Jeff Muhlstock SOC

All this Arm Snapping... you guys are working way to much! Give your arm a break...hhah. I guess that's what happens after a few 9 hour shows. Tell Manny to take a vacation, before his body gives way. JM

I sucked for the first 5 years. And I certainly have days or shots that I would love to take back. Its all part of the creative growing process. It's pretty safe to assume that every operator has felt that they suck at one point or another. The one's that don't think they suck probably do. Hang in there and just keep doing it. 18 years later and I can still say that I honestly love working with Steadicam. If's still fun and beats working for a living! Cheers Jeff

You lost me at "Hip Hop music video..." Never had a good experience in this world, its on the, "No thank you" list. Its a total, no win situation. I would rather work for free with nice people. You are in control of your own destiny, respect yourself and dont ever let people miss treat you! It sounds like you took the high road on this one, now just avoid it in the future. Jeff

Get an "ICON" downconverter. (its the little blue box thingy) much smaller and lighter then any other for this camera! Then tell the guy who owns the camera to get rid of the crapy out dated camera and buy a 900R! He will love to that. The "R" version is fantastic, built in downconverter, a fraction of the size and weight, and very power friendly. But all kidding aside, you will be much happier with the ICON, even if you have to rent one yourself for 50 bucks a day, trust me it makes the F900 a managable camera.

Hey guys, anyone in Northern New Jersey area have a Rickshaw they would rent for a day? Tuesday the 12th, to be exact. Thanks, Jeff please email me direct. muhlstock@aol.com

Roger, to the best of my knowledge, I think you?re stuck with Preston, which is not a bad thing... But if you would prefer, as I do, using a more zoom friendly set up, I would consider the "BUZ" with a traditional zoom control as used in the video world. You would need to buy a dedicated zoom motor that works well with Jim's box. It's funny, working in both Film and Video, I feel that the video zoom controls are far easier to work with then microforce type controls (both on or off Steadicam). The Video world has utilized the zoom far more then film so it makes sense that they have created a better concept in my opinion. It could be, simply, that I am more used to it... Of course, there is always, the LCS or Preston unit in the hands of a good AC. The down side of an operator controlled zoom is it is harder to hit a precise lens size. (Some video cameras give you a super imposed graphic of lens size) good luck, let me know what you end up with. Jeff

Chas, What camera did you get??? looks pretty good.

Hey Roger, I have to tell you, I bought one of these a few years back and ended up returning it. I found that for Steadicam, I liked a more manual/analog, feel. The pressure sensitive control was hard for me to feather a slow creep zoom while I am using the same hand for boom height. The better solution for me was the ZOE III. I like the larger area of movement it uses. I modified the mount for my XCS ergo handle with a soft rubber microphone mount, for quick and easy on and off. I love this little set-up. Try before you buy. good luck, Jeff

are you sure that was firegel.....????? sorry, couldn't resist. :D that was sick and un-called for.

Hey Colin, are you sure the voltage is actually dropping? or is this what the camera warning indicator is saying? The reason I ask, is, many of these eng cameras have a menu setting that must define what your battery chemistry is. I cant recall if XDCam requires this or not, but I have run into this problem with other sony's. The camera will actually shut down and sound an alarm well before the battery is toast. There may even be a setting that you need to tell the camera your using another power source (rather then its Batt plate). Of course you could have something as simple as a bad cable (replace that first). I have used this camera many times with 2 dionics and a 4 pin XLR cable and never experienced this trouble. Good luck, Jeff

Hey CP, Not all HD-SDI is created equal. a lot of variables here. Length, connector type, coax gauge, output source. Its not as simple as plugging it in and poof. Both my current rigs will NOT except HD-SDI down the post. I have a highly modified EFP (original video wireing) and an MK-V super post. Neither rig is able to handle HD-SDI, at the moment. A dedicated run must be made with beefed up coax and connectors. You might have success with shorter posts and other manufacturers. I recall a conversation with George about the PRO, NOT being able to handle this need. At least that was last year. Good luck. I have been asking for this feature in rigs for years now. Soon, it's commming. Jeff

Hey Janice, my understanding with this stuff is the insurance company will simply need a police report to clarify/prove a theft. So if someone runs off with your gear and you file a police report that its been stolen, they will cover you. Pretty basic definition of stolen. The issue is the police report. Jeff

Several years ago, I flew an "IWORKS" camera for an IMAX film. 65mm, MOS, and well balanced for Steadicam (vertical mag). I think it weighed in at around 50 lbs. My old, pumped up, 3A arm did the job. No idea where the camera came from but I would imagine it is still out there. Jeff

Hey Brant, just a thought... You might want to consider making little foamy covers for the weights as a safety issue. I, on more then one occasion, have taken out a grip or 2 with these klunkers. I am told it hurts, and leaves a mark. I have cut a tennis ball in half for mine, similar to what Jib guys do under there remote head. A soft foam cover would be very cool. Dont worry there is no need to call them the "Muhlstock Grip protectors"... :) Jeff

Hey Guys, I am looking at going to Vegas this year, I have an exhibit pass but could use another for a friend who is joining me. Any of you exhibitors have comp passes that you are allowed to send out? Drop me an email if you can. any thanks, Jeff

Why not just flip upside down? its digital. Why bother top mounting when its a key stroke in post. I am supprised that it cant be done on camera like Varicam, a simple image flip menu item.

I cant resist, I had to post this one...

Very different indeed, it?s more of a square frame. Compositionally, totally different approach. I only shot one and only one IMAX film. Cool experience, but a beast beyond fun. Like flying a small lawn mower. Anyway, headroom falls way lower in the frame, more of a center, top to bottom (I was told, this prevents the audience from having to look to far up at the screen). Too much panning is a no no, unless you want your audience to vomit. These where the basic differences. I used the ?IWorks? camera (a smaller custom 70mm camera for handheld/Steadicam) which had a more traditional vertical mag set up (well balanced). The funny thing about it, I used this monster with my old modified EFP... that?s right, an EFP. At the time, I had a 3A arm, 3A gimbal, and I think, a Master vest. It worked out just fine, but it was a very painful 2 1/2 minute mag. The movie was "IMAX All Access". I shot the "Sting" performance. I was terrified when I saw the first screening on the BIG screen. Awesome sound track...great music. http://webevents.broadcast.com/yahoo/allaccess/index.html Jeff

Nacho, who makes this Gimbal? A good Gimbal is hard to find. Its not as easy as it looks. There are only 3-4 companies that make a worthy gimbal in my opinion. Jeff

Will, let me make one little suggestion, as impossible as it might sound. Try to get production to hire a cable wrangler/utility from the Video world. As we have all seen, loaders and 2nd AC?s don?t work well with wire (video assist guys don?t like to move much either). I think this would be a great precedent to set with this camera. These guys are so good that you really will forget that you are tethered. I have a list of these experts that I will gladly share off forum (both LA and NY). They are all IA 600 and totally professional. Not sports guys, entertainment crew. Jeff

Andrew, Search the forum and you will find a very strong opinion on this, NEVER DO IT, WRONG TOOL FOR THE JOB, VERY DANGEROUS. Around 17 years ago, I had a near crash shooting over the Gulf of Mexico with a Tyler mount out the door. I have'nt been back in a Helicopter since and never will again. I was very lucky, many camera operators shooting from helicopters have not been as lucky. Stay on the ground, or close to it. Jeff

How are the MK-V/Nexus owners dealing with Genesis power. ? Any experience with this out there? Jeff

I should add that there are 4 different ways to mount that monitor with the Transvideo bracket. One of which will slight offset the monitor to its center of gravity. It?s not perfect but it will give you a nice flat spin. You will notice that there are other mounting holes off to the heavier side of the cine III. Just slide the bracket over about an inch. The other 2 ways are to reverse the screen. If you are confused just call Transvideo they will walk you through it. This monitor structure has always bugged me; I can only hope that they will go back to a more evenly weighted chassis on the next generation, like my back-up, cine I, please... Jeff

Ok, so now after reading Mr. Bartel's info on the BUZ, I see that a zoom motor is needed for "optimum" performance. So the next obvious question is, will M-One make a zoom motor for this application? What can we expect with standard focus motors? Jim Bartel, it?s your turn to chime in. This is a long awaited system. Jeff

Sorry Jim, I see the BUZ looks ready to go, I will be calling for one. Will, this is the solution I have been waiting for. Jeff buz.htm