Brian Dzyak

I have a ProVid too. :) I don't have the weight of a Millenium + mag + film + lens + accessories, but I have to believe that the arm will not hold it. I just had a fairly stripped down F900 on my rig and it still was a bit too much (body + Miranda + tape + Canon lens + rubber lens shade + viewfinder + Anton Bauer Dionic (thin) + Stanton focus). :blink: The ProVid seems to work best with the F900R and anything below that weight. :(

Great tips so far. I'd just like to chime in and reiterate that the Steadicam is not a tripod. Particularly on lower budget productions when time is short and the shot-list is long, there is a tendency to try to shoot everything off the Steadicam (to move quicker). Not that it isn't possible, but it is a specific tool that isn't meant to do everything. As said, it's heavy and the operator is only human. Plus, longer lenses will be more difficult for the operator AND for the focus puller. If you should use a dolly or sticks, take the time to do it right. Your movie will be better for it and your crew will respect and appreciate you more for not just trying to "run and gun" it. Your operator may have more experience than you and the DP as well, so it might be helpful to collaborate in terms of shot design. He may have ideas that could enhance what you already had in mind. Just try to figure out the limitations of his operating and the capabilities of the focus puller before you spend time trying to get a shot that may be beyond them.

Thanks! I'll take a look!

Anybody know anything about these monitors: Ikan V-8000HD 8-Inch LCD Monitor 16:9 1080i/720p http://www.nlesystems.com/_e/loc/product/V...V8000HD&t=1 DM-3009-P http://www.astro-systems.com/DM-3009-P/dm_3009_page1.html Astro Systems WM-3007 8" HD/SD Portable Waveform & Vector Scope LCD Monitor http://www.bhphotovideo.com/c/product/4891...D_Portable.html Marshall Electronics 6.5" HD Monitor w/ HDSDI/SDI, Component, Composite & S-Video inputs I think that this is the one that Tiffen is currently working on... http://www.4videoequipment.com/video/store...Electronics-6.5

I just saw this a couple of nights ago in Hollywood. I'm usually not a fan of "flashbacks," but the way they were used really worked in a very interesting way. Overall, I was very pleased with the film. Of course the 5 min 20 sec long Steadicam shot by Peter Robertson was astounding. What I really want to know is did he really do it with a 1000' mag?

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I feel for you. Unfortunately, due to a situation earlier this year, I've now gotten to the point where I have stopped doing every job verbally and at some point, have every detail spelled out in an email. And I've learned over the years that going that extra mile to be helpful never ever pays off in any sort of appreciation. In fact, over time, Producers at this level begin to expect that those extras are my job when those are things that they should be dealing with. When incompetent people are in charge and let things slip through the cracks, they tend to assume that the more experienced crew will pull it out and save the day. Great, but is it ever truly appreciated? Unfortunately, not in my experience. So, for better or worse, I've stopped being the helpful one and let those in charge figure it out for themselves. And I charge for every minute that I'm not at home or in my truck. What the hell is this "split day" nonsense. There is "call time" and there is "wrap." Period. Straight time for the first ten, time and a half for eleven and twelve and double time after that. Unless I'm specifically getting that Producer credit, I'm now essentially showing up to do my own job that I was hired for and let the rest of the day go as it will. Somebody puts Producer on their business card, it's their responsibility to figure out the details to accomplish the task and have the money to pay for it. Screwing the crew after they save the day is unconscionable.

I've been looking for a new career path...think I just found it. :P

Ingo, There's some great advice given here so far. I'd just like to add that if you think that you'll only shoot video, then something like the Steadicam ProVid should be adequate. On occasion, they go on sale for around $14,000 USD. The heaviest camera you'll get on there is a Sony F900, but if you don't think you'll have reason to fly anything heavier, then for now, get what you can and you can start working it right away. Over time, like so many others here, you'll have that paid off and will be making money that you can use to invest in something larger if and when you need to. Good luck!

Hi Jeff, very nice mod! I've been thinking about adding an HD monitor, but just attaching it to the existing monitor's face. How does removing the weight of the original monitor affect balance? Thanks!

I've realized the becoming an author is ultimately better for my back. ;)

I see what you're saying and the intention is ok, but in the specific case of a Director of Photography, it isn't necessarily his job to "shoot" every shot in a movie. He is in charge of "directing the photography" which means instructing everyone involved .... camera dept, lighting, grip, VFX, etc .... on how the shot should be lit and photographed and that extends to instructing any additional units as well. It's his direction which guides the choices other "additional DPs" make. Everybody else who works for him has a specific function at a specific time and place, so it's easier to assign credit to Operators and Focus Pullers when specific shots are evaluated. With the way films are segmented and cut together, a single sequence may be the result of multiple units and multiple Camera departments as well as VFX and SFX units. Pulling a sequence like that apart to put on a reel for "my shots" could be excruciatingly tedious, if not impossible.

I try to be specific on my own resume as well as when I have to ask for a credit that it says "dayplayer" or "additional" if I wasn't the primary cameraman. If someone else has done the bulk of the work (whatever it is), it's only fair that they get the bulk of the credit. I like getting the credit when I do something and I assume others would appreciate the same courtesy. Of course there's the issue of when others assign credit...or don't. I recently was hired to be the EPK Field Producer/Cameraman for the film WANTED, which shot in Prague and Chicago. The Unit Publicist (newbie) got a bug up her butt about the lines of responsibility and decided that I shouldn't have that title. When she questioned the woman back in LA who hired me, that Producer stabbed me in the back and has since lied to everyone around her that she hired me as a Field Producer. It's absolutely unbelievable (to a naive smalltown Ohioian like me) the level of unprofessionalism and downright maliciousness that goes on in this business. One would think that just going out, doing your job 110% would be enough to earn the proper respect and acknowledgment for the effort. Unfortunately, politics, ego, and petty greed seem to be the rule more than the exception. So I've taken a lesson from this last episode that A) never ever to trust anyone again in that circumstance and B) to get everything in writing beforehand.

I'd look in Dramalogue (available at most corner newstands and Samuel French Bookstores) for student/indy films. They typically have no money to pay anyone so they are happy to have you. You get to practice on someone else's project, so you'll have footage that actually is lit with actors and sets. Just make sure they know that you want copies of your shots. Also practice on your own as much as possible. A lot of Operators will use small consumer video cameras with added lead so they can practice at home.

Hi Kevin, Kyle from Tiffen US can provid(e) you a answer or Robin Tiffen EU can. Also some Provid owners overhere, try for example : Brian Dzyak. http://www.steadicamforum.com/forums/index.php?showuser=619 Best, Erik I'd answer, but unfortunately, I'm currently about 10,000 miles or so away from my rig. :) Sorry!

I've been interested in owning a rig for a long long time. Never really had the money to do it though, so I had many years as a Videographer and a Camera Assistant to fill the time. Recently, the opportunity arose where I could either rent a rig for 70-ish days or buy a used ProVid. It seemed prudent to purchase instead of handing the money to a rental house, so I now have a paid-off Steadicam without the pressure of having to work for it. For what I do, it's a useful tool when I need it, but I'm not a slave to making it work just to pay off a loan. Of course the vest/arm/rig has a weight limit, but it can carry an F900R which is pretty much all I'd use it for anyway doing what I do now. Naturally I'd love to have the flexibility of a PRO or similar, but for the moment, the ProVid suits my needs and it made sense financially at this time in my life. I'll upgrade if and when the necessity arises, but until then, I'm very happy with what I have. :)

Hi. I just recently bought a ProVid from Kyle. Unfortunately I'm far away from my rig at the moment so I can't give an answer. The bigger "problem" is that the monitor base is more or less built into the sled, so weighing just that wouldn't be very easy to do without tearing the whole thing apart.

Well, they're both pretty awful, but at least for the second one, the Operator only had to fly with a 400' mag. The Christina video ran 4:21 so they either made a few 500' "shortends" or he was flying with a thousand feet. Either way, I'd rather shoot Christina. The other guy had to be cold! :P

Have a hair and makeup person standing by. :)

I do generally the same kinds of studio and corporate work that you're describing where it's me, my sound mixer, and a useless producer. More often than not, the logistical demands of the day don't allow for luxuries like Steadicam, but I do suggest that we use it when appropriate. The downside is that because this level of production isn't used to anything beyond the normal camera (F900, DigiBeta, BetaSP) and small lighting package (ARRI kit, Cstands, Grip/Electric pelican, flag bag), the added expense of the rig is hard enough to talk them into much less an assistant. The benefit to me suggesting it instead of them is that I am in control of how much it gets used during the day and for which shots. I want to make it worthwhile to them, but there are other factors to consider beyond my own fatigue when making those decisions, such as, do we really have time for me to set the rig up and light the set before the talent arrives. Ideally an assistant would be great to have (to save some setup time, to save myself by having someone else push gear around, etc) but that isn't the reality at this level of production. Budgets are tight, or so they say, so just getting the rig approved is a big step. I'm sure the money is there, or could be, but the suggestion of adding one more body tends to just nix the whole idea which means the rig stays in the box. At best, they'll spring for a cheap inexperienced PA, but sometimes having someone like that is more inefficient because I'd have to tell them exactly what to do and babysit them anyway. And I'm not about to trust him to pull focus! Often, it's just less hassle to do it myself. So what I do is make sure I have a great audio mixer with me who isn't afraid to pitch in to help with lighting and/or setting up the camera. If he knows how to put the Steadicam together, that's an added bonus. I too use the Stanton Focus. While again, not ideal, it is helpful in a world where we don't have actors hitting specific marks and the ability to do a second take. Being able to take control of the lens is necessary in those situations anyway whether you're on a Steadicam or not. It's interesting....having spent a considerable amount of time in the narrative film world on a lot of sets, I often don't think that "film" guys appreciate just how hard "video" people work. There seems to be an assumption that because it's "just video" that all we do is hit the button and haphazardly shoot whatever is happening in front of us. Not only is that categorically not true, we have to do multiple jobs simultaneously all day long, from Transportation to Set Decoration on top of being the DP, Operator, Assistant, and usually, the Director too. If it were only as "easy" as moseying onto a prelit set and knowing exactly what the talent was going to do and say.... ;)

I'd say go with Anton Bauer over IDX. IDX are lightweight, but when they die, you can't get them recelled the way you can with Anton Bauer. I believe that the Dionics are slightly heavier than the IDX, but not so much that it should make a huge difference. Plus, as you graduate to larger cameras and/or Steadicam systems, most higher end video cameras are Anton Bauer ready making it a more universal battery choice. In other words, if you ever get in trouble, you're more likely able to find someone nearby with Anton Bauer than anything else. I don't have experience with PAG or other. Sorry.

I just carried gear (and luggage) on British Air and they have a very strict 51lb limit. You either repack or it doesn't go on the plane. There's no paying an overweight fee at all.

I used to carry my Magliner and other production gear (camera, ARRI light kit, pelican AKS, tripod, Cstands, etc) in the back of a '92 Nissan Pathfinder. That worked okay for the most part, but the downside of an SUV is the windows. I was the victim of a smash and grab at one point. Bad. I currently drive an '04 Chevrolet Avalanche. Great production vehicle. It doesn't scream "production vehicle" the way a white panel van would and it doesn't have the window problem of an SUV. I can fit everything I normally need in the bed so that no one knows what is inside. And if I ever need extra space, I can fold the back seat down and even extend the bed by dropping the midgate. And when I'm not working, I can fit the kids in the back too! Wish I got better gas mileage and parking is a pain sometimes, but until I get that cush above-the-line job requiring only a laptop and a phone, I'll have to deal with the truck.

Here's a pic of me with the F900R on the ProVid. It all works quite well and I've been getting some great shots with it so far.

Thanks for the advice from everyone. :) With Kyle's help at Tiffen, I picked up a used ProVid they had laying around and put an F900R up successfully. I'm heading out for a 2 month European gig, but when I get back, I'll throw the F900 on there and see what happens.