-shirt. Why risk it at any time I figure. Sure it's good to walk through the shot for all sorts of checks, marks - water bottles - reflections etc. etc. But regardless I change into black before any Steadciam Shot, and back to street clothes afterwards. One - it doesn't reflect as much, and two - I don't want to live in sweaty clothes when I jump back on the dolly. Iain 'dressed in black' Baird

I will have to add my WTF? to this post. It has being posted on a site read by the guys who are in the trenches. I'm especially surprised by the explaination that the confusion is due to a loss in translation, due to the size of the post, translation doesn't seem to be your week point. Anway I'm sure no lecturing was intended, although it was felt, I must say, but I had to respond due to my utter shock at the novel presented before me. Or perhaps only a novella but one (excuse the cliche) - "Lost in translation!!" Iain (cheers from a showtime shoot in Ireland) Baird p.s. It was nice to see the term "knights of the green screen again" as it seems to have been lost over the years, due I'm sure to the fact that the club isn't as exclusive as it once one. Although I can claim no knighthood myself since my membership only goes back to '97.

I used to carry six cases, smaller pelicans untill I read a post a year or so ago about travelling with your gear. The advice was to have fewer bigger cases vs. many small ones. The reasoning was that a big case can't be tossed about, it has to be lifted and placed. I now use three large cases and I never worry about how they are treated in transport because they are big enough to withstand any abuse and heavy enough not to be thown around by some uncareing baggage handler. It also maks it easier to keep track of all my stuff on the camera truck. I learned to count to three at a very young age and I still have it mastered. Iain Baird

Hey Afton, I had a crack exactly like the one in your photo on my old Master Series. I watched it for years and it never changed. It was right below my Jerry hill post ring for the docking stand. Since the crack was a vertical crack I figure that the post ring held the post together and prevented the crack from growing. After six years it still hasn't changed. I sold the sled two years ago and took the price of replacing the post off the sale price but told the new owner not to worry about it untill he sees any growth, to this day it is still the same size. However your photo seems to be more in the middle of the post which might concern me more as there is nothing to brace the post from further splitting. Iain "just my two cents" Baird Toronto

As a walk backwards at all costs operator, I agree with those that don't like DJ. However, I don't like low mode either, but it's a required skill. Along with practice, I was able to get better at low mode because of tips and suggestions I read, both here and in other articles. So for those of you that have mastered DJ, or at least embrace it - what are the tricks of the trade? other than practice of course. Do you use two monitors? Different drop time? etc etc??? Iain Baird

Is anyone aware of a 3-way Video Distribution Amp that is small enough to fit inside the second generation PRO battery system? Iain Baird toronto

Hi Tim, Let's hope that it never gets quite that bad, but you are most likely correct. But that's a part of life in any industry. We are, after all, just skilled factory workers. The movie or series that employs us is here because of the dollar, or tax breaks, not because of me or you. It's the same when a plactics factory moves down to Mexico, it's not for the weather. I know all about the Series PM who only want's to pay a little more for a Steadicam Op, I actually have bonuses built into my deal memos that pay me more on any day that I fly the rig. It works for both of us, they don't need to pay on days that I don't steadicam, and on days that I do, I'm paid accordingly. I'm moving on from the series work, I'm tired of the marathons. But even now, on a 45 million dollar mini series, I had to fight for my wage. I think its just a sign that PMs are in the same competitive field that we find ourselves in. The ones that can keep the budget down will live to spend another day. I'm more worried about our dollar as it soars to 83 cent's (in the late 90's it was 70 cents - is it coincience we were paid more?) All the best Tim, say hi to Mark for me. Iain

My apologies Matt, my comment was uncalled for. It was rooted however in that I don't believe that even the high end sleds are created equal. How many people do you know that have sold their PRO sled for a Master Series? I don't know of anyone. But I can list a bunch that have gone the other way, including me. The reason being, that I was unhappy with the MS. It just didn't cater to my needs. I wanted a tilt plate added on - a big mod to the MS but now only five minutes away any time I need to put it on my new sled (chrosziel tilt plate). Broken springs (three in 7 years) and my MS arm is gone for two weeks, but my PRO arm, (if it ever happens) the springs can be exchanged on set in five minutes. I wanted a super post, my MS option - send in for an upgrade. PRO option - buy the MK-V and do it myself. I could go on. Sure the BL4 and 535 offer the same image, but the 535 offers so much more, (non coax mags for 1) If you were asked which you would rather fly my guess is that you would chose the 535. I agree with the fact that the end image on the screen will only be determined by the skill of the Operator. But it's the sled that can make that journey easier or harder. Iain

As the owner of the Canatrans used on my set I take a special interest in the signal quality, it's almost a verification point with me. I feel the need to justify the expense to myself. And I must say there have been times when I've walked to video village and noticed that one of the 3000's is looking as good, if not better, I feel deflated, what's wrong with this unit, why did I spend the cash... etc. etc. But that's just radio baby. Who can explain why moving the antenae two inches to the left makes the world of difference, or why one channel excels over another when they both look empty. It's just the way all transmitters work. But when used properly, while taking advantage of all the extra features, the modulus 3000 doesn't even come close to the Canatrans. Since I started using the unit I've heard nothing but good things from the whole crew about how good the signal is, most of them not knowing that it's a different type of transmitter, they are just amazed at how the signal comes in so clear for them as they sit in the corner of the Studio watching the take on their little Sony Watchmans. My show is going to Morocco for a the last month of shooting and the DP is trying to convince production to buy three more units because he knows how spread out all of the camera's will be, on rooftops and beyond. He's been that impressed with the overall quality of the unit. With any purchase I make, I always seem to judge the worth by it's cost to pleasure ratio. Does that car bring enough joy to reason the expense. Do I enjoy my 50 inch TV, etc. etc. It feels good to know that money has been well spent. The same as it feels shitty to think you've wasted good coin, (a feeling I know all too well) But after a month with the Canatrans I can truthfully say that I feel relieved, it has been money well spent. The reward has been worth the risk. Iain Baird Toronto

sure different sleds offer different bells and whistles, but they're all sticks with a gimbal and monitor. it's the operator I'm not so sure about that. In theory it sounds great, an even playing field for all sleds. However it's not even close to the truth, the range in quality of sleds and vests ranges from 0-10, you'd have to be dumb to think that with a good operator a low end sled can perform as well as a top end sled. They are not all created equal, and thus can't perform equally, otherwise the cheap ones would rule the field. IB

I owned a master series for seven years, and like John I remember dreaming of the day it arrived. It was my first sled and as such served it purpose very well. The arm was easy to adjust, there was only one battery to worry about, the frameline generator was built in with a level to boot. It was perfect for the begginer I was. But as time went on I found it to be lacking, the 24v problem was an issue, and dirty video from all the power coming from the same battery was very annoying. The biggest problem that I had with the unit however is that it's not modular. You can't interchange any of the pieces. With so many companies out there now, it's nice to have choices. It's also an ever changing field of options that are available. I now have a sled built by a total of 7 companies including the vest. As each part becomes obsolete or is improved upon I can replace just that part, instead of being locked into a rig that is molded as one unit, like the Master Series. All in all I loved my Master Series but I definately outgrew it. Iain Baird Toronto

I've just finished my second week with the Canatrans on a four camera show. When I'm not on the Steadicam we are shooting four handheld cameras almost every setup, with the other three cameras using the modulus 3000. At least twice a day the other cameras are asked to hardwire, while I'm allowed to continue transmitting because my image is so good!!! As the other cameras have the assistants running around plugging in, and wrangling cables, I'm free to roam. What a treat!! The other cameras have also had issues with weak video signals that have been split from the source. We've all seen the BNC T splitters in use and what they do to the signal strength . The Canatrans allows me to put a gain on the signal to compensate for this. I remember when I first starting asking around about the Canatrans, all people could talk about was the price, not how good it was. But how much do we spend on all of our other toys that no one ever notices, or appreciates? The transmitted image is the only part of our gear that everyone outside of the camera dept. including the Director can evaluate and thus a good image makes me look better. I figured since I was spending so much on the rest of my new sled why cheap out on the last part of the system. I know this sounds like a sales pitch, but other then benifiting from his excellent service, I have no connections to Emery or Lentequip. I'm just a happy customer who has found a great product that's been worth every penny. Iain Baird Toronto

thank you Charles, thats just the info I need. iain

Does anyone have the specs for the PRO II recorder input/output plug. I haven't received my new sled yet but I need to have a cable made for an onboard recorder. I need the LEMO type and the wiring configuration as well as the power output, I'm assumeing 12v, but at what amperage? thank you Iain Baird Toronto

This seems to be a more expensive version of what MARELL already offers. Marell products who knows which is better, but this version has dual framelines and digital bubble as well, I think the price is a little less at 799.00 sterling. iain baird toronto

Hey Mitch, This is kind of ironic, it was in today's (July 9/05) Toronto Star. toronto star article Iain

"You know, for the right amount of cash I could buy my very own Formula One race car. But the car doesn't automatically make me Mario Andretti. " -------------------- Mitch This is true, but what if the Car automatically steers you out of trouble, doesn't that change the playing field a little? Listen, I'm not attacking the AR, I think it's awesome. I was merely expressing an opinion. Howard has made a wonderfull tool that will change our art, the possiblities are exciteing to say the least. But for any advancement, in anything, there are always skills that get left behind, skills that once made someone unique. All I was saying is that some of the skills that I'm proud of are now easier to achieve. I know that no tool can make an operator any better in his/her understanding of the shot, but the AR sure seems like it's gonna make horizon roll issues a thing of the past, and more glaring in those that don't use the AR. Even Howard mentioned to me he was watching Tracking shots he used to be impressed by, and he now notices the slight imperfections, now that he has the AR shots to compare. Anyway, I'll probably try one and find that for the one thing it helps with, it makes five others harder. I can only hope!!! Iain Baird

It's a funny thing; proof reading your own work. When you do it right away everything looks fine, but then twenty minutes later the typing and gramatical errors seem to have a neon arrow pointing at them. Oh well, sorry for all the typo's, I blame it on the Wolfblass, and my excitment in posting my first entry. Firsts have a way of making you lose control (find the multiple meanings in that sentence and win a prize) Cheers, iain

I bought my first steadicam, a master series, in 1999 and since then have pursued mastering what I find to be a wonderful craft. Many operators before me had raised the bar to the point that just owning the rig wasn't going to cut it, you had to be good, people had seen the difference and knew what to look for. So, following the advice of operators I knew, I trained, I practiced and I studied something I truly loved. It felt worth it, every practice session would result in aquiring the finer touches needed to keep the horizon, hold lock offs, do whip pans ect. ect. I've never felt sastified, there has always been some shot or some move that I wanted to do better. After honeing my craft for a couple of years I entered the real world of paid gigs and havent stopped since. 5 seasons on "Soul Food" , 2 on "Queer as Folk" , A season of "Zoe Busiek - Wild Card" and MOW's and Movies in between. I have always been pround of my work and what it took to get it there. I have also always felt a certain job security knowing the effort it took to get me there. Anyway my point is, I worry that when a machine like the AR come along, it makes it too easy for anyone with the cash to hold their level, do a pefect whip pan, crane up or down without any skill required, ect ect. Don't get me wrong, it's an increadible achievment that deserves all the kudo's it's been getting. I was just in with Walter Klassen today who couldn't stop raving about it. In fact I remember reading years ago that Garrett's dream was to make a Steadicam that could go from Low mode to high mode mid shot. "HA" I laughed "you wish" and now its reality, I just worry that what has always separated the good from the bad (basic operating skills aside) is now just an investment away. THATS RIGHT FOLKS, FOR ONLY $60,000 MORE WE CAN MAKE YOU A GREAT STEADICAM OPERATOR OVERNIGHT, DON'T WAIT, CALL NOW AND JOIN THE REVOLUTION. I hope I am wrong, I hope its truly is an evolution in Steadicaming the and not a step backwards towards extinction. On another note, I'm just in the process of buying a new sled. A GPI, MK-5 combo and so I've been on this site tons in the last week or so, and you guys rock. I've never visited before now (why? I don't know, work , family, porn .....when do you find the time) but the wealth of information I've received has been priceless. Thanks go out to Eric Fletcher (nice work on your reel by the way, very slick) for the photo's of his awesome sled, other than a Tiffen ultrabight mine will be the same. Thank you Iain Baird Toronto