PatrickvanWeeren

Hi Chris, Well done, a must for every handsfree transporter user! Thanks for all the time and effort that must have gone into this. Regards, Patrick

Hi people, I've been lucky enough to work with the Handsfree intensively since the beginning and I'm currently in need of new tyres due to the milage i've made !!! Did get producers to like it and have been able to work enough with the Handsfree so it is possible ! I was amazed by the effect that "funky looking robocop" look it brings. The distracting effect of the Handsfree does overshadow the the really important bit: the footage it can creat! It's up to anyone what to do with it and i can only have a lot of respect for Ulik and Reinharts work ! Regards, Patrick http://nl.youtube.com/watch?v=8kD5I1HvO1U

Kareem, wouldn't the Ipod /Nike shoes be a great way to do Ted's billing procedure: $100.00 at the time of your appearance on the set $ 2.00 per yard forward (walking) $ 5.00 per yard forward (running) $ 3.50 per yard backwards (walking) $ 7.00 per yard backwards (walking) $ 10.00 actor in the shot $ 15.00 actor not in the shot $ 20.00 per flight of stairs (up) $ 15.00 per flight of stairs (down) $ 10.00 each additional consecutive flight ... Regards, Patrick

Dear collegue steadicam-ops! Finally I got the time to send a reply! I was amazed by the stability and capacity of the Handsfree and it turned out to work great: The Handsfree was introduced to me by Jerry Holway and Garrett Brown. A German version of the segway originally rebuild for dancers and re-designed for steadicam use. Together with Garrett, Jerry Holway, Ruben Sluijter and Chris Fawcett we tried the Handsfree at the IBC. Jery was the most comfortable after using it at NAB and Cinegear. Luckily we all went to teach at the Paris workshop (joined by Alex, Stefano, Kareem and the students). This gave the rest of us some extra time on the Handsfree, trying to do step on and off... Even a daring crane drive off by artist and co-designer Ulik! We tried the "off-road version"at the backlot of the Paris studio's. Slowly starting with a flyer, we were amazed by it's capabilities on rough terrain. (Ending with a long post Ultra!) All together we trained about a 1,5 week. (Except for Jerry who we suspect drove a Handsfree from Paris to Philadelphia... Apparently he has been spotted by an unknown Belgium operator on the route Periferique doing 100 miles per hour (using an extra engine attached to his back...) The Handsfree has a system involving keys to manage it's speed. There's a black key (slow) yellow and a red key (fast). During the exercises we mainly used the black key, but personally it turned out to be better to use the red key. The red key does drive faster, accelerate faster and turns faster but the advantage is that it also brakes faster, wich seemed to be safer to me. Especially because I didin't have any serious rehearsal on the show. I wanted to make shure that I could stop on time and move away as fast as possible, if necessary. On that video you'll see one take that shows how easy you can stop. (and yes it also shows me bailing out fast once...) I didn't fall, I didn't feel tired and I did feel safe and in control wich was one of my most important concerns. I wanted to be shure that I didn't build up leg-muscle strain/pain caused by standing still. I changed to regular operating from time to time to be safe. To be honest, I was on the Handsfree a lot longer than I expected. Ruben Sluijter was there to back me up and Chris Fawcett, author of the article"some thoughts on steadicam posture (www.steadicam-ops.com), filmed the footage shown on Ulik's site. It was great to have some-one looking at your posture throughout the show. In this way we could analyze the influence of the handsfree on the operator. The show that got the premiere was an international Military music show with hundreds of parading musicians from all over the world. The main challenges of a show like this; is it's scale, symmetry and choreography. Being on the Handsfree your hips are not moving at all when moving. This gives you a great long lens tool. Imagine very slow long lens moves with total control of your hip movement... I could do long lens moves past the lines of soldiers at a very slow pace without any trouble of speed changes caused to shifting your legs/weight/hips. I guess that's one of the greatest advantages of the Handsfree. Another definite plus was the ability to move in and out quickly. It was a multi camera shoot. (7 camera's) Using the handsfree I could hide in the darkness and move in - out quickly without a dull start or stop to get out of the other shots. I did the same show last year and it also helped me with the obvious fatigue of a 2,5 hour show, and saved me energy wich I could use for framing and other important issue's. The year before I'd be running the same distances to get camera moves around the marching soldiers. You get fed up with tracking simultaniously and you really want to emphasize movement by walking/running against them or go by them in a faster pace. The handsfree worked fine. As a steadicam-operator you're used to look at the screen and your feet at the same time. We put some white camera tape on the left/right turn foot-pedels to be able to see them in the dark. Another advantage of the Handsfree was the fact that you're actually higher than the rest of the people. This gave me great reference to the other camera units and too anticipate on any obstacles. I'm using a regular steadicam without the capacity of a long post. For my regular lens height I had to boom down. That gave me the great ability to boom up and go over the crowd (even making a little boom up past a tuba). The best thing is the acceleration and it's speed.... You do have to practice, I guess it's similar to steadicam, but with the steadicam in mind it's a easier step. You're already used to good posture and changing / shifting your weight. If you want to move slowly you can just move the rig forward, just like when you start to walk..., and the Handsfree will move forward. Remember to always have a good assistant around! I used to say that it's easier to walk up an A-ladder with the steadicam than without one, because you're actually capable to micro-analyze your center of gravity/balancing point. Now I can also say that it's easier to drive.... well eah yeah....probably shouldn'go there!!! But anyway it was a lot of fun and there's a lot of creative potential.... Imagine Don Juan moving backwards at 21 km/hour ! Thank you for the nice response! (the gadget on the monitor is nothing else than a simple lcd receiver that shows me the program/other camera's, This is a great help if your not used to multicamera setups. It constantly gives you feetback of the other camera units) (I used my regular video transmitter but used it the other way around...) Kind regards, Patrick van Weeren

Check with the Tiffen factory: Frank Rush/Robert Orf might be able to help you with this problem. Regards+ good-luck, Patrick

Dear all, If the black cloth, curtains etc. don't work; you can also try to go more 007. I've actually once worn a police - officers uniform (with hat) and had an extra walk in front of me to hide the sled as much as possible. It's fun believe me... Regards, Patrick van Weeren

Life is yours until it's taken away.... Floris was one of the greatest steadicam-operators that I've seen working and a remarkable man who's eyes twinkeled when he talked or teached you about the steadicam... Goodbye...Flying Dutchman and thanks for sharing the passion. Patrick van Weeren

Dear all Your local Barnes and Nobles will sell the Russian Arc on DVD with an extra featurette called: "In One Breath". In this "behind-the-scenes"- documentary you'll hear and see Tilmann operate the steadicam during rehearsals (front mounted) and the original shot (back mounted). They actually mounted a minicamera on the AC-'s wireless remote. It's fun ! Kind regards, Patrick van Weeren The Netherlands

Dear all; If you guys keep on going WEST and WEST and WEST and WEST you might end up in Europe! And in the Netherlands! We have an Area code + 310 (the whole **** country!!!) and you're happily invited to meet up with some ops in Amsterdam. Kind regards, Patrick "The open society of O.W.O.A. (One-World-One-Areacode))" Van Weeren

Dear fellow-ops, If I recall: The flyer costs approx. $6500 no tax etc. and without batteries. Be carefull: buying a rig doesn't give you the capacity to fly it. Be carefull: I'm not on the payroll: but did demo it at Cinegear. Although the flyer is lightweight; that doesn't mean that it's easier to fly. It's easier to practice with th Flyer. Personally I think that the workshops are a great thing and will be a better investment than buying a rig at first. Regards, Patrick van Weeren

Dear Kes, I always try to walk the same way as I'm viewing. This doesn't mean that the camera is viewing that way; it means my legs are moving that way. A very safe way of operating as well. If I walk from left to the right on the stage I will position the sled in front of me and face to the right. This way I can switch in any direction (Don Juan or Missionary) that I need to at any given time. Whenever the walking direction changes in a shot I'll try to be in the most comfortable way for the longest time or for the most difficult part of the shot or actually do a switch if necessary. kind regards, Patrick van Weeren

Be very carefull with the Helicopters and always take your own pre-caution. I've done these helicopter shots on a regular basis for a television series and I've bought my own safety harness. You cannot blame anyone else for your security; even producers. You don't know what has happened to someone elses harness. One time I was ready for lift off with a helicopter-pilot with who'm I can read and write blindfolded but his maintainance guy replaced one of the bolds that I used to secure me and my camera. Unfortunately the maintanance guy only checked the bolds for regular use (with a chair instead of a camera-mount.) During lift off, we turned to the right (my side) and the soundengineer tapped on my shoulder and he gave me the other end of my safety harness and the bold still connected to it, but the rest of the helicopter was not!!! The new bolds and pins where not welded properly. This is why pilots have checklists; because daily routine will make you forget. Make your own checklist and never fly or do anything when you don't feel safe. Kind regards, Patrick van Weeren

Dear everybody, I read this post and thought about the next option? Didn't anyone think of the consumer option on a DVcamera to switch it to NIGHT SHOT mode? Must be a way to make a video assist unit work with the same feature? (E.G. Lenses stopped down with ND polafilters, low light levels, high speed camera's ) Kind regards, Patrick van Weeren

Oke oke your all good people ..... I should have been aware of the OFF TOPIC banner. Sorry I'm just very stupid but friendly. I guess I was just agitated and a bit worried about the way this forum is changing lately. Maybe progress is good and my glasses aren't. If anyone wants to talk about the alphabetic order of telephone books, gardening, french toast and the way eggs should be boiled please be my guest ! Kind regards, Patrick "off topic since he was born" Van Weeren

Aloha here's a short but sad story about a guy loosing his arm... I once used a 7 year old arm (no service in the 7 years) and it blew on me during the rehearsel of a scene. The actors where standing nearby and I didn't want to cause an alarm. I continued shooting and told the DP to use the dolly for the next shot (with a urging voice). The dolly grip was amazed because he didn't like this steadicam gadget, it made him gain weight at the craft service so he smiled and we did the next shots on the dolly. Luckily a friendly operator borrowed me his arm, the same day. I love this steadicam community! The director didn't even notice ! It took me 2 months to get the arm fixed at the dealer in the Netherlands. Next time I'll contact someone else. Just a war story...

I'd agree with Rob. I'm familiar with the Mini, SK, Provid, IIIa, Master series, Pro and Ultra. I still love to fly the mini. You've got to choose your steadicam to the budget and market that you are working in. So if you are working with small camera's in a small crew and fast setups, the SK is fine. The biggest disadvantage of the SK is the single arm section and the adjustment features are limited. The top stage and the gimbal are the same as the PROVID and are basically good (price-quality). I've worked with a PROVID top stage and gimbal for a full 6 month period without any problems and a Aaton PROD 16mm film camera with a zoomlens, focus motors, transmitters etc. If you want to start with a smaller rig but be ready for the BIG job, you might want to consider buying a good vest and an arm with steel socket block. This way you can smoothly upgrade your rig whenever a sophisticated job comes your way. Having your own vest and a good quality vest is something very important, and vests will not age or brake easily. Don't expect the same quality for 1/6th of the price; it just isn't possible but it's still a lot of fun. Kind regards, Patrick van Weeren

dear forum supporters and friends, I find this topic very offending and definetly not part of the "steadicam"forum and the social behaviour that I expect on the forum. Please comment on the film whenever there's some steadicam related information. Please be nice to everybody. Kind regards, Patrick "peace" van Weeren

Dear Sander, I guess I can post this reply without asking Ruben: NEXT TIME ASK US !!! WE ARE HAPPY TO SHOW YOU THE RIG !!!! especially the mini; I love it it's so much fun ! Yes it does work exactly like the "big" rig but it's got it's own features. - It's fun! - It's lightweight! - It's lightweight! - It's fun ! - It's definetly a good excerise unit ! - It's fun - It's lightweight! I hope to see you next time at the next IBC and don't even think about passing the MINI without asking .... Kind regards, Patrick "I like it a LOT" Van Weeren

Ha Job, Ehm... considering "not because he's from the Netherlands", Come one let's face it we are "Dutch" We must know everything about bargain's! Should we make some money out if this extra information to the rest of the world? Or shall we split the costs... or ehm I'm talking double Dutch right now. Greetings, Patrick "Dutch angle at life" Van Weeren

Dear all, Lets talk about Tiffen now, considering Jerry's thought about changing the forum topic as well. Tiffen is doing a good job and should get the credit for it. CP doesn't exist anymore. I think the poll should be changed to Tiffen/CP if you really want to be very precise on the old I,II,IIIa and Master rigs. It's not the same as the difference between PRO and Tiffen, CP is the old factory, Tiffen the new factory. Kind regards, Patrick "TIFFEN/CP MASTER SERIES USER" van Weeren

Dear Peter, It's on the "Writer with light" documentary on Vittorio Storaro. Which is an amazing piece of cinema-know-how. Kind regards to mister "Who said MINI means little?..." Patrick van Weeren

Dear Jerry and other forum-users, I agree with the sled,vest arm section. Especially with the new "interchangable" features of the TIFFEN,PRO, ARTEMIS, MK-V etc. this might be a good way to find the correct forum-topic. I'd like to suggest a "LOW BUDGET STABILIZERS" section, for all the DV steadicams, the Argentine system, ABC etc. In this way the overview of the vest arm en sled sections will not be interrupted with equipment that is not "interchangable" or might I say "comparable". Kind regards, Patrick van Weeren

Don't want to discriminate and be prejudice but : How many Mexican taxi-drivers do you need to get your steadicam gear transported? 3 (Imagine camera, gear and three volkswagen beetles in the Mexico City traffic jam, going 75 km an hour in first gear !!!) Fortunately they removed the front seats so I could bring a tripod as well, well ... as long as the windows stayed open. Kind regards, Patrick "love the food and people though..." Van Weeren

Well laying on the Sofa and being among friends, i can tell you.... ... Nee ik draag de steadicam niet in bed, het vest echter.... oelalalah... Sorry when I get emotional I start to talk in Dutch.... Greetings, Patrick "darling where are my gyro's?" Van Weeren

Hi folks, Basically it sucks, but being an "ARTIST(?)"and not an "ACCOUNTANT", we also tend to be slow and easy-going on payment; they know, it's easier to deal with you than e.g. a Lab or Kodak/Fuji or studio's. Don't accept a two month period etc. Don't be easy on the contract. Always confirm prices by fax or in writing, set to date as well. An extra help is being the FIRST to send a check, make notice of the expiration date and be straight forward and clear from the beginning. (Sorry but the first bill will be paid easier. (Most of the time your not the most expensive bill they get.) I also ***** -up when i gave the bill personally, always bring/send t to the office. never give it to the producer on location. Anyway its a pain in the ... Kind regards, Patrick "my girlfriend is a producer" Van Weeren