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Bo Hallen

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  • Rig
    Tiffen Zephyr AB mount
  • Location
    Atlanta, GA

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  1. FOR SALE: $6,000 OBO located in Atlanta, GA Steadicam Zephyr AB mount - good condition 9 lb to 23 lb Payload 28" Two-Stage Adjustable Iso-Elastic Arm Sled with Tool-Free Three-Axis Gimbal Dual-Axis Vernier Adjustable Stage Telescoping Carbon Fiber Center Post 7" HD 1000 cd/m² LCD Monitor Standard Vest Gold Mount Battery Plate Docking Bracket and Dovetail Plate HD BNC and 3-Pin LEMO Connectors + Titan Anton Bauer t2 dual charger + 2 Anton Bauer Dionic HC batteries Vest has crack. But it is an easy fix. I would replace it myself but don't have the time at the moment. Tiffen sells a replacement waistband for a little less than $200. More pics coming soon... PM me or text me @ 404.259.7660
  2. I am very curious about any of your experiences with backmounted vests like Walter Klassen? Actioncam? Didn't Sachtler (or I guess Arri) have one too?? Pros vs cons?? I suppose it's obvious you would have less room to maneuver tight spaces, but as far as comfort is it any different?? Is it all about operator preference?
  3. What about my Zephyr vest? It actually cracked clean fractured while I was on set 2 weeks ago. I used a LOT of black gaff to hold it together for rest of shoot but I don't feel it's safe.
  4. I'm trying to post pictures of my screen haha
  5. I am doing a couple shoots and am using a 5D mark 2 (not mark III) oon my Zephyr. I already have the Blackmagic mini converter for hdmi to sdi-4k, and use that with my GH4 and it was solid. But I am not getting a signal on my marshall with the 5D mark ii. I switched the settings on the converter to auto and figured I wouldn't have any problems. I had forgotten that on the 5D mk ii you lose the display when connected to an external monitor and that's ok. But the signal I do get is weak, even though it says signal strength 95-96% on the marshall. And weirder is that the intermittent signal I do have is a split screen of 2 of the same screen. I will try different cables and do some research on the converter box but was wondering if anyone has ever encountered this issue?? Any advice?? --Bo Hallen
  6. Hello everybody! Hope all is well! I've recently been tasked with shooting some basic pov shots of houses for several real estate companies. my friend, who manages the Atlanta branch of this company, uses the Ronin with 5dmkIII just walks from exterior of home to front door, room to room, and so on... He wants me to use his Ronin as it is very run n gun style shoots. I tried one out last night. It was a small house, 5 rooms, living room, kitchen, front & back yards. Probably held that thing up for about 20 minutes (off and on). My arms, shoulders are very sore today. I know there are adapter plates to configure a Ronin, Movi, etc. for a Steadicam vest & arm. Has anyone tried this before? Does anyone know where I can purchase such an adapter?
  7. Maybe I don't know enough people who appreciate Steadicam work. Maybe it's just my network of contacts but I seldom meet people who are willing to pay $1200 a day for Steadicam. My question is: Do I keep standing firm on a reasonable rate $1200 - $1800 a day until someone eventually wants to pay it?
  8. Thank you Janice. I always appreciate the advice and criticism. I understand this is a business. I suppose whether it is running a business as a Steadicam operator, graphic designer, producer, or a grip, there are obstacles to overcome in any field. I am a very hands on and practical learner. I learn best how to be good at something by doing it, making many mistakes, and learning from these mistakes. The business side of this industry (dayrates, marketing myself, building a website, cutting a reel, insurance coverage, etc.) is something I am uneducated with. Hopefully I can learn from mistakes and not beat myself up too hard for making mistakes.
  9. I know $800 is a steal. I'm a less known operator. I'm not asking $800 a day because I want to take jobs away from veterans, but I feel my experience level and my Zephyr (without remote FF and Wireless Vid Trans) is what I'm worth. I believe it's less than I'm worth. I have worked with one producer who paid me 1250 for a day. That was one time. And I'm sure a lot of you might even think that's too low. I'm not desperate. I have a 2nd job to make ends meet. Maybe when I was broke and struggling for work I would have been more willing to work for lower rates. I'm just saying I get 3 or 4 calls from producers every month for the past 4 months asking me what I charge. And I will not lose sleep when they do not call me back. It seems to me, a lot of production houses in Atlanta want Steadicam operators but none of them ever seem to want to pay for it. That's just my observation. Then I will see a Facebook post a week later of bts photos on set of these small productions and they usually have an operator who they did hire. I'm not saying these guys are bad operators. They probably are very talented. But they seem to always get the gigs that I turn down and they are always flying a chinese knockoff rig. It just arouses my curiousity. I'm not on here to rant or complain. I know this is a tough business.
  10. I totally agree. $800 is a steal. The only reason I offer this is because I do not have wireless transmitter, remote ff, etc. And I do know these people, I've worked with them before as a grip and gaffer. When they called me two weeks ago asking me to grip a shoot for them last minute I politely declined because it was such short notice. I also mentioned I do Steadicam work too and told them to contact me if they ever wanted a Steadicam on anything. I have worked for free. I have worked for very low rates. No more. I'm in a position where I'm not desperate. I guess my question is, "do you think I should always be firm with a higher rate or should I sell my self short in order to secure a job". And a quick (sidenote) How do all of you guys feel about Movi and Ronins?? Are you worried about losing jobs?? Or do you feel like it's just a fad??
  11. If you're working a 10 hour day on a feature, how much of that day do you actually operate?? It seems impossible for camera to live on your rig, unless you operated on Birdman. Do you still charge a full rate even if you only are shooting for 20 minutes?
  12. And yeah, of course I know it's not the gear. I'm not hurting and am not looking for sympathy. I'm asking do you stand firm on your rates?? I am not doubting anybody's abilities. I'm saying I believe these guys are getting my work is because they are working for very low rates. I won't work for peanuts to get a job. I stand firm on the rate.
  13. I appreciate that. I guess I am a little agitated because everyone I spoke to on here said don't buy a cheap knockoff rig. They are all crap. And I feel misled
  14. Hello everyone, I've been operating on and off (depending on offers I get) for about a year now. I'm in Atlanta. I've noticed a surge in local operators within the past six months. I'm not local 600, in fact I'm actually a grip in local 479 but I have talked to a few operators who are local 600 2nd ACs and Utility guys, who just happen to also do Steadicam work. Some of them are working all the time, and better yet, they operate with CameTV knockoff rigs! What the hell?? Everytime I get a call or an email from a producer and they ask me what my dayrate is. I will start off saying $800 for full 10 hour day (rental+operating). Then I will often go down to $700 as an introductory discounted rate to demonstrate my skills and production value. Most of these producers are vetetans in the industry and should already be aware of the production value Steadicam adds and, I would assume, would appreciate its value. Then they ask me what a half day rate is?? And I will say $500 for 4-5 hours. I stand firm on this. Most of the time (90%) I never hear back from them. So either they are deciding that Steadicam isn't worth the price? Or they know a DP who has camera, lights, and a MOVi or Ronin who includes that as part of their package?? Or every operator in my area is underselling me??? I believe it is the latter. I realize I'm not an established veteran with a $40,000 rig but why is it all these punks with chinese knockoff rigs are working left and right, all the time??? Any advice or suggestions????
  15. How is the RED camera powered?? Is it 3pin Lemo - 4pin xlr??
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