Bryan Trieb

Thanks for chiming in guys.....any more advice from others is very welcome and appreciated. I'll send pics of the triax holder to anyone who asks once I receive and test it out.

Hello all, Just curious to know who shoots live multi-camera tv with the Klassen Harness. I'm about to receive my Tradional Deluxe and have worked with Walter and his crew to add a triax cable "holder" at the back of the best, along with some strap loops on the shoulder straps. The one thing I forgot about was, where am I going to clip my wireless beltpack for intercom. Curious to know how you ops out there have arranged this. I'm thinking to either clip it to the front of the shoulder strap, or perhaps I'll ask Walter to fashion another clip on the harness somewhere. Would love to hear your input. Thanks! Bryan

I wonder if my little switch box would be of interest to any ops who do multi-cam? When I get back from my trip I'll see if I can't take it apart and snap some pics of it. I'm no engineer, but from what I understand it's not too hard to have one made up. Anyone interested? Thanks!

Just to echo Will.....Definately double check before hand that the plate is rock solid. I've experienced really crappy plates with that Ikegami model. It's also a bit heavier than most Sony's so I have typically removed the viewfinder as well. No FF eh?.....is it a Canadian Budget? :P Just curious....which method do you use to see your program return? I have this great little switch box that was made for me by a CBC Montreal engineer...via a super steadicam dude named Sylvain Pichette. I velcro the box to "my" side of the camera. The only downside is that I have to take my right hand off the gimbal handle to make the switch....but it is a lifesaver...much prefer this method to flying a second monitor. Have a great shoot!

Hey Chris, Count me in as interested! How many more people would you require for a demo/workshop? Thanks! Bryan

Hey Chris, Any plans to come demo/offer workshops in Canada? Just curious! Thanks! Bryan

Hey Charles, just curious..... I have a show coming up that will combine walk/talks as well as live musical performances. Would you recommend this prompter system for such an application? I see that it's not a heavy prompter system...but what about it's size?...kinda bulky for shooting live music maybe? Curious to know your thoughts. Thanks!! Bryan

Depending on the demand, which will I'm sure increase in time....any of you pro's out there in Cali might do well to purchase the AR and not only use it for your gigs, but rent it out to your buddies as well? Wonder how long it would take to "make the money back". Or, is this a crazy thought because not everyone may have the sled compatibilities? Sorry, winter's freezing my brain up here. Cheers All! :blink:

I understand it may not always be possible....but buying gear "locally", or as near to local as possible seems to be the way around all this trouble, non? I think the only reason a guy like this can get away with pissing people off with bad business practices is because of his location, and knows that people will not fly there just to confront him. I hope you get your vest dude.

Hey guys...thanks for your responses. Bas....thanks for showing the pics. Guido...I'm curious to see pics of your set up! Any chance you can post them? Do you just run cable from the "prompter out" on the camera straight into your lcd? I think ultimately I'd like to be able to fly a prompter that way....lcd on rods just under the lens. The only challenge would be the eyeline of the talent...as I'm usually only about 6-10ft away from them. The production ended up changing slightly and didn't need to fly a prompter...however I will have another award show in April that will definately want one so I have ample time to prepare.

Hello everyone....hope this post finds you all flying often and in good health. I have an award show coming up and they want me to fly a prompter. Which one would you all recommend as being the best balance between light and easy to rig/power, and good viewablilty for the talent? I have flown a prompter in the past, but it was one of those rather clunky glass screen small units. Didn't enjoy my experience with that style of prompter. I'm pretty sure I've seen some sleek LCD units rigged to a camera on the steadicam. Always but a brief glimpse on US based multi-camera shows. Any recommendations? Thanks!!! Bryan Trieb

Hey Charles, It might have been Dale Johannson (sp?). He lives in the Vancouver area and has been doing live tv events for years. I actually used to rent his rig before he added the Tiffen Ultrabrite monitor...and yes, the sled is a ProVid.

I'm a huge fan of the racquet grip tape. The brand I use is called Black Knight. What's nice is the backing of the grip tape is NOT sticky...so it won't offend the cosmetic look of your gear, which is always good for many reasons. You should be able to find these grips for under $10 at sporting goods vendors who carry racquets. Bryan "SweatyHands" Trieb

Some super-solid advice ...nice ! Jeff's point about breaks....I totally agree. I've done many shows that can be 2-3hrs and having an efficient routine for your commercial breaks really helps your pace. A dry towel on your cart/stand can be golden. Something to keep in mind as well....stop drinking water at least an hour before the show....then "pee" as many times as u can before fully suiting up....then slowly drink the water back during the show. Nothing worse than a full bladder half way into a big live show!!!! Also, think about your footwear. I find that these big show stages are obstacle courses with many edges/stairs, audio monitors...etc. Make sure your footwear is condusive to this environment. I find skater shoes to be the best...I can grip edges easily with them. As for your "program return"...if you have a J-7 zoom you might be able to rig the camera roll switch on the J-7 to be able to show "program return". Not all cameras can facilitate this....but I find it better than flying a second monitor...the less weight the better for a long stretch. Maybe have a chat with the other camera ops after the rehearsal...it's not easy to stay out of everyone's shots but even though YOU'RE the one with the most demanding operating task on the day....you still have to play nice with the other ops...a little camera pow-wow usually helps to smooth out the little things for the line cut. Oh, and if you think it might help....walk some of your shots without the rig during downtime (if there is any)...I find this helps me put some footwork in memory and helps to avoid items on stage (or the floor/pit) that Peter mentioned in his post. Matt....Have a Blast!

Robin, Yes....Miss A's got some good energy about her. I haven't done Christine's show for a while now...they cut the steadicam out of the budget last season...they're still airing the old shows I guess! Good thing though...was eating way too much on that show! ...and thanks for the words of support!...been operating quite a lot the past 2 years and I'm very happy each time I'm in the saddle. Next time I'm in Regina I'll definately give you a shout...maybe we can get together with Trevor G and hang out. Hey...let me know if you have any cool accessories for your kit leftover once you sell your rig!!!...always open to new toys for my toys. All the best dude! Bryan

Hey Robin!!! Congrats on your teaching position!!!! Dude what are you teaching and where? Does this mean you're not going to be shooting at all? Oh, I ran into Asia N....she says hello! WIsh you the best with your new endeavors dude! Bryan

Meg, I'm sure that every steadicam owner/op will each have a different way they've acquired the funds with which to purchase all the expensive gear. The bottom line is....how badly do you want it? Are you willing to "do what it takes"...whatever that means to your case in particular...? There is no one way, nothing is guaranteed. Do you live for the hustle? Most of us do, and that is how we get the money...we hustle. Don't forget, not many steadicam owners are fresh out of school with big student loans. Most have worked in the biz for a while and have sessed out the way in which they shall execute. Best of luck!

Hey BJ, I live in Toronto...where you at dog? I'm actually totally jonesing to get back on a surf board. I've been considering a trip to either Tofino (way too cold there right now) or Hawaii. What are the curls like in SOCAL this time of year?...that would be a cool trip too.

Thomas....that wobble board looks cool for strengthening all the little muscles from the calves down....is it? The indo board is actually way cool....although it looks like you can only balance on the one axis, you can actually ollie the board so it changes the angle on the roller. Once you get comfortable on the board with a few little tricks it can be quite a good workout or a good compliment along with running and/or a weight training routine. Ok...here's a tag question...how many ops out there weight train? My 2 best steadicam exercises in the gym are Deadlifts and Hyperextentions (for the lower back spinal erectors). I can't tell you how much these 2 movements compliment steadicam operation.

Ok I confess...I'm a closet skateboard enthusiast! Been skating for years and have actually shot quite a bit of the sport for TV. Thing is...now I'm a little paranoid of injuring myself ...so I just cruz on my longboard mostly nowadays. One of my fav exercises is using the Indo Board...a simple balance trainer which can be seen at www.indoboard.com. ...you should see Matt Marek on that thing after a few pints! I mostly shoot tv with my rig and will always wear skater shoes to operate unless on rocky/slippery terrain outdoors. I find the skater shoes allow me to grip edges really well not to mention the comfort factor. I've also adopted some names for the way I operate (and notes in my shotlists)...which seem to have a skater nature to them....things like: 1/2 switch...Fakey Reverse....haha yes I have issues. :blink:

David/Matt....I know a few places too (devil's horns suddenly appear on my noggin)....perhaps we can make it a small steadi op gathering Toronto style. Let's hook it up....David, bring your warm jacket cuz up here in Canada we have to be warm and dodge around all the igloos, penguins and striking hockey players...they're everywhere!

Fred.....sorry man!!! Send me a catalogue and I'll make it up to you by purchasing one of everything you sell. ;) But seriously now...I've heard great things about Fred Davis and I'm sure I'll be contacting you for stuff at some point...apologies for my oversight! Cheers! Bryan

I get those emails too....but I don't think it's my steadi post that they're addressing.... :blink:

There are 2 popular companies that make decent RF systems for live broadcast. Total RF...and Grass Valley Thompson. Not always foolproof on "entertainment/variety" type shows because the amount of interferance coming from other RF technologies (mostly audio) can greatly interfere with the video signal transmission. It's not like sports when most of the time they only care that they HAVE the shot to air....picture quality can never, or should never be sacrificed on a big variety type show. I'm actually shooting "Canadian Idol" right now and what works for me personally is operating in missionary most of the time. A shot in the pit that goes across the stage from left to right isn't always the easiest to switch to don juan when you have triax on your back and you have to make gentle/accurate zooms during your shots. I have developed some kind of weird technique that allows me to do a half switch while moving across the stage. I stay in missonary but twist my body a little...a few side steps that transition from walking forwards to backwards. That way I NEVER get caught if the director comes to my camera for non-scripted shot...which happens very often on live performance ...especially when your director get's "caught" and they have it in their head that they can "rely" on the steadicam to bail them out on the line cut. I only truely don juan when I don't have any triax system on my camera....for me there's just too much torque coming from the cable to be able to switch efficiently. I know you can purchase a mini triax system that you can feed through your harness and connect on the back of the harness ...but to me it's still a cable. I would also suggest having a really solid and experienced cable puller/spotter. When you have downtime on the set, grab your puller and rehearse all of your potential moves as much as you can so that not only YOU but also your assist have as much in "motor memory" as possible. When you're in rehearsals...give notes to your puller...sometimes right before a compicated shot remind your puller of your path....things like that will make your show smooth and you will be uber-prepared for those little variables that don't happen in rehearsal. Have fun, work hard, and fly safe!

When you purchase the J-7 you would get 2 different cables...one for Fuji and one for Canon...I believe they are still available from Tiffen....look up Frank Rush's contact info and you should be able to get one. Sounds like you have a good set-up that works for you with the Stanton...which is what it all comes down to....if we like it and it works for us and we can execute the shots that our directors want . Cheers!