Lukas Franz

Hey Chris, I'm afraid I'm not able to get it to IBC this year. I got a call for this weekend. A small job as first AC somewhere around Geneva...unfortunately not with Alain Tanner ;-) I'll try to come next year again. Have fun. See you. Lukas

Hey Cowboy! Is it allowed to shoot a Sony commercial with a Panasonic camcorder...? Nice setup! I know those crappy camera assemblings with P+S and unproportional lenses. Everything is getting uncredible long and pretty heavy. Anyway, no problem for you, Amando ;-) Cheers, Lukas

You're welcome, Chris. I'm fine too. Probably I'm coming to IBC, unless I'm not shooting with Jan de Bont in Amsterdam ;-) Will you be there? Lukas

Hi Chris, how are you? I think they were shooting scenes for "Stopping Power" by director Jan de Bont. Isn't he Dutch? Well, they were recently shooting in Berlin. Unfortunately I don't know who's the Steadicam Op, but I think he's European. Maybe your biggest competitor ;-) Cheers from Switzerland. Lukas

Mmmh something has catched my eye. Read this quote from the description: "The newest video sender GX-68 has been designed for steadicam users or professionals." OR professionals. So, we are no pros or what! ;-) It actually doesn't look really stable and isn't legal for use here in Western Europe anyway. Thanks for the spam, Jim ;-) Cheers, Lukas

Alan, Marc, welcome to the Forum! Feel free to ask questions. Everyone here is willing to share their experience and knowledge. Good luck. Lukas

...hehe, yes it's fun! That is supposed to be me ;-) Muppets are out...Simpsons are in. BTW, does anyone knows who has done the amazing steadicam work in the Simpsons Movie? ...Just kidding. Cheers, Lukas

Dan, here's a link to the converter: http://www.doremilabs.com/products/DSDI-20.html It looks pretty interesting. But a handicap could be the powering with 5 Volts. Cheers, Lukas

Ok, this is a specific adapter for Mac I actually didn't know. It seems to tell the graphic card to scale and convert the output signal to video and send it thru the DVI connector. This only works with Mac and special ATI card. Doesn't there exist any small monitor video DVI input? Or you may use components thru DVI-VGA-components analog adapter. I'm shure there are HD monitors with RGBHV inputs. And particularly it has no delay :-) Cheers. Lukas

Andrew, I never worked with this camera, but I'm actually a well educated video tech. So, my thoughts about it: To use passive adapters I think wouldn't really work. For a DVI to VGA the DVI needs analog connections, but would probably work. A VGA to composite doesn't exist as a regular adapter, maybe an active converter helps, 'cause VGA is not a video signal like composite or Y/C. My idea: if you connect the camera over ethernet to a laptop, wouldn't it be possible to connect it to any computer with an ethernet board and required software!? What if you take a MAC Mini and put it onto your rig. Record it directly to the MAC Mini and remote it through a wireless connection of keyboard, mouse and monitor. Power shouldn't be a problem, I think. ??? If you need to have the recorder (laptop) separated from your camera, that means my idea above doesn't work, use the ethernet cable (it's possible to do shots that way, ask some tv working pals. And get a good assistant.) and try to convert the computer output to a standard video signal and send it back to your operating monitor wireless or thru a cable, as you mentioned. The big problem here is: you get a delay by the reason of converting and sending the signal to and fro. I guess, it wouldn't be possible to operate that way, would it? But everything is just theoretical. I think, you need to try out the different possiblities. Or maybe someone else on the forum has another idea!? Good luck. Lukas Oh, and about the size of the camera. Use a cage and weight plates, like you do with smaller video cams.

Oops sorry, I actually meant the "booming", non-operating hand when I wrote the "gimbal" hand. Sorry, my mistake. You're absolutely right, Eric. And I agree with you too, Job. Indeed it's easier to control height with a G50 or G70 arm as it is with a regular spring arm, I never have tried a Pro arm, but I'm shure it gets you good results too ;-) Thanx. Lukas

That is so true!

Yes, I agree with you Eric, influence it as little as possible. But that stiff grip on the gimbal helps me to keep the height of my spring arm. Adding your physical arm parallel to the spring arm gets you more control and on "bobbing" (to use your description), BUT that only works fine for slow movements. My experience. Good Sunday. Lukas

...mmh, I like the decoration....and the ambilateral scenario. Mmhh, yeah, that's it! :ph34r: Cheers. Lukas

Kevin, your shots are pretty good. Good start and stops and a constant horizon. Nice. Walking slow and in addition to pass close to requisites is really the most difficult thing to handle with a steadicam. I suggest to do this stuff with a dolly... Yeah, absolutely! As we all know, steadicam is a steadicam and not a dolly and not a machine. It has some kind of a human touch, hasn't it? You'll never get a perfect walk as long your feet and your hips are carrying the system. But of course you can get close to it ;-) For myself, I try to do smaller steps and I adjust the arm for its best position to eliminate the steps, in the majority of arms it's in the middle range position. Also, try to grip your gimbal stiff and hold the steadicam in the height you want it to be. And my last advice: use more weight! As heavier the steadicam is as sluggish the camera flows. That also depends on your drop time. Well, I still practice that slow stuff day in day out, but sometimes on set I admit myself to suggest the dolly... Cheers. Lukas

Hi Brian, I'd like to come over to Basel and try it out. I'm very curious about your new invention. :blink: Do you already have one for demo use? Cheers, Lukas Eric: We shouldn't start another trial here about patents, rights and laws. We should appreciate new tools in any kind. And as you should know, we Swiss guys build precise and high technical stuff. :D We don't copy stuff like some friends from Far East ;) And I'm shure Brian didn't want to copy anything or anybody. With all my respect. :)

Hello Kyle, hello Ken, my tip: start small, but do good solid work. Don't try to sell yourself as somebody like an A-list operator at the beginning of your career. Make some easy shots for your first showreel...and no dowdy action movie! Producers, directors or whoever that should hire you likes to see that you are professional and that you know your implement. Start small also means: you'll do low budget stuff first. Very important: do good clean work. Be good. Get better. I'm shure both of you will do your way into the business. I can not talk about the markets in your area. Maybe someone else can give you tips. Good luck. Lukas

Oh, guys, guys! We should ask Garrett to take the leading part. I'm afraid he has the most experience from all of us ;-) Just call it: "Garrett and Band" or "Garrett and the rig swingers" Cheers. Lukas

...and I could play the triangle :D Oh, and let me hear if you'll founded the band and plan touring Western Europe. Cheers, Lukas ;)

Hello fellow operators! FYI: Sachtler introduces new spring arm. Read on "Digital Content Producer" Briefing Room. Unfortunately I haven't found any pictures yet. Any comments from people know more about it? Cheers, Lukas

Huh? I cannot really figure how that should look like? But I'm really curious about to see it. Yes, please send some photos, Janice. Lukas :huh: :blink:

...before we close that threat, I like to add the following: I'm shure it is very important to represent yourself with a good brand rig in the U.S. Especially in LA. But I think in Europe producers think a little different (I can say this 'cause I'm one of them too). The business is somehow different as it is overseas. Not many people here know the difference between a Glidecam and a Steadicam. Most even don't understand why I call it a Steadicam and not a Steadycam. Mmh. I'm shure Lars and Job can agree with that. In Switzerland nobody cares about brands. It's a Steadi..ehm...Steady Cam. Point. So many operators own rigs from all over the world. I know people here using Pro, Glidecam, MK-V (no comments please, Will!) and of course Action Products from Brian Goff. Anyway, different markets, different customers, different needs. Find out what's best for you. Cheers, Lukas

Hi guys, here comes my opinion: I recommand to save your money for a good workshop, rather than buy a high end rig. Start driving a Volkswagen (isn't it Garrett? hehe!) not a Ferrari. Better take some driving lessons and become a good driver in the first place. Comparably with operating a steadicam. Start with a small rig. Could be a Flyer, could be a V-25 or anything else. I think it's not important how big the rig is and how much weight it is able to carry. If you start operating, you won't (shouldn't) do "big" jobs. There will be no company hiring you for a 35mm big budget production. Maybe you start with low budget music videos and shorts. There are no budgets for an experienced Steadicam operator and they probably take you. It's good to learn and experience, but not for making big bucks. How I said before, save your money and take a workshop. And start practicing...a lot. You're getting better and jobs will be paid better, now you can think about buying a bigger rig and make bigger bucks. And yes, it takes years. I for myself startet with a V-8, yes a V-8 ;-) If you're able to make good shots with that rig, you're able to make good shots with any other rig. It depends on how good you are as an operator. Of course it's also important to get the feeling of what it means to carry 50 lbs rather than 15 lbs. But I think that everyone knows that a Steadicam is a heavy stuff and it requires a physical fitness. Take care. Lukas P.S. I like the V-25.

Hi Maurice, ask Jerry Holway. He's working on a book about operating a steadicam and he has already wrote a lot of helpful stuff. http://www.jerryholway.com/manuals.shtml Good luck. Lukas

Alright, Erwin! I will. Danke. Lukas