Nathan Chapman

Ah, brilliant - thanks Shawn! Ok great - so relax, with more surface area on the post. Thanks, Jerry. Shawn, Alec, Jerry - really appreciate it.

Hello All I've been struggling with my hand placement for some time now. My main problem has been figuring out how you 'switch' and move your fingers around the post. Unfortunately, without being to a workshop for proper tutorial (it's a long way from Australia!), I have found it hard to learn from the Handbook, or even the EFP DVD. My understandings: Thumb opposite index finger, held high on the gimbal. The other fingers spread down the gimbal, until the pinky rests at the bottom of the grip or just on the post. You use your pinky to counter pendulum when starting or stopping a move. You keep more than fingertips on the post, but still with a light touch. You continually move your fingers on the post, framing and correcting as needed. Below's a link to a YouTube video of doing some line walks. It's not the best video in the world, but any critiques would be invaluable. (The "o'clock position" refers to the position of the camera, to orient the viewer) From watching the playback, I can already see my thumb is dropping almost constantly. It seems very awkward holding it high - my natural position it closer to ring finger. Thanks!

How do you tighten the gimbal clamp then? I've had to regularly tighten about 1/4 turn, just as the bolt naturally loosens... It's not tightening until tight (i.e. woodworking), it's tightening to maintain tension on the cam lever. Alan, is this right?

I don't have my Zephyr with me at the moment, but from Film Tools [ http://www.filmtools.com/steadicam-zephyr-hd-standard-vest-v-mount-zebxhdbvzz.html ] it's a 5/32" allen wrench - which sounds about right, from my memory. I'll check for you when I go into the studio tomorrow.

I'll normally keep my assistant right on my back, spotting, or banish them completely. Having said that: I've only worked wirelessly I've only worked in sport (i.e. heaps of people to thread through, rogue basketballs flying through the air with the greatest of ease, etc.)

I normally go through and establish a shorthand - brief sentences to cover common situations. Some of my regular ones include: Back to base (we're going back to our staging area) Check signal (for checking wireless video transmission) We're up (the shot's about to start) Take the weight (reserved for emergencies, I've-broken-my-ankle, not just I-need-a-rest) Hold the sled (I need to adjust something on the sled/camera/etc. with both hands, hold it next to my hip for me) MOVE MOVE MOVE MOVE! (I'm live on screen and walking towards you, you dolt.) With my regular assistant, I've also been able to shorten movement directions to simple nods and hand gestures (I'm going over here, over there).

I can only presume it's intended to be modular with future products (i.e. the M2 - just upgrade the gimbal, leave the stage from your M1!) - but I've got nothing whatsoever to back that up.

Is this the Moses Pole you're after, Dan? http://www.filmtools.com/moses-pole-for-steadicam.html All the best

Below is research from when I was applying for my loan. HOWEVER, my bank - and I would assume most banks - don't really care for this. They care for the general auction value of the item under security. For highly specialised filmmaking gear, you're looking at around 20% value (I was looking at the ~$30k Archer 2, the bank said it's "worth" $6k). Best of luck!

Michael, can you explain the tip toe test? Is it literally operating like a ballerina?

I work in Australia, so it is probably vastly different, but here are my experiences (other Aussie Ops, if you'd like to confirm or disagree): We work as a subcontractor, and therefore have to have our own Public Liability Insurance to cover ourselves. If we were instead employees, we would be covered by the production's Public Liability, as well as their Work Cover (employee injury health & income insurance). $5-10m is standard in Australia. Insurance for our own equipment is our own choice - sure, we don't have to insure it, but what happens when you take a fall..? Productions haven't asked for that, though they have required all my mains power cables to be tagged & tested.

Richard, have you had any success or response since posting this? I'm not asking to go through your 'dirty laundry', just curious as to whether this is resolved yet or not.

Thanks Louis What I got was Tiffen part #803-7801 [ http://www.tiffen.com/displayproduct.html?tablename=steadicam&itemnum=803-7801 ], as well as the standard full-sized socket block that comes with an Exovest. This way, I'll be able to, as you suggested, use a larger sled when needed, and have the option to keep the Exovest when eventually upgrading sleds.

I've finally received the Exovest with my Zephyr, after ordering in August. Now, the Exovest can't take all the blame for this delay, as (I'm not sure, as I was barely kept in the loop, despite calling weekly - unfortunately, the only Tiffen importer in Australia doesn't care much unless you're spending $200k+) the Zephyr also had manufacturing delays. I ordered the Exovest with the smaller socket block to use the standard Zephyr arm with it. Whilst I'm by no means an experienced Op, the difference in this vest is phenomenal. The weight distribution is much nicer, spreading the weight away from the gut and other squishy parts, and being able to breathe is helping my fatigue (I'm still fairly unfit). I actually think, though, that what I like most as a newbie Op is how when I've got the vest adjusted incorrectly, or bad posture, how I get very fast feedback - also known as pain - within a minute or two. I will say, it is a trial-and-error method to get your correct fit. It's not as simple as "tighten all the straps as hard as you can, and a bit more", which is how I found the regular vest to fit. After about a month, I'm still dialing in my fit - also it is constantly changing, again because my technique is changing (improving?) as I learn.

The difference with allowing your card or or bank to process the currency conversation for you is they may charge a Foreign Currency fee. When I've done it, the exchange rate has been similar or very slightly below - but then the bank fees push my real "loss" (remember when the Aussie dollar was up at parity with USD? Good times, good times...) up above PayPal's rates. However, I am in Australia, so your mileage may vary... But I can't imagine a bank giving up an opportunity to charge some extra fees.

In browsing through my Zephyr's monitor (model MSC-200565, HD 7" 800 nits) manuals, I've come across a monitor setting I haven't seen before on other monitors: Colour Temperature. The setting is explained in two sections: And also: Now, my question... in what situations would I be using this setting? Am I setting it to match the ambient light? If so, when am I supposed to be in 9300K light?

Hey Brett, is your site still up? Both myself and http://www.downforeveryoneorjustme.com/http://renteradekbolt.com/ are throwing DNS lookup failure.

I normally explain the arm takes out "translation" - lets me put the camera anywhere in space - and the gimbal ("this bit here") takes out angles and roation - I can point the camera anywhere. Except when they suggest it works by magic. Then it's magic.

Hey Grayson, did you mean cleaner as in fewer compression artifacts? If it's signal/transmission noise, my impression was digital was an all-or-nothing signal - unlike analogue, where the quality simply degrades...

Hey thanks for the replies, Richard, Jerry. Jerry, by small amount of effort, is there more than just checking what power supply you're connecting each component to, or is it just that - paying attention?

Hello all So, I've only ever flown rigs where the camera (usually a Red Epic, but at times a Panasonic AF100 and Sony EX-1 too) has been powered by its own batteries on the top stage. My understanding is you can power the camera using the rig's batteries, and there are switch/es near the base of the post to change between 12v and 24v power. Ok, so sounds easy - I set the voltage to whatever the camera needs to be supplied. Am I missing something? All over the forum I've found cases of setting the wrong voltage, not understanding what the switch does, and generally getting confused. Is there something more complex here, surely? Thanks, Nathan

The only other point I can think of is the amount of power all those indicator lights etc. use. That may seem feeble, but there's a big push at the moment in Australia to save every watt of power, including from our tellies/microwaves/computer when they're not being used (well... By companies trying to sell us gizmos to auto-cut power to devices). Still, if its you turning the switch off, and not a $60 glorified egg timer, every bit of power saved goes in your pocket... Right?

Aaron, I was in Lemac (Australian distributor) last week, and they said there was a wait time of 4-6 weeks, not including shipping. I presume this is the same as the rest of the world, that there isn't a special factory just for us Aussies.

I don't have any Anton-Bauers, so I can't comment specifically on that, but we have a dual charger for IDX batteries, as well as a bunch of Sony and Canon batteries that just stay on charge. The IDX stay on constantly. When they're full, they aren't even warm, so I imagine there's no power going through them. The Sony and Canon batteries are both used frequently, and we have more batteries than chargers, so they get rotated around, and one lucky last battery left on charge until we need them. Again, whilst the power to the charger's on, there's no heat, so no power draw. They all sit on simple shelving... not particularly away from anything flammable, but not close to it either. During breaks (like the fortnight over Christmas / New Years), everything in the 'studio' section of our building in switched off. But, that's about it.

Frederic, now a hovercraft, that's smooth flying... Could it have been they expected you to take the two winged adjustment screws out of your "old" socket block?