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Sam Bennett

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Sam Bennett last won the day on February 25

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  1. Jeez! What did you replace it with. What sort of bolt? Thinking I should buy a spare bolt incase this ever happens on set!
  2. I think it's a shame there's so few discussions in the 'Aesthetics' threads here when that's kinda the whole point of what we do, right?! I'm just hoping to leave this space open for discussion on the aesthetics of 1917. From a story and technical point of view, I found this film to be absolutely phenomenal and virtually flawless. But in talking about the look of the movie, I thought it was so beautiful and no doubt thanks to Deakins' incredible talent but of course the operators who made these frames. I was blown away and again watching the movie. A few highlights were that plane crash 'shot' and the 'shot' following George MacKay's character down the river when he begins to go under and then the slow, slow approach to fallen tree with the dozens of bodies slowly revealing themselves - eerie to say the least. I, and maybe you were too, was concerned this film as a oner would feel a bit gimmicky, but I think the lack of 'editing' and the ability to place the audience in real time with the characters was perfect. Every key piece of information was revealed to the camera at just the right time, forcing our reactions to sync up perfectly with the characters. Think - the rat and the trip wire. There is no insert shot of the rat approaching the wire to build suspense and give a wink to the audience, we see the rat at the exact moment the characters do, and only have that half second to react - just like them. Similarly, there isn't any big moments where the audience watches a character's face as they look out at something or learn new information about what's in front of them without us seeing it at the same time too. I suppose the aesthetics of this film are woven so masterfully with TIMING and for me, that's really what brought it all together. I would love to have a conversation about all things 1917 that doesn't get too technical as I see a lot of those discussions happening already! Sam.
  3. SOLVED: So it turns out I just had to give it a bit more force which I was hesitant to do at the start. Pressing inwards on the plastic side with the "Steadicam" logo helped as I pulled down the back corner at the same time.
  4. Hi legends! I'm trying to fix some vibrations with my Zephyr. I'm currently trying to get inside the top stage to see if any connecting post screws need tightening. I cannot get the top stage opened up though. I've removed the four small screws underneath the stage which begins to separate the two plastic halves. However only 3 out of 4 corners want to open up for me. The rear right hand corner is being very stubborn and not giving. Does anybody have experience opening a Zephyr up like this. Video attached. NB: I was advised this would be the best method by Danny Hallett at a recent workshop but perhaps I am doing it incorrectly? Cheers, Sam. IMG_4121_1.mp4
  5. Hi Ed! Old post I know but I'm in the exact same situation as you with my Zephyr. Did you ever get some vectran? If so, would love to know how/where you attached it to your Zephyr. Sam :)
  6. Hey folks, I've never been able to achieve proper dynamic balance with my sled before (Zephyr). I've operated a fellow op's rig (Shadow) and achieved DB in less about 3-4minutes. So as far as I can tell it might be a problem with my kit. Does my gimbal need to be centred? If so, does anyone have instructions on how to do this? I've noticed that my Zephyr gimbal has some play in it and wondering if this is a culprit... 1. As I shift the yoke side to side I can feel there is about 1mm of play there. 2. As I push the handle in to out there is about 2mm of play here. Is this normal gimbal behaviour? See videos attached. _A.mp4 _B.mp4
  7. Hey Doug, yes Scott is correct. You will find a sweet spot (just above horizontal) when you boom the arm up and down where the blue adjustment knobs become very easy to turn. Don't force them if they don't move, just boom up or down until they twist smoothly. You will need to have the sled with a camera mounted on the arm to do this.
  8. Hi all, What's the best practise for docking the sled in low mode? Essentially, which part of the post assembly should be resting on the docking bracket? Would love to know in a general sense with different rigs but also what would work best for my rig (Zephyr) Cheers, Sam.
  9. Hi all, I'm relatively new to the vast world of Steadicam. I see a lot of operators wearing gloves and I'm wondering if what the main advantages and reasons are? (not referring to gloves for cold weather conditions). Cheers, Sam.
  10. Hey everyone, I've become increasingly frustrated at myself for not being able to achieve dynamic balance with a Flyer LE rig. For a while I assumed it was just impossible due to the battery mount being a 'swivelling paddle' rather than something that can slide fore and aft. However I went back and checked out the manual and sure enough, it states that it can be done by rotating that battery 'paddle' up and down. In theory I think I can understand how this is supposed to work however due to the rotating plate every time I shift the batteries 'in or out' and adjust the camera's for-aft, it also affects the bottom-heaviness of the whole rig and seems to throw things way out of whack again. I suppose I am seeking any advice from those of you who have achieved dynamic balance with a Flyer LE. I am losing confidence every time I attempt dynamic balance. Is it worth trying to refine my technique or should I just settle for static balance and wait until I can upgrade to a bigger rig? Thank you in advance for your response. Cheers, Sam.
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