JamieSilverstein

Now Girls; Either rent a room and fight it out in private or pull your claws back into your paws.

Mitch, what about the shows? I hear that Seigfried and Roy are coming back..... For my money, I'm interested in the HD Cameras too as well as the next generation of LCD monitors. Looking forward to all the interesting reports from out west. Jamie.

I won't lie to you, the initiation is pretty steep. You should note however that the union does provide a payment plan for those who desire it........ I guess with the steep initiation and dues that are also not easy on the wallet, you have to be ready to join. In other words, have enough established to feel that joining will be cost effective in the near term.... Once ready, the investment in career is well worth it. Jamie.

Guys; Please don't get hung up over the actual rate of the job. Technically, a producer can offer scale and you either take the rate or not................ The issue HERE isn't what each and every steadicam operator is getting,but insuring that all workers get what they deserve and under conditions that are safe and healthy. In other words, lets not fight amongst ourselves but understand that there are several tiers of operators in the world, accept that, and fight for better representation, wages and, conditions. In this election year, a year that pits the democrats against the worst union and labor bashing administration since Ronald Regan, we need to understand that all of us work for a living. Even in the rest of the world, if Bush wins again, the global anti worker sentiment will have a resounding echo. That is what I am interested in.

Just for clarification sake, a union member must call in his or her job when working, be it union or non union job. Once the job is called in for that particular day, that union member is excused from other union obligation. This arises often for members of the NEB who attend meetings regionally at least once a month. If a member is out of town for a period of time on personal business, then all that member needs do is inform the union that they will not be able to attend the meeting. That in my mind is simple courtsy, and tons easier than the union calling all 6or so thousand members to who might or might not attend a meeting. Being a member of a union carries many privledges and few responsibilities. The advantages are the standards created and maintained by the union. The obligations are reporting jobs so that the union can work to maintain contracts on each and every job and organize those with union members working, and trying to stay abreast of what the union is trying to do on the behalf of the membership. I hope this clarifies things a little.

Anthony; when the building was in the planning stages and the drawings were presented to the executive board, my only remarks concerning the plans was that there was nothing resembling a screening room for our members. The response, and it seems to make sense to me at this point is that the cost of a screening room in regards to the overall cost of renovation was much too high to justify. Additionally, in a land of screening rooms, was it the most cost efficient use of space. I had to relent to the logic at that time and it still makes sense to me now. But the thought did occur to me as well as to many others on the board. Nevertheless the building is pretty great. It has plenty of meeting space, great photos of membership, and is a good working environment for the staff. What more could you ask for. David; I too am sending in my ballot. This is the first time in many years that I don't have my name on it and it feels kind of strange, but the politics on the east coast are not very nice, and I think that I need a break from the morass.

David; I was a member of the executive board of local 600 when we decided to buy and renovate the building. My memory is not great, but I do remember a figure in the 3 million range. The building was paid for through the sale of the share of the previous building and sale of other liquid holdings, namely equities, and yes it is a wonderful building, an asset, and an excellent representation of a very fine union and guild. It should serve Local 600 well for many many years to come. One and all should visit.

Stephen; I think that more importantly than the rates that Will quoted, you should go to the Iatse 600 cinematographers guild web site and look at standards and conditions for a bench mark of what we have. Similarily you should be able to get contracts from the Iatse INternational web site too. These contracts cover the United States and Canada. Thank you for your interest in contracts. Its time to stop fighting each other about runaway production and start getting together and demanding similar conditions for all film workers world wide. That should be your rallying cry when your union gets together to discuss wages and conditions. If they start to downgrade your contract in any way, that becomes the beginning of the long and terrible slide. Stand firm and demand what you as film workers deserve, reasonable hours, reasonable wages, and reasonable conditions! Good luck in negociations

Having flown it once, all I can say is that it is not the camera of choice. Power wise however its not bad, but it really sucks to carry. If you are doing a walk and talk with it or any thing on flat terrain, make sure that the grip has a Western or doorway dolly for you to use because you will need it after take two or three. Best of luck.

David thank you so much for posting this article. This underscores my original point concering Runaway, which is that its not just us, Americans that are affected by the concept, but any nation with a mature film industry. Once people demand a living wage, the producers of product run to the next cheapest venue. It is truly amazing how civilized the are in Canada, with the government fighting to underwrite the industry, knowing how vital and important workers rights and right to a living wage under safe and civilized conditions are. If only our government shared an iota of that sentiment. November is only 7 months away.................. Thanks again David.

All of the features that Jerry mentioned about the Ultra's tilt plate make tremendous sense to me. But I don't have an Ultra, so the next best option is to buy a tilt plate and use it when a "special shot" is called on.......... I put "special shot " in quotes because it used to be a special shot whenever the steadicam was used on set......... So I buy a Dog Catcher, or whatever name Greg wants to put on his and I leave it on my sled all the time so as to be able to have a tilt in my bag of tricks whenever I need. I balance the sled and I rebalance whenever I use the tilt, and unless I am missing something, isn't that what we always do whenever we introduce a new piece of equipment onto the rig, say a heavier lens or another piece of follow focus gear? Regardles of wether its a piece that was placed on the donkey box as a permanent fixture or added afterwards, we still do what we always do, which is, try to find the best static and dynamic balance possible for the shot. Am I missing something?

I have been using my Masters arm (the only thing Masters left of my rig) for the past 7 Years, so I can't really comment on non iso elastic arms. I have however used the Baer Bel arm and I was very impressed! For the cost it was very responsive, smooth, and had a tremendous boom range. This feature I found very appealing. I never put the arm at the bottom or top of its range and never had to feather the clunk that comes with bottoming or topping out if not careful. When last looked, they went for about $14000.00. Additionally, a used Masters arm might come for even less than that. Just a thought about alternatives.

Jeff, I too am an LCD user. I have used them on pictures and live concert stuff and everything inbetween, so you are preaching to the choir. However in the realm of Steadicam and Camera operating, the line between need and want are not very clear. What one needs to successfully operate a shot is what one is comfortable with in a given situation. So if Erwin and countless others who use the TB-6 (The best monitor out there bar none) say that in order to perform to their best they NEED the TB-6, then that is what they need. Would you question a DP who says that in order to get a certain shot we need to have a certain lens, when you know that you have another that is perfectly fine? I most certainly wouldn't, and I wouldn't question the needs of any craftsperson/artist when they feel that they need something to make the process work for them.

Tom designs other items as well and he does a great job of it. He is careful, very communicative, conscientious and reasonable as far as price goes. I can recommend him without hesitation. Jamie.

I have to echo what the guru of Steadicam says (thats you Erwin), which is that the customer service of a company is all that matters, once the product has been proven field worthy. So from that point lets start with the basic facts: 1) The BFD has sold many HUNDRED units at this point and there have not been very complaints about the unit. 2) From my stand point, any issues that I have had with my BFD's either due to normal wear and tear or design modification have been taken care of with the utmost concern for my needs and a great interest in my thoughts concerning the product. Needless to say, once sent to Jim, the unit was back to me promptly. 3) I have yet to have see a Benz out in the field, and I was looking at prototypes at Able New York a year ago. Those are the facts as I see them. Customer service for a field proven piece of epuipment. And I must agree with the guru of Steadicam on another issue; which specifically is that there are good companies out there and there are those interested in chasing the dollar and only the dollar. Erwin highlighted those companies out there who have a tremendous amount of integrity, and are interested in helping/serving those who buy from them, knowing that a happy customer will be the best advertisment going.

I am the Operator that Alec mentioned in one of his posts, and yes due to the set screws on my Masters low mode bracket, my rig went 435 first into the ground from about 4' in the air. The camera was great, but the rig was pretty much toast. $6,000.00 of repairs later, I love the help I got from Mike Bennett on the insurance, and the rig was better than new. I also spent $1.49 on a bolt that I put throught the low mode bracket so that I would never have to go through that again. I guess if it could happen to me then it could happen to you too.

Before you go out and spend several thousand bucks, I would check out the Hummingbird. The brightness is reputed to be better and the anti reflective coating is supposed to be excellent. I think you can do a google search for them.

Brian; Several questions. When will the arm be ready? What is the price point? How do you change the springs? How do you fine tune the arm? Looking forward to hearing more. Jamie.

Phil; Runaway is not about where a film is shot, its about the fact that a film can be shot anywhere in the universe at this point. If not the US, then Australia, then South Africa, then China, then, then,then. This discussion is so valuable because it allows us to understand that we are all pawns. Producers will move to the cheapest port and force all of us to cut our lowering rates even lower. And yes they are lowering. In the US real wages for film technicians have not risen in many years, and conditions have diminished as well. Consider the concept of Runaway Production as a harbinger of things to come for all people working in film all over the world if we don't do something collectively. I think that the first step is to stop arguing about who should be doing the work and where, and agree that all of us should be working to make wages and conditions uniform for all of us. Jamie.

There are more than several options out there....... I own a Transvideo, am looking at a Hummingbird, thinking about a Panasonic, drooling over the Teletest HD, and wondering about the Tamuz. So much time, so little time to spend money. Jamie.

I own two of them, and I love them. They have been accurate, damn fast and strong, they set up well and are nicely thought out. The complete package, which includes motor, gears, rod adapters and I think a dog bone, is all you need to get going right out of the box. Nothing like plug and play. I couldn't be more delighted with a product. Nope Don isn't my brother in law, I don't work for him and he isn't having my baby.

Jeff; Need is a very subjective term. People who own more than one guitar will know what I mean. I need what is best for my operating. If I feel that the LCD that I use is what I need then so be it. Clearly Erwin, Alec, and Larry all need the TB-6. Do you need it? It seems to me that you have a fine and steady career going using your Transvideo.......... I like LCD's and I like the idea of the technology. Would I own a TB-6 if I were not so concerned about my childrens' educations? You bet your A#@. Would I own several of them? Why of course. The point is, is that my need is focused around the college funds of the kids not the TB-6. The disposability of LCD's (great ones can be had for around $3000) is a tremendous incentive for the support. If I can buy 3 for the price of one CRT and they all are really good, NOT great, mind you, then that is an incentive too. Price, function, need, security, priority.......... How many guitars do you have?

I have used an LCD for the past several years.......... Do I miss the CRT. YES. But the idea and the technology have so much going for it that I think that I'll stay with the LCD. You have to look back at what Larry was saying about the Tiffen VS the best CRT on the market, the TB6. I think the post was towards the end of 2003. He put it pretty perfectly......... There are some things that an LCD cannot compensate for, specifically certain angles, and certain glare situations. Because of that the CRT or TB6 in this instance is superior. Can you make great pictures using either? Always remember, some of the best shots in Steadicam history were performed on 2's,3's and 3a's. The tools only serve to make the job easier. Its up to the operator to create the magic.

More than several years ago, I was lucky enough to get to shoot a film in NYC and in Hong Kong. This is before the unification, so I imagine things are a little different there now, but just the same, I must say that the crew was MARVELOUS. The electricians were eager and focused as well as experienced and the camera crew (five in all not including the grip who is also part of the camera crew) was beyond any criticism. In a word flawless. Hong Kong was unbelievable as were the people....... Thanks for bringing me back there for a moment Erwin. Jamie

Phil; I am sorry about the fact that you can't pay your mortgage and I am sorry that most english film doesn't get the exposure that US films get, but don't attack the technicians for that. These are the guys that work on the movie not the financiers, producers or distributers, just the technicans. We presumably are all assisitants, operators, or newly into the business and wanting to become one of the above. We need to understand that we are all in the globalization quagmire together. "If not here then somewhere cheaper; Screw the workers here", and off they go to the next stop. We are a commidity unless we find a way, all of us, to stop the flight of productions from our shores. Its not about The US or Canada or Britain, its about Globalization.