Lawrence Karman

Here's a good one: I was working on a series where we had a bunch of scenes that took place on a boat. It was supposed to be night and since they had a few minors in the scenes they decided it would be better to build the boat sets on stage. State rooms, hallways, etc. I was asked to shoot all these scenes on Steadicam to give it a rocking with the waves feeling. Obviously they had seen my work before. ;) So I gave all the shots a bit of constant dutch movement. A long day of shooting, all on the rig. A week later they decide the boat didn't work for the story and moved the scenes to a cabin set but they still used some of the scenes we already shot. Boy did that episode look like bad Steadicam. Thankfully I never got a credit.

Whilst the M1 is a fine motor I'm sure it would not work with the BUZ zoom control made by Bartech. The gimbal mount focus control he makes will not work well for zoom. Too choppy. The J-7 is great if all you require is zoom. Never tried the Zoe but I think it would work fine. If focus and zoom on a Canon or Fujinon is something you need to do yourself then the Stanton control is my strong recomendation.

I've only used the stanton and It's a great tool. If you use it don't overlook the small potentiaometer that controls zoom drift. When I first used the unit I had zoom drift issues and the manufacturer didn't even mention this adjustment! Just be aware. The only challenge is adapting the control to your gimbal handle. That can be tricky is you have an odd size gimbal handle. I had the XCS ergo handle and had to use a modified hose clamp. Get one.You'll like it. Ramon Engle I had the same experience with the Zoom drift and no mention of the adjustment in the maual. Thanks to Ted Ashton for helping me over the phone to solve that drift. I had to machine the bracket that came with it to fit on my PRO gimbal handle. Works well. Takes a little getting used to.

I did some soldering this weekend and I just want to add a slight correction to Eric's wireing instructions. I took the video input lead off the recorder/playback switch (comes from the center post Lemo). This was located on the bottom pin of the switch. This I resoldered to the input of the VAC amp. I then took an output from the amp and soldered it back to that pin. I removed only the recorder-in lead from the center pin, leaving the monitor lead on it and soldered that lead to another output of the amp. I also took the video input lead off of the transmitter Lemo and soldered another to it coming from a third output on the amp. This gave me 3 isolated outputs on the bottom of the sled. No more level drop on my monitor when adding the recorder and/or the transmitter. Nice.

There is a fuse inside of the AB Gold mounts. Did you check that?

I may add that Hot Glue is is a good way to attach the voltage reg and Distribution amplifier to the inside.

Joey,I looked for my DigiKey receipt but I can't find it. Eric has told you where to find one.Thank you Eric for that AWESOME detail! I've ordered my VAC brick and will be looking for you when my sled explodes. I know where to find you.

I've changed out the voltage regulator in the PRO II lower J box. It should be the same for the 1 You need a 5v regulator.

California has an $800 minimum LLC tax you must pay every year. Not good. I don't believe there is a minimum tax with an S corp. One reason to form an LLC is to shield yourself from Liability. That is not usually a problem for the average Steadicam operator (exception: Erwin; search posts regarding passing out). Also an LLC is usually set up to allow many "members" or partners/owners. Not really necessary for a single operator.

Anyone renting out a Flyer or Flyer 24 setup? I have a job with a Panasonic HVX200 and may need one. Email me direct at lkarman@earthlink.net

LOL!

I have. It tells of a back-up computer, which is certainly great. Also, there is the colored key system to control speed. I can't find much else, other than general discussion regarding how to operate and what the possibilities are. The modifications are great, don't get me wrong. I'm just thinking that if the original Segway, with the years and years of R&D was released for under $5,000, it would have to take some revolutionary upgrades to justifiably increase the price 300%. For the most part, we consumers pay for R&D, not material costs. I have absolutely no problem with that. It is that money that has helped Garrett and the rest of the faces behind our equipment continue to raise their own bar. Just for exercise, the base Ultra system is about $66,000. Could you imagine what changes would have to be made if someone came into the market selling a system for $198,000? Is anyone working on that telekinesis powered rig? At the risk of sounding like Phil Rhodes I have to say that they can charge whatever they want. If no one buys it at this inflated price than the price will come down. That simple. Doesn't do any good to complain about it.

The SL's I have used over here in the US have a 4 pin XLR input. 24v. I don't have my notes in front of me but I think it is 1 ground, 2 and 3 plus 24. I can confirm that on Monday.

It also seems like operators are being asked to do longer shots and hold the camera longer without docking. It?s important to keep spreading the load on both legs and not crush the load on one leg. Lawrence Karman posted a similar story here back in January 2004 (Lawrence, hope it's OK that I re-type this since I can't find the original link). "I do have that tingly feeling. More of a numbness on the outside of my left leg which I find comes more with a heavy camera package... Last week I brought my vest over to my chiropractor who feels that it is not pressing onto a nerve as the vest rides fairly high. He seemed positive that when I lock my leg in a lock-off position there are muscles that work to stabilize the leg left and right and they are being over worked in this position. The muscles' reaction is to shut down feeling in that area. This kind of makes sense in that I am more likely to feel it only with a heavy package. Who knows. I am also trying to stand with the weight distributed between both legs more and this seems to help as well" Finally, everyone is talking about proper fit and we agree it's very important. As Jerry posted in this other thread it seems like posture and working to find the best way your harness/vest fits your body to minimize impact is key. http://www.steadicamforum.com/forums/index...?showtopic=2426 In a Klassen harness, adjusting the position of your carbon arm, putting the right pressure in your air bladder and getting your harness in the right position on your hips and around your waist can make a huge difference in your comfort level. Once you get used to finding that ?sweet spot? then it becomes second nature. This is why we encourage new customers to have Walter talk you through your first time set-up so that he can get you as properly fitted as possible from the get-go. Walter and the rest of us here are always available by phone or email to answer any of your questions. walter@walterklassen.com (416) 778-7848 See you all at CINEGEAR :) Jen Jennifer, Thanks for reminding me about distributing the weight evenly. I think this does indeed make a difference.

Yo, Matt! Good to hear from you. Yes I still use the SLD but it is just starting to get a little glitchy. I think the potentiometer is developing a dead spot and sadly Tiffen no longer has any replacements. I fear it will soon be dead. As for my front mounted vest----sold off. I do miss it on 1 out of a 100 shots (more clearance, Clarence) but truthfully I am not sure the muscles in my lower back I used with the front mounted vest still exist. I wouldn't have much stamina to use it just once in a while. Irwin, perhaps like the old vest had a quick release, Walter could make some carbon fiber safety "legs" that would shoot out the vest at the first sign of circulaltory failure and provide temporary support. Yes I can see it now, with an "On Star" button feature on the front of the vest too. A sexy female voice would come on "Mr Landau, are you OK. Should I call for an ambulance, or a dolly grip?"

I had the same thought as Kareem, why not use the interal frameline generator from the tap? Best to ask Greg but perhaps you had a termination issue. Was the TB-6 terminated with the switch on the back panel? Perhaps your on-board recorder feeding back?

I recently had my Sauve/Klasen vest upgraded to the new curved front w/double ratchets and the low profile arm. I too am on the leaner side and after a long day of wearing the rig I would experience soreness around my hip bone, needed an ice pack sometimes. Also had the numbness thing going on, but usually only with a heavier camera package. With the new "upgrade" I never expereince the hip soreness antmore. Even after shooting film for 5 hours straight. (Thank God for reloads). However, I still do occasionally get the numbing feeling, and now it happens in both legs. I am still playing around with how tight to make the ratchets and keeping them on the looser side definatley helps.

Michael, thanks for the update. I wish I could have attended as well but I was filming till the wee hours of the morning Saturday. Did Tom Short show up? Best, Lawrence

Got myself a big old coat, took it to a tailor and had a slit cut off to the side where the cabon arm on the DSD/KLassen vest ends. It pokes out enough to attach my arm and I'm nice and toasty! BTW Maria wasn't wearing much and I didn't hear her, or you, complain.

No, you take the rig, I'll screw the accessories!

Anyone with a used Modulus 3000 for sale?

I've been using a Sony Micro DV camcorder as an on-board recorder for several years now. The picture quality is great. My only complaints have been that to get to the recording start screen involves about 5 or 6 pushes of a button to navigate your way there. I know, there are worse things in life. Also having to rewind the tape to review sometimes takes an extra 10 seconds you don't have between shooting takes. It was for this reason mostly that I decided to get an ARCHOS AV 500. I found that, while it is an awsome device, there seemed to be just as much menu navigation and button pushing as with my previous recorder. In addition the picture quality was not as good as with the Micro DV recorder. I am currently using a Panaflex Lite-weight with a B&W video tap. This is not a flicker free tap and the recorded video tends to pulse, probably because of the sampling rate on the recorder. Thought about swaping the tap for a color one, but I like the B&W tap for it's brightness amd contrast, especially in low light situations. I decided to return the 500 (thank you Sharper Image-60 day return policy!) and I bought an AV 420 online. This was the previous model. While the screen is 4x3 as opposed to 16x9 the menu navigation is easier than the 500, aided by 3 buttons on the face dedicated to certain function necessary for this use. There are more accessories available. I bought an extra docking station, cut off the cable and made a single cable with video input/output that also sends in power from the PRO (had to change the voltage regulator inside the PRO to a 5v one) And it's cheaper. But I am still having the same pulsing image. I have seen this recorder working in conjunction with an Arricam LT and the image is much better, no pulse. I've gone back to the old recorder now and I am waiting for the day I get to use another camera. Meanwhile I am using the AV 420 to auto record The Daily Show every night and I get to have a few good laughs watching it on the truck during the slow times on set. I also have loaded in many MP3-s so I leave the Ipod at home.

I have one of these stands with the extra riser. I was glad I had it a few weeks ago when on a commercial I was asked to set up in low mode for the first shot. Turned out we had to wait for something so they asked me to shoot some head shot type interviews while we waited. I hung the rig on the docking bracket pin with both risers nearly extended and operated off a ladder. Silly of course, but a good use of the extra riser. I say get it.