Ed Moore

Its usefulness to me is dictated by the facial expression a focus puller I've never met before would have when I handed it to him at the start of a long day. In the UK there are still plenty of FPs who go "what the f**k is that?" if you hand them a BFD, and there's nothing more tedious than listening to the FP bitch all day about how you don't have a Preston. (I'm starting to seriously suspect that what makes you buy the Preston in the end isn't any performance or ability boost but rather to get the FP to shut the hell up...) However a lot of UK RED owners are considering buying the Viewfactor setup so potentially the level of field experience with it will go up pretty quick. E

Man, did you pick two expensive careers to get into :) Then there are the race cars, the race team, the pro coaching I do.... I don't do anything on the cheap Good man. If I ever find myself over your way for NAB or something we'll have to have a beer and talk DME arcs and the Noble M400.

Man, did you pick two expensive careers to get into :)

That is insanely cool, great spot! Were you actually flying-flying? When I was doing my PPL that was exactly the sort of aircraft that would cut in right in front of us on the taxiway with expedited departure clearance and I would have to sit fuming as twenty minutes of my expensive hour long lesson was taken up watching them enter backtrack and rocket off...

Hi all, Got a shoot coming up with some full on running shots in low mode leading the cast which I feel calls for a rickshaw! Who in the UK would be able to do me a reasonably-priced rental for a three day shoot around May-ish? I know Optical Support have got some... anyone else? Cheers, Ed

Hurrah, they finally made the bottom of the sled sensible! Looks a lot easier to DB as well. Nice work chaps. (upgrade program? :D )

Congratulations Matteo!

Yep, although practicing with an insanely quick drop time is fantastic for committing the input needed to correct for the pendulum effect to muscle memory. One has found. :)

If you really wanted a solution that would be insanely more complicated, heavy and expensive than some simple guy wires (!), you could try building a miniature version of the tuned mass dampers (http://en.wikipedia.org/wiki/Tuned_mass_damper) the Japanese build into skyscrapers to make them more resistant to earthquakes...

Heh, I didn't get it - maybe my ranting about the last extremely low-paid job got me blacklisted :) At least this guy has made an effort to be a bit more sympathetic than the other UK job listed recently. Although I never understand why people can't spell and use the correct capitalisation in business emails... I would be happy to do it if someone forwards me a copy of Phil Jupitus' contract stipulating he's also being paid £300 per week.

I'm with Jess... why not have three guy lines with ratchet strap style tightening mechanisms on them and tie off to either objects in the surrounding area, or even industrial strength collapsible water containers which you could fill up with a hose? E

Someone who's taken in by the snakeoil of this pitch. I don't know what depresses me more, the fact that producers think they can persuade someone to work for this rate, or the fact that they're right.

Just a quick addendum to my post - I realise a lot of you guys have made significant personal sacrifices to be the absolute best you can be at what we do, and I have a tremendous amount of respect for that. I'm not knocking that drive in any way whatsoever. Times are a' changing, though, and both we and production need to acknowledge that. Maybe that things that worked for the past ten years aren't going to work for the next ten.

Couldn't agree with you more. I think it's crazy that we "have to have" the Preston (or the $500 toolbox, or whatever the Latest Thing happens to be) at however many times the cost of a BFD or any number of cheaper solutions that, let's face it, turn a cog in response to another dial being turned. And yet we justify it in terms of "if I look bad in front of production, I won't get any more work". "Bad" in this case being an unspecified, largely psychological equation comprised of perceived nasty looks. I'm convinced that if we all had to answer to some sort of board of directors rather than buying whatever our self-confessed high levels of OCD desire, none of us would be using the sort of absolute 0.001% market share high end equipment that we've taken money out of profits to pay for. Because surely one of the main psychological reasons you even get into Steadicam is a desire to "have the coolest kit"? Nothing personal chaps, I'm as guilty myself. YMMD.

Thank you Jason, a voice of sanity as always!!

This job went up on the UK Production Base site the other day; thought I'd share so you could all say what you think! Inevitably someone will take this job, but I find it particularly tedious that "35mm experience is required"... so they want someone with probably upwards of £25k of equipment, who's worked with 35mm, to rent our their kit alone (besides working for three weeks for not a lot) for a flat fee of £150? If the budget is so incredibly, incredibly low - why are they speccing a Steadicam / B camera anyway? And why shoot on 35mm at that budget? Seems absolutely bonkers. E ___ Oceanstorm Films posted this job on 11/03/09 Job Title Steadicam / 'B' Camera Op Location London & Essex Salary/Rate Flat Fee (adheres to NMW+) Duration 3 weeks Job Description THE PROJECT: HARD SHOULDER is a £300k psych thriller starring Wil Johnson and Jamie Foreman. An ambitious, cleverly woven, non-linear feature narrative in the vein of "Secret Window" (but without JD, DK, and that huge budget) and "Dead End", shooting on a 3-4 week schedule from mid-May 2009, on 2 perf 35mm. WHO WE NEED: An experienced Steadicam Operator more than happy to act as 'B' Camera Operator under the auspices of our very talented DoP. In order to combine both tasks in our minimised crew you will have to be a true collaborator, easy-natured team player, fast-thinking, and clearly able to multi-task. You will need to be hungry for 'the best shots' and to ensure the entire production is delivered images that are not just usable but dynamic. Working and collaborating with both the DoP and the director you will be involved in the technical delivery of the highest calibre of cinematic quality footage. You will without doubt need to be fit, active, and ready for anything as a steadicam operator, always striving to make the impossible, possible whether on foot or secured to a rig, low-loder or other unusual platform. You will need to have the ability to think and act 'outside the box' when necessary and feel comfortable putting your ideas for new and dynamic shots on the table at all times. There is no guarantee of continuous engagement on set, but you should be ready to roll at a moment's notice. Experience with large productions whilst NOT strictly necessary, is a distinct advantage, but experience of working with either S16mm or 35mm stocks is an absolute MUST. No applications without this experience will be considered. WHAT WE OFFER: The project is, sadly but stated, micro-budget, so ALL crew are on a pre- determined flat rate as buyout for the entire project. As a consequence rates are unlikely to reach Pact/Bectu minimums though we do ensure to reach NMW for all. Steadicam / Cam Op rate is £1,000 for a 3 week buyout + £150 bonus for equipment hire. There are no daily or weekly rates negotiable. PLEASE NOTE: This is a MICRO-BUDGET picture. It is impossible to pay at PACT/BECTU minimums. Renumeration for all positions, including HoD's (means the Producer too) is at or slightly above NMW. Fees will endeavour to pay you a living wage and a bonus if you have equipment you are bringing to the table. - such as a steadicam rig. Please DO NOT apply if you expect anything like a TV or big feature payday regardless of experience. The project's entire cash budget is only £120K. WHERE: The project is currently pencilled to be shooting in a major London studio and on locations likely to be in Epping Forest / Essex. EXPENSES: Per diem travel expenses will be offered where at all possible though car-pooling is encouraged. SPECIAL NOTE: If you don't get to shoot on 35mm on a pro stage every day, with a tight script from a writer with three more projects in £1m plus development each (with Exec Prods waiting), with named actors, and amazing sets, with the sort of industry support usually saved for multi- million dollar productions, and on a format that makes it the first micro-budget project to shoot on it in the UK, and only the second project (the first was "Hunger") full stop.............then maybe your services are best used elsewhere. This in itself is one for your CV. This is a one of a kind deal at this budget level, of that you can be assured. So, if you feel you want to be considered for this project, when the pay is what it is but the opportunity for significant recognition is even better, then please forward your CV on PB asap. We look forward to hearing from you. Best regards, Nick

Thanks for the info.

Thanks for my copy Alan, it's superb writing from Ted as always. Does anyone know what film he's referring to when he gives the fantastically-evocative description of what's going on in his head during a long shot? It's on pages 10 and 11 of the PDF.

Erwin, mind if I ask where those red dovetails with the built in bars are from? Is that an XCS thing? I would love something like that if it would fit the top stage on the Archer...

I've been seeing this thread come up in the 'show recent' page for years and never quite folded - but DAMN IT, I want my copy! it's ed@emoore.co.uk if you a chance - thank you very much. E

Wow, check out the photo at the top of the Basson website of the guy sitting out of the door of a helicopter. That looks completely, perfectly safe in every regard and something you'd definitely want to do, no questions asked.

Whilst we're still vaguely on topic, can someone explain to this idiot exactly what it means to 'center' a gimbal - and when would I know mine needs centering?

Boo, I want to come! I'll just go check down the back of the sofa in case there's a spare airfare's worth of 10p coins and bits of fluff...

Thank you for saying that, I've been thinking that for ages and the incessant hype was just about making me think I might have lost it...!

It was, I was helping out for the show. I seem to remember you fell into the easily idenfiable category of 'professional operator' by the way you instantly had that Clipper with the SR3 on 10 seconds after arriving on the stand - quite right too :) E