Joe Lotuaco

SOLD!

I purchased this a few months ago from another member here on the forums planning to put together a full rig, but ended up having to invest my budget into something else. It has pretty much sat untouched since the day it arrived in the mail. Specs: -1.5 inch carbon fiber post -J box -D box -MK-V gimbal -Dual V-lock battery plate -Monitor arm -3A top stage w/dovetail plate -docking bracket -MK-V padded case. Asking $5,000 but will discuss any reasonable offer. Feel free to ask any questions or if you would like me to take pics of anything specific. Sled is in Mandeville/New Orleans, LA My email: jlotuaco@gmail.com Will ship worldwide

Do you know what software was used to create the rendering?

For sure, I don't/won't tell them that I don't deserve what they have offered me, but it was definitely a difficult moment when they originally asked me what my rate was. I basically hesitated just long enough for them to throw out the first number and when it was several times the figure I had in my head, I had no problem accepting :) I know what I do is specialized and it's more than just simply operating the shot. Thus far it has been a great experience and I've been working very closely with the director designing shots. It's just that I'm so new to this that it's the feeling that if I ask for what they're used to normally paying an operator and then I don't deliver the goods, I don't want them thinking "What the hell are we paying this guy all this money for?" But as I've successfully completed shots for them and they've gradually increased the rate, I'm definitely starting to feel more confident in every aspect. The height thing is an issue I have had to deal with as I'm pretty short (5'6", 5'7" in the morning) so the camera is naturally lower. I've had to just boom up a bit and hold it there, but it feels a bit odd after awhile. Any pointers on how to make this easier, is it a good idea to just adjust the lift knobs to hold the camera at the height I need or does that have an adverse affect on the overall balance? (I'm using the Flyer by the way)? Thanks for the advice guys! Joe

This both a newbie question, but it's regarding operating so I figured I'd post it here. Also, I couldn't find anything on this in searching (even the archives)...so here goes... I took Peter Abraham's two day flyer workshop a few months ago and I have since been hired to shoot some promo spots for a major record label. Anyway, the shots are supposed to be the artist's POV as he walks through different situations (ie. walking through a bar/club, walking down a sidewalk, etc.). The production company has hired me back to shoot the full music video (the other stuff was very quick 30-40 second one-shot deals) and the director has requested that the full video be "all steadicam" continuing the aesthetic of the camera being the artist's POV. I noticed that part of the longer Steadicam workshops, like the 5-day one, there's a section of the syllabus dedicated to "POV" techniques. So that got me wondering, what are some pointers that get discussed during this section of the workshop? Are POV steadicam shots inherently a bit more "floaty" than usual? I read the thread about the director asking the operator to make the shot more "floaty" and I wonder if this is something that is tolerable for POV shots. I shouldn't have a problem making it "floaty" since I'm still so new to operating, that most of my shots are just naturally floaty :blink: Obviously this is no substitution for the workshop, but the shoot is coming up in a couple days and I really want to make this look good, especially since they're giving me a rate that I frankly don't think I deserve just yet having literally just barely come out of Peter's workshop.