Dave Wowchuk

I ran into a situation today where I needed to run BNC out of a camera (Hitachi Z-One-C ... old school) to the TV control room (instead of using 28 pin multicore). The camera only had one BNC out, so I split the signal: one to my sled, the other to the control room. Well, the picture looked like crap (we lost something like 40 units when it was split.) I'm wondering what would be the best way of adding another BNC connection? (either hardwired or a cable) I have 4 Lemo video out/12v out ... maybe I could make a cable that converts it to a BNC & 12v? Any ideas or suggestions (aside from NOT USING that camera ... hahaha.) Thanks! Dave

It looks like these were in the "for sale" section of the forum back in October (picture is exactly the same.) DW

I was watching the Ryder cup yesterday, and saw the follow shot of the US team walking across a small bridge. Then the cut to the reverse angle and got a great view of the Steadicam operator walking behind them. Anyone know who that was? Just curious. Dave

Hey guys, Just to clarify, the Workshops are not closing their doors. The owner David Lyman is selling it to another educational institution. It looks like he want to pursue some personal interests. Here's the link to the news on their site. http://www.theworkshops.com/geninfo/news-p...amp;SchoolID=30

Anyone have a Marell digital level that they would like to sell? I'd be interested in acquiring it. Thanks! Dave

Hi all, I've just finished dismantling my upper stage to do a little "electronics" work, and I'm wondering what would be the best lubrication for the wormgears and surfaces where the plates slide across each other? (does that make sense.) Glidecam used some kind of oil, and made the side-to-side adjustment knob kind of hard to turn. (Actually it kinda removes the skin at the side of my index finger.) Thanks! Dave

So it turns out that I have a short in one of the 12v/Video Out connectors on my rig. The contacts have somehow come loose, and when a lemo connector is inserted they pop out at the back and touch ? thus causing the over-current, and the batteries shut-down. My rig will soon begin it's long journey back to Glidecam, then to CIT for new connectors ... damn. DW

So I talked to Mike at AB this morning about this "condition." He told me that this is an indicator of an over-current draw on the battery, and causes it to shut down. He advised me to reset the display (as Will said) and put it back on the charger for a few hours. It's funny (but not really funny) that this happened when nothing was connected ... so I think I might have a short on my rig's electronics. Damn. Thanks everyone for your input. BTW: Charles ... are you in town to work, or just visiting. If you're working, I'd love to come by and see you on set.

I've run into a situation where my Hytron batteries have been acting weird. When I attach them to their mounts, the fuel gauge shows one flashing horizontal bar. I thought it was one battery, so I tried another and it did the same thing. When I put the battery back on the charger, it seems to recover, but once its back on that mount ... same result. Nothing was being powered off the battery (or that mount) so I'm wondering if I have a short circuit or something? Any ideas? Dave

I got an e-mail yesterday from the Maine Workshops telling how the owner David Lyman has decided to sell the entire thing. I don't know what this will mean for the future of the Steadicam workshop out there, but I sure hope someone or some group will continue the good work. Here's the link to the article.

I have a shoot coming up that may require low-mode. If someone has a Hill SR3 IVS low-mode bracket and might consider renting it for a day or two, please contact me. Thanks! Dave

I guess there's no chance that you'd be passing through Winnipeg?

Thanks Alec & Eric. I've seen that bracket, but wasn't sure how it worked. I'm assuming that your arm posts have a small hole in them to allow for the locking pin? I know mine doesn't have one, so that's what threw me off. Do you normally use longer "inverted" arm posts, or just the standard one?

I was just reading the June 2006 issue of American Cinematographer, and there's a picture of Greg Smith operating in low-mode on Poseidon ... and it appears that his yoke is upside down. Which "bracket/widget/handle" would he have used to allow that? Dave

Thanks to Jonathan Hale, I now have a simple solution to my "rods and dovetail" problem. It turns out that the folks at PRO-GPI have iris rods that attach directly onto my Glidecam dovetail plates. I was going to try to use the XCS plate, but it was too narrow for the Gold top stage. Just thought that some of you Glidecam owners would like to know. Dave

Another thread perked my interest about rain covers. I talked to the guys at PortaBrace today to see if they would be interested in designing custom raingear for my rig, and they said they would consider it (depending on the demand.) I also talked to the folks at Camera Essentials about the same thing (I know they already have designed some stuff.) I'm curious to see how many of you have raingear for your rigs? ? Does it do the job? ? How well does it interface with the camera's rain protection? ? If you were re-designing your own, is there anything you would add/change to improve it? I hope this turns into an interesting discussion. Thanks! Dave

So your workshop didn't alternate between rigs? Seems a bit unfair for everyone to pay the same amount and not get the same amount of time on all the gear available. In the end, learning proper technique is really what you're paying for but still, for the price I paid for my workshop...I would feel pissed if I had to use a masters the entire time when an ultra is a definite step up. gordon I should clarify my statement. Three of us were assigned to the Ultra, initially – and as Afton said, we were encouraged to use the other rigs throughout the week. Sorry for the "mis-speak." DW

Hey Brian, Just a few thoughts on the Steadicam workshop in Maine. I attended the last one back in September, and found it to be a fantastic learning experience. The course was comprehensive, and the test at the end was a great challenge. We had two instructors, Jimmy Wells and Dave Taylor (Paul Taylor's son) and they were great. As far as gear was concerned, we had two Ultras (one was Jimmy's) two Masters, and a Flyer (I was fortunate enough to be assigned to an Ultra.) The location of the Maine Workshops was amazing (for a central Canadian like me.) Their facilities were great, accomodations and food were excellent, scenery was stunning ... what more can I say? I'm heading back again in the fall for a cinematographer's course ... I can't wait. The only thing I wished for was that the course was 10 days, not 7 ... it seemed like we all wanted more time in the rigs. I've got some cool pictures if you want to see them. Dave

Sweet! That's exactly what I'm looking for ... and it's in Canada! Thanks a zillion. DW

Hi there. I've been looking through the previous posts for advice on a handheld LCD monitor (with tuner) for the focus puller or for a small director's monitor. I'd like to have one on hand in case the production's monitor goes down, or they don't have one. Thanks! Dave

Yes, thank you indeed. I've been wanting to modify my vest by adding these straps on. How did you attach the other part to the vest? Dave

My apologies to each and everyone, especially you Eric. I respect your advice and opinions, and I have learned a lot from you all in the past 9 months. This thread was a harsh lesson for me ... so I'll accept the thrashing. Dave

Wow ... that's all I can say.

We (the new, aspiring operators) ARE listening to what the experienced operators have to say. Like us, you were once a newbie on a quest in order to become a student of your craft. We are looking for the same thing ? but no one benefits from the destructive criticism offered to us who can't afford to spend $75,000 on a "starter system" (although we may lust for one.) When it comes to information, I'm the type of person who wants to know "why". If the "pro-rigs" are better ? then tell me why. If my rig won't cut it on a feature film ? tell me why. If the industry is biased against non-Steadicam gear ? tell me why. All I want to do is understand ? plain and simple. Overall, I'm disappointed by the tone this thread has taken. Maybe this forum is THE place for the "elite" and not a community. Sorry, but I think I'm done here. Dave

Reputation and experience. Being in the union if you want to do the TV or Feature Work and having the right gear. A glidecam or Flyer isn't going to cut it on a feature, where you have to have a Follow Focus and video transmitter along with a 25+ lbs camera. I'm really curious why the constant Glidecam bashing continues? It's almost like you're saying, "If you drive a Chevrolet, you really aren't in a car." If you mean to say that a V25 won't cut it ... say that. Don't say that just because you have a Glidecam, you can't work on a feature ... cuz that's a load of crap. Isn't it ironic ... a local operator who uses a STEADICAM had to rent my rig because it wouldn't fly a larger camera. (This would be a good time to pause and reflect.) Dave "Enough with the Generalities" Wowchuk