Keith Wood

Don't think "the" system.  

Have a big rolling Pelican, holding vest, arm, docking bracket and sled w/monitor and ONE battery, plus the cables that you will need -- essentially the complete basic rig, ready to grab and go.  Have another with batteries, charger, your gotta-have tools and other stuff you'll probably need.  A third for camera, ONE battery, mics w/ONE set of batteries, also as a grab and go.  The idea is to be able to move in a hurry if you need to, and be able to set up and operate right away with what you NEED, having the rest of the stuff in a case that you can ignore until later.

Then have smaller cases for the various components as smaller items, when you need to break things down.  NUMBER them.  Move stuff to the appropriate cases, as needed.

I have 3 older Steadicam branded monitors.  There's no manufacturing info, or even a model number on them!  Just "TFT LCD MONITOR" and "7 INCH" . . .they apparently came with the Flyer.  These are NOT the model with the BNC connectors on the back, there is only a 9-pin mini-DIN jack.

Does anyone know the actual manufacturer and model number?  Maybe able to point me toward a manual on them?

Does someone have the pinout for the mini-DIN plug? 

Cool, thanks, just got signed up.

Now, maybe there will be Steadicam-related activities.

Yes, but the cost of buying it AND  shipping from Europe would probably be too much.

The LAST thing that I would do would be to spend $5000+ on a Zephyr as a first rig.  You can get a Pilot  under $750, work with it for a couple of weeks of playtime and develop the feel -- or you may decide that it's just not what you want to do.  It's not for everybody, and whether you stay with flying and move up to a higher level rig, or push it aside, it will be a lot easier to sell a cheap rig than something that cost you thousands of dollars.  Everything that I got came from someone who thought they wanted to fly, then gave up on the idea. 

A Pilot (now called the A-15) will fly 10 lbs, the Flyer 15 lbs and a Flyer LE 19 lbs.  This should handle your camera and lens.  My Pilot was flying a Sony EX1R, V-mount battery, Sennheiser receiver, shotgun mic with dead cat AND was doing all of this on a Sony tripod plate (I like to be able to jump back and forth between sticks and rig).  This worked fine for me, except that I wanted a better vest.  While looking for a vest, found a great deal on an early Flyer rig -- from, as I said, someone who had thought they wanted to get into it, then gave it up.

You may discover that a prosumer or entry-level rig is actually all that you need.  We're not talking Fisher-Price, few who aren't Steadicam operators could tell a Pilot from a top of the line rig costing more than some cars.  The lower-level rigs work JUST LIKE any full-manual rig.  So, you buy the cheap one and work it while you save your pennies to move up PAST the Zephyr into the higher levels with power steering, turn signals, AM/FM stereo and fuzzy dice . . .if you decide to.

Consider the Merlin to be the "consumer" grade -- perfect for DSLR or phone -- adding the Merlin vest and arm set is entry level to actual Steadicam work (thus high-end consumer grade).  If you then find a good deal on a Pilot sled, you can buy the correct pin to replace the Merlin pin, and thus have a Pilot (moving up to "prosumer" level).  I knew one event shooter who ran the Pilot for years and never moved up.  The Flyer is basic pro level, Flyer LE is a half-step up, then another half-step gets you up to the Zephyr, at several times the street price of the Flyer.

Whatever you do, I would AVOID any of the knock-offs.  First of, original Steadicam quality is as good as it gets, without any issues.  The other part is, as I mentioned, that your clients KNOW the name "Steadicam" -- giving you instant respect.  You pull out some Chinese, tofu-dregs thing and they will wonder why they didn't just spend $150 on ebay and do the shooting themselves . . .it's like they hired a specialized-load heavy hauler, but you show up with a pickup truck.  You hand over a card saying "Steadicam Operator" and you're using a rig with that name on it, they figure that you're the EXPERT.   All that counts now is what you give them after the shoot . . .and that takes practice.

. . .and I lost track of who. 

We swapped a couple of messages (I remember that I asked if it was the metal version), but I can't find them, or the ad.  I'm not even sure if it was on this site.

If whoever it was sees this, get in touch, even if you sold it.

On 5/6/2024 at 8:14 AM, Bryan Bullard said:

Forgot to mention that the Flyer LE also has the same bearing housing,Delrin sleeve and yoke bearings. Only difference being the design of the handle. Very reminiscent of the SK and IIIa models.

Meaning that the Pilot gimbal can handle the same weight that the LE can?

I got pretty much the same answer when I asked the same question, so moved up to a Flyer.

I'm near Reno, but shot events around General Conference in October and get over that way now and then.

I started with a Merlin2, then added vest and arm, then took it up to a Pilot, and now have moved up to a Flyer.  Definitely low-level, low-budget, flying an EX1R.  Having fun doing it.  Goofy Foot.

Dunno if there is anything that I could tell you, except watch the (ancient) Operating Tutorial video a couple of times.  Even better if you have a rig to play with while you watch.

If you don't have a rig, start cheap, just with a regular camcorder.  Early on, spend a day flying Goofy Foot, especially if it feels like you're doing things with the wrong hands.  Those of us who fly Goofy Foot don't do it to be special, we do it because it feels more natural. 

It doesn't take long to get comfortable flying, and sooner than you expect, you will you stop thinking about the mechanics, and discover that the camera is reading your mind . . .you want a shot, and you have it.  Remember, the objective IS the objective.  The billions of dollars worth of studios, sticks, Steadicam, remote vans, location setups, C-stands to gaff tape to batteries to sets to helicopters to costumes to props, PAs, ADs, Craft Service, ALL OF IT is there for one purpose, to put the objective lens in the right place, pointed the right way, at the right time to see the right thing.  Steadicam is a whole new way to do that, a new process, and one which gives a level of freedom that nothing else will, but it takes practice.  Get a rig, play with it, even before the workshop, if you can. 

The workshop will take you from basic to expert -- maybe even master.  From what I've been told, you get a year's worth of skills in the first couple of days, then build on that like learning a new language.  If I could justify the expense, I'd be right there beside you. 

FOUND IT! 

I've got an early (grey-arm) Flyer on the way. 

Was there a manual for this?  If so, how can I get hold of it?  Is there a PDF?

Away from the exhibit floor?  As in, no membership needed?

I will be in town the first couple of days that NAB is running, working the Baker2Vegas relay race, and thinking of taking another day or so for NAB, but I'm not really interested in buying show membership.  I'm no longer shooting TV news, so it's not something that I need to attend.

I've got a Pilot, and the few times I've used it, I have never been happy with the vest.  So much so that I hunted for a better vest, finally buying an early Flyer.

The plastic frame of the Pilot vest strikes me as being fragile.  If I hadn't found the Flyer, I would have used it as a template to cut a new frame from aluminum.

Can someone tell me the max weight that the Pilot sled and gimbal can reliably handle?  I know that the Pilot system is rated to a 10 pound payload, but it seems that this is pretty much the most that the arm can take, I'm pretty much maxed out on the arm adjusters.

I have an early Flyer system on the way (aluminum sled),  rated for a 15 pound payload, and I'm thinking that I'd like to put the Pilot sled on the Flyer arm and vest . . .but maybe put the dual AB battery mount on in place of the single V-mount (or at least have the option), if the gimbal can handle the weight.

Waiting for more -- I just got a grey-arm Flyer, still on its way, to replace the Pilot that I've been using.  I was looking for a better vest, and this deal popped up.  Tell us more, so that I can learn from your m/i/s/t/a/k/e/s experience.

I might keep the Pilot sled, which is set up the way I want, I'll decide that after it all arrives.

Looks like I'll be hitting NAB this year.  Any Steadicam-related events, talks, etc?

I'm with Jerry.  If you're a professional shooter, you will often wish that you could be completely INVISIBLE.  As a Steadicam op, you will already be attracting the eye because you are moving. 

Remember also that every color that you wear may reflect light, making the gaffer's job that much more interesting.

Shooting TV news, I learned early that one sign of professionalism was to never be the story:  "Those who know, don't show.  Those who show, don't know."  Don't be the guy who's buried under patches, stickers, and lanyard with 48 out-of-date access passes.

11 hours ago, Jacob sack said:

even though I'm tired I know I definitely want to be an operator.

Glad this is singing to you!  Starting young will work out well if you make this a career.

Jacob, what did you finally do, and how is it working out for you?

For the next potential operator who reads this thread:

FIRST, before you spend a PENNY on equipment, get some practice, either at a workshop, using someone's rig, or even RENTING one for a test drive. Until you have spent some time working with it, you really don't know that you want to go beyond that one experience. 

THEN, if this still sings to you, DON'T BUY JUNK.  There are good used rigs available at reasonable prices.  Spread the word that you're looking for something to start with, and check the ads daily, including craigslist and ebay.  You may find a part here and a part there at good prices, but DON'T buy unless they are part of the system that you have decided to build, to support the camera that you intend to fly.

For that matter, it may be better to RENT when you need a rig, while you keep your eyes open for the one that's right for you.

If you buy junk, you will end up with stuff that you can't sell, can't use, and which has taught you badly.  You will have to get rid of everything (including your "skills") and start all over.

Don't buy more rig than you think you will need in three years, unless it is close to (or below) the price of the one that you will need.  As newer models come out, you may discover that the perfect rig hits the market a year or two from today.  If you have bought a rig that's a tier or two above your actual needs, you may be too heavily invested in that platform to be able to make the move, and discover that it's slipped in value far enough that it's more cost effective to keep that instead of moving up to the one that would be best for you. 

The only clinkers that I saw were at 3:28 and 3:33, and both were so minor that if I hadn't been watching to see technique I wouldn't have noticed.  I would call this a TEXTBOOK example of how to work.

Grab some friends and go do some tests, outside, indoors, through halls of an office building, etc.  Try Missionary, Don Juan, Goofy Foot, plain vanilla, ambush, stationary, close, far, low, high, ZZ Top, flyby, whatever you can think of . . .and you will start seeing where you are getting the shots that you want.  Have fun doing this, and you may discover some trick that will come back when you need it later.

Remember that YOU are the one getting the shot.  What you are told by even the most expert operator here is ADVICE, not DIRECTIVE.  Everyone has their preferences, and if yours turn out to be exactly like those of Lisa or Jerry, that is merely coincidence.  And the only way to know what your preferences are is to drill, and drill, then drill again.  

You're moving too much and too fast.

The only time that the lens should move is when you have a REASON to do so.  What you're doing here is using the shot to show how nimble your stabilizer is, instead of using the stabilizer to get your shot.  As Musashi said, "Do nothing which is of no use."  You're doing an art video, not the Rebel attack on the Death Star.

Go look at the shot of the leaf.  You start drawing back, good, nice, but this is when you should change the angle, even if only by the slightest amount, and you should do so smoothly.  To go beyond that, reimagine the shot, you pull back, then smoothly use the leaf as the center of a pivot, so you go from looking at the leaf to having the leaf FG as you look at what the leaf "sees" as it hangs there.  This is a shot that can't be done in a hurry.  When you can make that look like a dolly shot, you'll really be in control.

It looks interesting, but the more I see, the more it looks like a pro get-together, above my operating level. I'm on the fence about making the trip (650 miles each way, about $250 - 300 expenses).

Can someone tell me if I would get much out of it as a Steadicam newbie who runs a Pilot? Or would I be better off to wait a year, when I'll have experience and maybe fit in more?

NOBODY has a brand preference for tape???

I worked for a network affiliate which was being used as a test site for digital, so we got a lot of visiting bigwigs. Bigwigs like to show off by telling underlings what to do. They like to add urgency to the situation.

After one such incident, I pointed out to my station manager that the military solved this problem a long time ago. Generals don't give orders to privates, they go through the chain of command -- there is no doubt that A), the order is to be followed, and B), the person giving the order knows what will be needed to comply.

"Grab just what you need" = "load the truck" unless you know EXACTLY what and where the shot will be, how long it will take, and that anything you leave behind has been determined unnecessary by the person in authority.