pbalsdon

Hi Bob, We certainly do bring up the potential for high end film use in the workshop. Currently I'm only aware of one Arri 235 in Australia though and last time I spoke to guys that own it it wasn't available to try out. We discuss the use of wireless focus / iris and transmitting video split etc. Also with a 2 day only workshop it's necessary to keep things on track. 75% of the workshop is practical and we rapidly progress to single shot scene type exercises. Whether it's an HDV camera, an Aaton A-Minima or an Arri 235 the exercises are basically the same I feel as long as the students know the Flyer is capable of carrying 35mm film cameras and it's potential as lightweight "running rig" we have given them the necessary information. Since the last workshop Arri have established their own office in Australia, I'll talk to them and see if we can get a 235 just show what can be done. The set up I have on this film << http://www.steadi-onfilms.com.au/steadicam_flyer.html >> would be heavier than with the 235. Thanks for the post it's prompted some thought from me.

The fault turned out to be very minor. It was almost impossible to detect without it being flown by an operator. Melbourne Lemac sent the rig at their expense to their Sydney office where Rob Jones their factory trained Steadicam specialist is based. Rob had difficulty detecting the fault and asked me if I could come in and look at it. Once it was being flown on the arm, occasionally on extreme tilts down (90 degrees) I could feel a small click which in no way affected the shot. It turned out it needed one small spacer added to the yoke. This could have been due to settling in from use after it left the factory. The entire gimbal, yoke and handle were dismantled cleaned, lubricated and reassembled. I then retested the rig and judged it to virtually perfect. It is very unfair to condemn Lemac when they have actually been very thorough in finding the fault and rectifying it. Over the years I have occasionally needed urgent support in the field and Rob has driven out to locations with spare parts, dropping whatever he was working on at the time. I have never been in situation where Lemac have not been able to find a way to keep me going. Most (if not all) Tiffen equipped operators will find Rob has been equally supportive. Lemac have also assisted in providing equipment to workshops, even though some of those workshops are working with PRO rigs and Glidecam. It is very unfair for a novice operator to have presented this post here in this way, and unfortunate that unfair comment has been passed by someone who should know better and could have checked their facts first. By the way Dylan we're running a Flyer workshop in Melbourne first weekend of October. Phil Balsdon

But it's not better than the iso-elastic arm (which I use), even Hugo will tell you that. It's a very good arm that's economical and easily maintained and will outlast ANY other other arm due to it's superior build quality. It's an excellent option for someone that wants to upgrade a standard 3a arm or doesn't have the budget for a non cable arm or an iso-elastic arm. I posted the original message for the benefit of people that fall into this category. My original post did not compare this arm with any other product just praised how good it is in it's own right. What annoyed me was your obsession with putting down any product that's not what you own or you fly (you've done this to my posts in the past) and .... Phil Balsdon

It is of course it's ONLY a cable arm, no doubt you've got something better. Most people would have used the prefix IMHO but prehaps you don't need to use the H(umble). You figured out why you might get up peoples noses yet (see Alien thread) Eric Phil Balsdon

So why doesn't someone involved in the project go out and shoot a demo of what it really can do and post it as Quicktime file on the internet. No need to show us what it looks like or how it works just the results. That should shut us all up until it's released officially. It's all beginning to sound to me a bit like something Messrs Bush, Blair and Howard (John) et al are looking for in the desert but can't find and with the same negative results. Phil Balsdon

I have some concerns about way these mounts are attached to the vehicle. The reduced exit angle of the vehicle if it has a slight change of incline (even on speed bump) must put the underside of the mount in danger of bottoming out. The mount on your set up Buster appears (and I maybe wrong) to made from some kind of box section metal and even has holes drilled through the sides. As an avid four wheel driver I know this wouldn't pass legal safety requirements in Australia for pulling a lightweight box trailer let alone carrying a person. It's all well and good saying "but it's not designed to travel at more than a certain speed" but inevitably someone will push the boundaries and break the rules. Tow hitches are made from specially hardened metals because there are enormous stresses involved once the vehicle is in motion and over a period of time continual flexing of metal causes it to weaken. My vehicle mount attaches only the post carrying the rig to the tow hitch, I sit on the vehicle attached with a safety harness. It was designed by an engineer who calculated all the stresses and supplied it with a post with a maximum camera mount height. The post is heavy duty aluminium because this bends long before it snaps, iron based metals will snap with little warning. I've used it on unsealed roads at up to 60 mph and chased race horses flat out across paddocks (after a thorough recce of the terrain). Even with my set up I once had an over enthusiastic driver fail, after very strict instructions, to pull out of shot at the stipulated end point. We here shooting in sand dunes in the desert and the vehicle became airborne as he went over a very slight dune. The sled lifted off the arm as the vehicle began it's descent, fortunately I was able to fall back into the vehicle hanging onto the sled. Sure I lose a little angle on the profiles with this set up but I can still get more than 200 degrees of pan. If you're doing more than that while covering a marathon or bike race you've probably got the vehicle amongst the competitors which is probably not permitted anyway. I should also mention that the only serious accident I've had while operating was being thrown from a dolly travelling at sprint running speed. I broke my shoulder and totalled the top stage of the rig and didn't work for two months. This came about as we gradually developed the shot to more and more extreme situations ignoring the gradual progression of a more precarious situation, I should have stopped the situation long before we reached this stage. As for not wearing a helmet, there's been serious concern in Sydney about kids "car surfing" Jackass style. Kids have been killed falling off vehicles travelling as slow as 5 mph. A few years ago a TV news cameraman in Sydney was killed when he fell from a stationary vehicle he was shooting from when it was hit by another vehicle and he fell off landing on his head. After 30 something years of working I've seen a few serious accidents on film sets and know of many fatalities. One of my best friends will never operate cameras to his full capacity again after sustaining serious leg injuries in motor vehicle shoot. Saving dollars at the expense of safety ain't worth it. Anything like these mounts should be certified by an appropriate engineer or government regulated safety department. Phil Balsdon

Many of the cheaper / lighter rigs have parts, such as the socket block, that are unique to that particular model and therefore would at least require some engineering to modify or upgrade for the purpose of carrying a heavier camera. You eventually would reach a point though where everything, the vest, the arm and sled are stressed to the max and possibly unsafe to use. If your intention is to gradually upgrade an alternative would be to purchase a used rig and gradually improve that. As Jamie said do a workshop, it's the most useful accessory for your steadicam kit and you'll be able to discuss with instructors what the best options are for a rig for yourself. They may even be able to put you in touch with a local operator who can help check out a rig you may want to buy. Phil Balsdon

Try some of Jerry Hill's 2-N-1 motor mounts. Or if using 16mm or video cameras fit lightweight matte box rods to the camera body. Careful with Aaton screw ones though if using a Preston, the motors are capable of unscrewing them. Phil Balsdon

Initially I took the leather straps from my Master Film vest and some new velcro to an old Greek cobbler. He was unable to stitch such heavy leather but sent me home with instructions to apply Contact Adhesive Glue to the back of the velcro and the areas where it attached to the leather and leave it to dry overnight before attaching. In the morning I was to heat the glued areas with a hot hair dryer before fitting them into place and then beating the hell out of them with a rubber mallet. Following this I took them to a saddle maker who could stitch the heavy leather and as well stitching the edges he ran another line of stitches along the centre of the velcro. Better than new now, but what will we do when all these craftsmen who built things to last have passed on. Phil Balsdon

A couple of weeks back Hugo from Rig Engineering dropped in to show me one of his arms. While I boiled the water for the coffee he dismantled the arm on my kitchen bench, removed the cowlings, springs and cables with one small screw driver and an allen key. While I poured the water into the coffee pot he cleaned the arm and while we waited for the coffee to brew in the plunger he put it all back together! I've had high to low mode conversions take longer than this (on earlier rigs)! Not only is this arm possibly the best adaption of the original 3a style arm it's very easy to maintain. All parts are corrosion resistant too so for those who work in humid climates or near salt water etc. it's a sensible choice. I've become very used to my Master Series iso-elastic arm but it felt really smooth too. I also got a good look at his Titanium Top Stage, which is also looking very promising. Phil Balsdon

Not all rigs will allow you to do a "dynamic balance" which is what Jerry's paper is all about. A static balance is all you can achieve if you are unable to make adjustments to the below gimbal section of your rig. Find the centre of gravity of your camera (with all accessories including film or tape attached). Mount the dovetail plate so it's centre is as close to that point as possible and mount the camera to the sled. Put the rig on the spin side of your docking bracket and make sure the rig is bottom heavy by adjusting the gimbal up or down the post or lengthening the post. Move it to the upright position and adjust the dovetail position backwards forwards and sideways until the rig sits perfectly vertical. When you've achieved this tilt the rig to the horizontal position and allow it fall back to the vertical, this should take around three seconds. If it's quicker than that move the gimbal down the post or shorten the post, (if it's slower adjust the other way) and by trial and error find this three second "drop time". If the drop time is too quick the rig will want lean off horizontal when cornering and then start to "pendulum" when instead of just correcting itself back to vertical. If the drop time is too long it will be more sensitive to errors from your hand while operating. The three second drop is a rule of thumb for beginners, as you become more experienced you can adjust this to suit your style and the requirements of the shot. I used rent an EFP that had mod done, I think by Bob deRose, that allowed fore and aft adjustment of the battery bracket and also a CRT monitor fitted (Chroziel?). This rig had a great feel and was the first rig I could dynamically balance. It also had the capability to mount two batteries and carry a 35mm camera although I never tried that.

I think it's best to learn regular camera operating first. Framing, camera movement etc. etc. Even for experienced camera operators the first time putting on rig can be daunting, this contraption that just wants go wherever it pleases and with a mind of it's own. Then when you finally get under control it takes months, years even of practice and operating to really get it together. Trying to learn all the all the other camera skills at the same time is very challenging. You'll hear us all say it, the best steadicam investment is a workshop. Even if you only want to build a rig it'll give you a vast insight into what's required and what makes it work well.

Why do we do these things, why don't we say no? I think possibly the kind of of people who take up steadicam operating have a "can do" attitude and enjoy a challenge. The way we all share our experiences on this forum shows a willingness to help out. I've often thought we should run courses for directors, dp's etc. demonstrating what they can do with a steadicam and how best to achieve it. We did this Garrett for a day after a workshop in Sydney a few years ago and it worked well. I once worked on a film that had quite a lot of steadicam and was told I'd be using a Moviecam Compact. I saw that camera on only one of the 23 steadicam days, the rest of the time I had a BL3 or BL4S and there quite a few action scenes. They were always happy with the work, but my attitude always had an underlying tone of "imagine how much better it would be with a more suitable set up, but it's your film mate." Your professionalism shows, Erwin, in the fact you did your utmost best to deliver the best possible product under the circumstances and did it well. Your challenge however is to convince them it's not the way to do things next time they call!

Photos and a complete equipment list are now on my website athttp://www.steadi-onfilms.com.au/steadicam_for_sale.html

There's a lot of cables, virtually two high end split reciever systems, PCI optics system with two cameras, vehicle mount, low mode brackets, antlers etc. etc. It's all top end gear in excellent condition, with cases to travel anywhere and I can walk onto any set knowing whatever they ask for I can deliver (except a Rickshaw). I'm looking for offers on the kit complete or the rig seperately and if the rig sells I'll sell off all the other bits seperately. After 20 years operating and reaching my mid 50's I'd like move on to something a little more relaxing, like climbing Mount Everest maybe. Meanwhile the Australian dollar goes up and down like a Yo Yo so it's hard to set a price in a foreign currency, today it's 10% lower than a month ago so I'd take less US dollars.