Domenic Porcari

Hello everyone, Last year I attended an SOA workshop in the fall, and this past August, I put the last piece of my steadicam puzzle into place when I bought my first arm (master series), and feel almost ready to start putting myself out there as a new operator. So far I've had three paid gigs, a handful of student films, and recently a feature, but they mostly from personal connections, and I'd like to start getting my name out there, making connections, and working towards some steady work. I have a list of my existing production contacts here in Pittsburgh to whom I plan to reach out, but before I do that, I'd love to learn what some of you more established operators did/said when getting into the game that you feel had success. Since I only get one first impression, I want to be sure my "steadicam introduction" to my potential clients is solid. So what are some strategies that you implemented to get your name out there that you feel worked well, and what are some things you tried that you would advise not wasting time on? Also, what traditional avenues into new work has COVID closed for you, and has it opened any new opportunities? Thank you, Domenic Porcari

Hello there, When I attended the SOC conference near Philly last year, there was a gentleman present named Nabir Barr(NB stabilizers) who's company fabricates steadicam systems and accessories and sells them. One of those products is the "Rockabye" which is an auto-horizon apparatus that attaches to the topstage and keeps the horizon line constant without affecting the tilt of the camera. Has anyone used this system before, and if so, what were your thoughts in comparison to other more known single operator systems like the volt or wave?

Hello everyone, In August I put the last piece of my steadicam puzzle into place when I bought my first arm (master series), and am ready to start putting myself out there as a new operator. So far I've had three paid gigs and a handful of student films, but they were from personal connections, and I'd like to start really putting myself out there, making connections, and working towards some steady work. I have a list of my existing production contacts here in Pittsburgh that I plan to reach out to, but before I do that I'd love to learn what some of you more established operators did/said when getting into the game that you feel had success. I'm getting better at first impressions, but I still want to be extra careful that my "steadicam introduction" to my potential clients is solid. So what are some strategies that you implemented to get your name out there that you feel worked well, and what are some things you tried that you would advise not wasting time on? Also, what traditional avenues into new work has COVID closed for you, and has it opened any new opportunities? Thank You, Domenic Porcari

The stories we all have of adding weight to rigs to meet an older arm's minimum load capacity will always be wild, wacky and cherished, and a testament to creativity. In the interest of efficiency, what are the best "standardized" ways to add weight to a camera rig/set up? I have a master series and I think I owe my clients something a little less Janky looking. Dom

Looking for an Ultra or Ultra 2 vest (Ultra 2 preferably.) Anyone selling?

Hey there! I'm starting up my first rig and am looking to buy a zephyr vest. (that's the name I know it by, if its commonly called something else.) Love that hard exoskeleton. :) Anybody selling? Domenic Porcari