Bryan Trieb

I would like to add that perhaps it's a good idea to only accept gigs that are "stepping stone" type gigs which will continue to give you the experience and operatating growth which will eventually lead you to where you want to be in the business. Learn from this lesson: I accepted a 3 day show 6 years ago for which I wasn't ready. I had a rented provid rig that was a piece of crap (vest and arm mostly)and admittedly blew my brains out the first day.....better the second and decent on the third day. Didn't even know that I had a bad stigma attached to my name untill I tried to get one of the top tv gigs in the country last year. I had to really hustle but I finally proved myself and got the job. How did I have to hustle? Offered to go in for free on a 4hr call to show my skills....but ended up landing the contract. The worst thing you can do is think you can do anything while still ramping up to what is considered a standard level of operating. We all learn at a different pace but I'm sure many will agree that a standard level of professional operating isn't reached in one year. So be patient, hustle your dollars and practice practice practice. May not be what you want to hear but there's a long path before most can charge $2000.00USD per day. .....try quoting that in Toronto sometime! All the best of luck, Bryan

Ramon.....ever tried the J-7 zoom control? I've also used the Stanton unit in the past and don't much like it....but really dig my J-7......try it out!

I've used a similar contraption which was called POLECAM. In my opinion this rig is best used for extreme type sport coverage. Eco-challenge...at the top of the ramp for ski jumping.....situations in which the advantage of having an operator move in and out of challenging terrain and banging off shots. Some of these rigs even have underwater cams which can be dipped like a fishing pole under water. That being said...it's no replacement for a proper Jib crane. YOu can not walk and make a smooth shot at the same time. The head isn't stabilized by anything except for gravity, so it wobbles terribly if you're walking or scurrying to repo. Perhaps it's a different design than the rig Rob's talking about, however it looks quite similiar and I would caution anyone to really test out this rig before making a purchase because from what I remember it's very expensive for what it is. I'm curious about Constantine's idea. I've often wondered how to make a steadi-jib combination (since I have one of each!)....but could never figure out how the operator could endure the weight/counterweight on the body for full sized cameras. .....uh...Alien?....damn I'm curious to see that rig!

And here I thought the only way to fly a big film camera on a Basson Steadicam system was through the use of photoshop..... www.eyemotion.ca (click on steadicam) :blink:

Hey Jennifer, Thanks for the extra info! Yes, I'm in T.O. and I would love to come visit your shop. The major reason you haven't measured me or seen me at your shop is because I have this bad habit of writing big cheques too easily...and I'm trying to be diciplined these days, as I have a few more purchases to make before the Klassen Harness. I plan to operate steadicam for a while so it's only a matter of time before we meet I'm sure! All the best, Bryan

Funny, I was wondering the same thing! The Klassen harness is definately on my list...and I'm always interested in "used" gear that's been expensive and "loved" by the owner as most of our gear is generally. Guillermo....you gonna grab one?

Gustav, I ended up purchasing the Master Batteries...gotta make quick moves on this forum!!! All the best! Bryan Trieb

Brett... Thanks dude...much appreciate the kind words and it was a pleasure working with you. It was cool to have a team of three steadicam ops on the show. So about the RF...any more suggestions/advice? ...I'm quite interested to hear about it!!!

Peter, I'm curious to know which camera it was you were flying with the Total RF system. I was told by the technician that it might be the type of camera to which the RF system is attached that might be the issue....he had not hooked up his system to a Sony D35 before...so I'm wondering if the type of camera may indeed be a factor. I'm not trying to project "blame"....simply trying to not have that tally delay experience in the future as I have a few gigs coming up on which I'd love to fly wireless again...and I'd really like to have a challenge-free experience in terms of the tally. I would also like to hear from anyone who has used a different brand name of RF transmission WITH video/paint control.... ...just trying to educate myself with the intention of finding the ideal combination of camera/RF system so that I can make specific requests for future shows. Any further advice is much appreciated! Bryan

Steadicam Brethren, Hello all! I just finished shooting a big live show and was flying a Sony D35 with the Total RF system. This was my first experience flying a wireless system. I loved the freedom of flying RF, however my biggest challenge with the system itself was that my Tally indicator was incredibly inconsistent.....there was always a different delay time for tally on/off...anywhere between 10 frames and 6 full seconds. Needless to say this was a major pain because I couldn't fully rely on either my tally or the AD (who was very busy verbally readying scripted shots) to let me know when I was up/off. My question is: Have any of you had a similar challenge? ...and if so, were you able to have the tally fixed so that it's accurate? I'm also wondering if there's another RF system any of you have used besides Total RF that was solid and didn't have this challenge of inconsistent tally delay. Thanks in advance for any advice! Bryan

Good point Matt......hey, doesn't Peter have some tally lights for sale at a good price?......

Michael....very efficient and professional, bravo! It sure beats the time I showed up at a production company studio/office with 2 of the biggest goons I could find and pounded my fist on the boardroom table untill I had the cheque in my hand. Of course, I'll never work for them again....but man that was fun! Bryan "The Enforcer" Trieb

Call me crazy but I've never tried to shmooze a director into using my steadicam on a concert once I've been booked either as handheld or jib...or whatever. In my experience if the director / producer doesn't have a steadicam in mind when in pre-production then there's probably a reason. Limited space or hiding space on stage...or no room in the pit...etc. I would also agree with Patrick....we all know the importance of sometimes just doing what's asked....and do it very well...and not spoil any business relationships. You don't want to acquire the label as the great handheld op who keeps breaking the director's balls to use the rig before a big show...ya know? If you do end up using your rig....best of luck...and be all over the staging/carp crew to make sure your pathways are as clean as possible. Cheers! Bryan

Kes.........go for the J-7!!! At $550 USD you can't go wrong...seriously! I paid much more than that here in Toronto because I had to go through the Canadian dealer....and I'm sure the price was cushioned with some profit......but still for video shoots it's worth every penny. It should come with 2 seperate cables...for Canon and Fuji lenses. Best of luck! Bryan Trieb

I totally understand all sides of this debate....and I believe it's never-ending. Just wanted to make one quick point: We are ALL affected by our respective governments' policies be they pro or con to our individual causes or motivations. Conan O'Brien is coming to Toronto to shoot his show for one week...and is receiving 1 Million dollars from 2 levels of Canadian government for this production. Can you imagine how this makes us feel up here when we're stricken with low budgets on the regular. The way I see it.....we're all independent operators and business owners...thus...it's all about the hustle. Relying on what "should be ours" can break the best of us. I'm all for lobbying towards our collective expectations and perhaps with consistency certain policies might change for the better of us working guys....but until then...I'm fully aware and understand my choice to work in this industry...with or without the pitfalls and challenges. I love to shoot...period!!!!! Bryan Trieb Toronto

Jay....look up Frank Rush's contact info ....he should be able to get the J-7 for you. Peter....Thanks for the advice on what people remember in the truck! That's one of those details that one can forget when caught up in figuring out the shot with the director/talent/LD/yadayada.... I actually used the J-7's switch to key the mic...untill I couldn't live without return in my monitor on bigger shows. Now I'm always running wireless intercom and can't live without that as well! Ok, so I won't count the things I can't live without... Totally dig the new forum...and continuously appreciating the knowledge shared by all!

I must agree with Peter. Most of my work is tv/video stuff...and I have found the J-7 to be an indispensable addition to the rig. Having the ablility to squeeze the frame while operating seems to be the most natural feeling of control....especially in a live event when unpredictable occurances forces the operator to make very quick yet subtle adjustments. I've worked with a puller in this senerio as well...but only for focus. I couldn't imagine operating with a puller controlling my zoom, but that's just me and we all have our preferences. Could you imagine operating Hand-Held on stage in a big concert and having someone else operate your zoom?.... :blink: You may want to look at the unit made by Stanton....as you can control both zoom and focus ....but I find that unit breeds less control of the rig because you have to keep your hand on the supplied "handle"...I'm not a big fan of this assembly at all. You can't go wrong with a properly tuned J-7 unit and a nice wide angle lens (I always request a Canon 5.2)....and just practice setting your focus before each scripted shot....it becomes second nature and you'll be surprised how quickly you can "tweak" the rig/lens between shots. Oh...you can also rig the VTR roll switch on the J-7 to activate return video in your monitor....most video engineers can do this for you on site. Hope this helps....and best of luck!