Kris Torch Wilson

Craig, Several of us TV guys use the Stanton Controller that allows one to zoom and focus from the handle attached to the gimble. Shawn is partly correct in that it works best with ENG lenses but not exclusively. We were able to use it as a focus controller on a DSLR lens by adding these: http://www.filmtools.com/zacuto-zipgear-universal-any-lens-z-zg-16.html I should add, that we used the right angle motor mounted on a rod. Another option for you might be this: http://www.filmtools.com/libec-zoom-control.html Here is the link to Stanton: http://jimmyjib.com/price_list.html

Geesh, now I'm starting to think this wasn't appropriate the night the Duck Dynasty cast was on Kimmel.

Tom, First off, congrats on realizing your operating is sub par. I'm not being a smart ass. Too many folks think that by simply strapping on a rig, they are steadicam operators. It's an incredibly difficult task and by being intellectually honest about your efforts, you have jumped hurdle one. Unfortunately I'm not sure the average person can (in a timely fashion) teach him/her self how to become a decent operator. We've beat it to death on this forum but here it is one more time. Go to a workshop or hire an experienced op who has teaching skills to teach you. To be honest, I have no idea what any of the instructions you quoted above mean. This "cookbook" you mention sounds confusing as hell. The simple fact that you said you've even tried using two hands suggests you need a workshop. Tiffin has one coming up, look under the 'workshops' thread. Robert Starling in conjunction with GPI offer workshops also. Being a steadi operator is an expensive proposition. You are doing yourself a disservice if you don't seek out professional training. There, you have my two cents worth, which when I started 32 years ago, could almost buy you a cup of coffee. Good luck.

Jens, if someone ate your cake, would it be a stolen stollen?

I generally prefer to soak my feet in hot water while drinking a martini. I suppose these other suggestions work but sound like too much effort for this old fart.

Oh snap. It may have been Chad Persons, not you, Dave. My memory is nearly as weak as my knees.

I'm posting only to pay tribute to Dave. Several years ago on the West Wing "live" show, Dave carried Alan Alda from an off stage dressing room to stage. Alan climbed a set of stairs, Dave went up a ramp meeting Alan at the top. (I was on sticks for the show). Here's the back story on Kimmel. We get one pass at each song during afternoon sound check and then do the show live to tape a couple of hours later. Director told me Avril wanted to start from an Army jeep, climb stairs and go onstage. Could I just lens it from the stage and carry to a reverse? I had a flashback to the West Wing experience and asked the grips if they could rig the ramp the roadies use. Fifteen minutes later we did our one and only rehearsal. No need to watch the entire video and I'm not pretending that this was difficult or even good. But rather an example of how a little creativity can add some production value to an otherwise boring shot. http://m.youtube.com/watch?v=DGHGGLHc_5Y&desktop_uri=%2Fwatch%3Fv%3DDGHGGLHc_5Y

John, I've been asked to talk to my son's class about Steadicam and motivation for a moving camera. With your permission I would like to show the clip from ER. It will fit in perfectly. Hell, who am I kidding, I'm going to show it to them with or without your permission. But would rather do so with your blessing!

Ah, then you too are familiar with the elusive Brown Note! ;)

I suspect we have a couple of different conversations working here. Rob and I work in VERY LOUD environments. More often than not, ones bowels will liquefy from the low end coming from the speaker stacks. Thus a pair of Depends and In Ear Monitors are the only way to go. I've tried wearing shooting muffs over lightweight earbuds and had some success as well as Helicopter headsets. The problem is they get hot and pinch my noggin. If I were shooting in a more civilized setting, I would certainly go with some of the lightweight solutions offered above.

There are a bunch of different manufacturers of in ear monitors. The guy I used is no longer around. I know you can get them at Guitar Center. Unless you are really into audio, no reason to buy multi driver monitors. The single driver model works just fine for pl. I looked into wireless but really couldn't justify it. I know some folks like to walk around with their vest on, but everyone at Kimmel already knows I'm the Man so no reason to rub their noses in it. (That was not bullying ). I took the mic from an old headset and wired it into a 5 pin xlr. Velcro on side of camera. Also wired a female mini out of the xlr for the in ear monitor wire. Taped it to my fiber jumper. Monitor wire is about the same gauge as your iPhone wire so I don't believe it's messing up the rig.

I have a couple of rubber bracelets and a miniature badge of Uncle Frank reminding all, "Safety First." We lost Uncle Frank a couple of years ago and the bracelets honor a young man close to our family who lost his life recently. These items remind me of what's important and that despite what many would love to believe, we are not saving lives. These items are on my vest and as important to me as the socket block.

A little pill container with antacid, pain killer and 1/2 of one of those little blue pills. You never know.........

Cheap and good don't go together very well in the professional market. I have been the defender of newbie questions in the newbie section for some time, but it is increasingly more difficult to not respond with scorn when we see the same questions every week. Please do yourself a favor and scour this section. Read every post remotely connected with your questions.

Five or six feet works well. Can't help you on the manufacturer issue.

Frank, Welcome to the nemesis of what we TV guys face daily. The damn wire can and will effect your rig. That being said you will find a way to compensate through experimentation. I don't have a "curly" or coiled wire on my controller. I would think that would add even more tension. Experiment with wrapping the wire around the top of the post tightly, loosely, letting it hang straight down. At some point you will find what works best for your wire and operating style. If you are using the controller to simply adjust the focal length between shots and for the start/stop function, I would suggest the smaller the better. Several of us that are zooming during the shot use the Stanton controller. It has the added feature of controlling a wired focus motor. Good luck. Torch

Take no offense my friends. My poor attempt at humor was misaligned as I typed while looking through the bottom of a martini glass. I was chuckling as I remembered how not too many years ago, anything electronic was poo pood as amateurish. If it didn't have sprockets, it wasn't worthy of conversation. Clearly you have all evolved and my sense of humor has not. My respect for anyone who straps on a rig is genuine, regardless of the signal's source. Remind me to put down my iPad as I open a bottle. Seriously it was funny last night. Torch

Lol. It looks like a TV camera to me, yet you "film" guys are pissing on yourselves. It's hilarious.

Alan, In a multi camera situation using a switcher (board in your words) the tally signal is generated by the switcher. Engineering patches (wires) the corresponding tally outputs of the switcher to the camera base stations (ccu) The signal gets to your camera as Alex stated. I have an ultra2 and use two tally lights. One photo cell that plugs into my top stage is wired down the post and into my monitor via the multi pin. The 2nd was custom wired by our maintenance engineer. Most broadcast cameras have connectors on the side or rear that can serve several functions. Powering a led for tally is one of those. It was a very simple soldering job, just need the connector, led and a hunk of two strand wire. Our engineer looked up the pin out on line and five minutes later we were done. I use the second tally for talent, velcroed to my lens shade. Obviously you wouldn't need to do this if you kept the camera's viewfinder on the camera as it has a front tally, but I didn't want the weight. Hope this helps Torch

Ron, I'm not pretending to be anything other than a journeyman operator making a very comfortable living. No big artistic shit in my portfolio.i just don't understand why guys with equally unimpressive backgrounds feel the need to pick on kids in the newbie section. And for what it's worth, she's very, very hairy.

I'm with Terry. The kid posted this in the newbie section so what exactly is the problem. After taking a peek at some of the IMDB pages of you "experts" a little humility might be in order. Go ahead, I'm a big boy. Torch.

I don't know if its necessary. I personally have no problem with newbies or prosumers or students or whomever lurking and posting whatever they want in the Newbie Section. I can't understand why any of my colleagues would waste their time looking at a first time reel and then getting their panties in a bunch when the footage is as shitty as expected. I certainly am not threatened by the existence of new operators so I don't get the need to beat them up. I simply ignore reading posts that I can immediately identify as not improving the quality of my life/work. Despite what some think, we are not saving lives! Less caffeine, more Doris Day, Que Sera Sera. Tired of the bickering. Torch

A couple of days ago I flew both rigs under almost identical conditions. I own an Ultra2 and use it four days a week, 46 weeks a year on on a live(to tape) talk/variety/music show. We were asked to shoot additional songs after our show with the Sony 4K cameras. (F55 I think). They requested as little turn around time as possible so production opted to rent a second rig from Camera Support. By the time a matte box, Preston unit, etc was added, the weight was very similar to our show cameras. So here is what I noticed: I liked the feel of the bigger post on the MK I love the motorized head on the Ultra I t took me longer to balance the MK than the Ultra. Snap lock is faster and easier for me than untightening/tightening. I didn't care for the longer gimble handle on the MK The MK felt more robust. like it would survive a drop. Not sure my ultra would fare as well. Both had enough power and video connectors for our needs. The MK weighed less. Although this isn't a sled issue, the monitor on the MK didn't have any kind of a level. I realized how much I rely upon the one in my Ultra.

Ed, I work occasionally with a guy here in LA who has become a bit of a Go Pro guru on several network shows. I doubt he frequents this forum so I will pass along your info. He's into all kinds of mounts as well as integrating the cameras into a system so that they can be controlled and monitored. Certainly a niche operation. The two of you may benefit one another. Torch

@ Eric, I have no interest whatsoever in getting into a pissing match but for the record I use the motorized stage on my Ultra2 several times a show, four nights a week, 46 weeks a year. Yes it's heavy and was expensive. Yes I would consider selling it and getting a lighter rig if I thought I could get a fair deal. But it IS a great feature. Torch