Anthony Violanto

Here is what I came up with. It is light, easy to read and I have no complaints. The xenarc monitor i'm using has two inputs, so i'm using 1 for prompter, and 2 for program. you can see the power cord i made on the camera handle. ~anthony

I hate the through-the-glass prompters. No matter what you do, it always looks like your shooting with a dirty lens- especially if you have to shoot into some type of light. I Finally finished mounting a monitor to use as prompter. On the power cable I put a male 4pin xlr, which is the same found on the back of the Thomson HD Cam i'm shooting with. I now simply take the cable used to power the camera (when not on triax) and plug it into my new cable. works perfect. The monitor has 2 sources, so I might as well take advantage. Source one will be prompter (default) Source two will be program. I will have something to watch between shots now. I will post pics as soon as I can. only downside is my rig is now a lot longer, and I like it short ~anthony

I too need to mount a monitor to be used as prompter. I plan on taking the extra monitor cable which currently has a cigarette lighter plug on it- cutting that off, and terminating the end with a male 4 pin xlr cable to attach to the female 4pin xlr cable which powers the camera when triax is not involved. I figured out the pin assignments, but am concerned about the wattage. I am no electrician. The camera power cable is currently reading out at 12 volts and 17 watts. The monitor says on the back the input is 12v 1w. 1 watt seems very low to me, and im curious if anyone has ran into a similar issue. I have not been able to locate the monitors manual, and google has not helped me out yet either. thanks, ~Anthony

Isn't walking part of "operators skill"?

espn has been utilizing steadicam at basketball games for quite some time. Most shots are going or coming from break, and crowd shots. During the Womens Final Four, the steadicam op had an awesome shot walking down through the crowd don juan onto the court. The Celebrity All Star game was shot by a staff steadicam operator out of Bristol CT. Maybe I am just used to live TV, but all this talk about what shots to get I think is too much thinking. If you spend your time waiting for the shots you printed out and taped to the side of your camera, you're going to miss the soul of the event. Just react to what is going on - be the eyes for the director and the audience. And if you decide to set up apple crates everywhere, beware of half empty cups of beer! :) ~Anthony

I think loosening the arm is a crutch. It's all in the walk (in my opinion). My trainer would always watch me walking, and yell at me to take tiny steps like a geisha, and not just walk. As if you had a cup of hot coffee balancing on your shoulders i suppose

His name is Phil. He used to be on staff here in bristol, and went freelance a couple years ago. He also does college gameday. A steadicam Ultra was purchased to travel with Monday Night Football. After football season the Ultra made its way to the xgames and other various remotes. An EFP travels with College Gameday. ~Anthony

Everyone is always saying: workshops workshops and more workshops. But a workshop is only a week, whereas if a school offered a course, students could have a whole semester. If I knew of a school that offered that, with out a doubt I would have gone. Instead I put it on here and there when I can, and spend most of my time assisting. But i guess every aspiring student who thinks steadicam is cool would want to take it... would this create so many steadicam operators that quality of work, rates, and everything else would suffer? (supply and demand sorta thing) I am just wondering if that has every been discussed- or if it is even a related topic of concern? Anthony (trying to edumacate himself) Violanto

I like reels that work more like a promo- not so much like a music video... music is cool, but if you were reacting to the dialogue when you shot it, I would keep it in. Your shots and the dialogue can often work off each other. If it is just a cool beauty shot, music and maybe some sound FX? I hate cheesy reels.

I noticed during the final italy v. france match they decided to finally go with an RF transmitter for one of the steadicam ops. I didn't see one hit. The shots were pretty amazing. Also, the skycam that would enter the stadium was out of this world!!! The most dynamic skycam shots I have EVER seen. Anyone know if it was a skycam, and if i'm not mistaken, was that also invented by Garret Brown? Congrads Italy!!

I just checked the X-Files Episode out on Afton Grants site (steadishots.org) AWESOME SITE by the way... Anyways, it was amazing, and I am absolutley in love with choreographed steadicam shots. When done right, it flows so perfectly. Alfred Hitchcock would have killed to work with the steadicam ops from this site. Unfortunatley, I work in a Live TV atmosphere (triax and all) and the usual rehersal time is about 5 minutes before air. How long does something like the X Files Episode or similar take to plan out?? What is the process- is it all written out on paper by a random writer, you just memorize it and do it, or are you walking through the set coming up with ideas and creating it for the most part? maybe some day.... (once high def replaces film haha) Anyone care to share? Thanks! ~Anthony

I rented the foreign film, Russian Ark simply for the steadicam shot.... I hear it is the longest steadi shot EVER???? Only editing seemed to be color correction. I am still new to steadicam, but it seemed pretty dead-on all the way till the end! Also, good interview. Any other movies with rediculously loong, correographed steadicam shots I should check out???? Thanks! ~Anthony

Are there any steadicam ops that work in the new england or new york area that would let me observe for a day here or there? I want to begin meeting more people within the steadicam industry as I practice and become a better operator. Let me know! also, check out a little footage I shot and let me know what you think. Thanks! http://www.youtube.com/watch?v=M15YtJHP8dY Anthony Violanto violanto@gmail.com