Mike Germond SOC

I think I can weigh in on this topic because I'm the guy that settled for the Flyer LE because of cost. At the time, I didn't know enough to find the right people to help me finance a bigger rig, so I went with what I could pay in cash (my grandpa fronted the $10k for me to buy the Flyer). After 2 years, I'm still in the Flyer LE outfit. And like Robert suggests, the limitations of input/output video/power connectors is a crutch! One thing I wouldn't do is upgrade to an Archer2. For the cost, it doesn't support much more weight than my Flyer LE can carry now. I couldn't justify an extra $20k only to gain 10lbs of lee-way (even less depending on what options/monitors/batteries you opt for). Granted, if you buy at the right time, you might find a discounted demo rig from Tiffen. Yes you can get the gadgets of the Clipper and Ultra, but it's subtracting from the bottom line which is what cameras you can fly. Now just like the Flyer and any other rig, you can usually push it past its recommended capacity. You could ask myself or Brian Freesh about our escapades with the Flyer, or Chris Fawcett about his A2. Today, I'd skip the A2 and go straight for a Clipper. It's a better investment IMO. I wish I could have started out with the A2, but I couldn't justify the cost against the bottom line. To accentuate Kevin's point, buy it right and buy it once!

Eric, what monitor do you have on your Flyer now? The short answer is yes, it will mount right up to your lower spar with the existing 1/4-20 thumb screw. There's info in this thread about cable adaptors: Adapter flyer to xlr 4pin and bnc Not for nothing, but that still doesn't mean you will be able to use the HDSDI inputs. Unless you had some work done on your rig (or have Tiffen's "red edition"), the existing wires won't support HD-SDI. So you would have to run a 75ohm BNC outside the post anyways.

I am in agreeance that the Flyer arm is not up to the task. Robert you have a G70, correct? We should be taking delivery next week on the Ultra2. We have a 9ft Jimmy Jib in each of our studios, but no room for the base to achieve this shot (believe me, it has been discussed). The floor isn't anything special either, so dollying a ped back and forth yields some jitter. Even if I could sell the idea, a rickshaw or a dolly w/hardmount would be impossible to hide from the other cameras. I try to bring creativity to the job every day, but the harsh reality is that it's still news. Nobody but me (and the trained eyes here) notices or cares.

Dan, there have been plenty of moments that almost got me. Mostly, I just try to concentrate on my framing and footwork, picking up on the important phrasing and gestures. When your sole job is to dolly back and forth, there's not much else of a story you can tell. You know, I think there's a lot to be said for the distance between your body and the rig. Because of the limitations of the Flyer combined with the bulky zoom control that I'm temporarily stuck with, I'm forced to fly the rig farther from my body so I can look under the gimbal handle to see the monitor (versus looking over it). On the Flyer especially, it seems to take away some of the iso-elasticity in the arm. With the weight of the Ultra2 and the accessories we are adding, I won't be able to get away with that for much longer. Any thoughts? (Yes Eric, I see the steps. That's why I'm asking)

It's funny because they used to have robotic peds for everything, but when they overhauled the studio to a 360º design, things got cramped. Now everything is manned cameras. I agree that it is not a shot suited for Steadicam, but no other camera can get wide enough in that space. Eric is right, neither of those shots are technically challenging. It's tedious more than anything, especially repeating it 100 times a week. The Flyer LE certainly requires more work to try and match the Ultra2.. Any constructive criticism out there? I'm my biggest critic, so tell it like it is.

While we're on the topic, I'd also like some feedback. This is on the demo Ultra2 and I've taken into account a lot of the advice here: http://www.youtube.com/watch?v=GMZxzUqUd34 And this is the same show with the Flyer LE, which makes for a LOT more work: http://www.youtube.com/watch?v=YfgCZFRtOqs I apologize in advance that I can't find anything but Tiger footage, but that seems to be all they care about on youtube..

Eric has a good point, something I didn't consider because I have a flash player on my PDA. It looks like Vimeo support is in the works (for Plus users), but for now there is the YouTube App (not my favorite place to host professionally).

I've said it in other threads, so I'll just give you my quick $.02 on hosting demo reels.. I'd recommend staying away from Quicktime Streaming if you can and use a flash player of your choice. If you don't feel like you have the time or web savvy to implement one at the code level like I did, a good option for you might be a Vimeo.com premium account that you can embed in your site. Here's my reasoning: I'm within a corporate network right now, and it's blocking your reel from playing. Being the computer savvy guy that I am, I'd go and install the plugins to play it (although admin rights will ban me from installing). I wouldn't expect the UPM or anyone with a busy schedule to call up IT and have them install quicktime plugins so they can watch Joe Steadicam's reel.. I'm all about making it easiest for the end viewer to get what they want and minimize the chances of cross platform viewing problems, so take my advice for what it's worth.. Otherwise, very clean, simple, and uncluttered...all good things for an online portfolio.

That U2 was only a demo, but the one we are purchasing will have the TV Logic monitor instead of the Ultrabrite2. The reason I was using a TV Logic for PGM return is because Golf Channel has so many of them that they're turning into paper weights. It's obviously a little overkill to have a HD monitor for PGM when the fiber only supports an SD return. I have a couple of slim 7" SD panels that I'm shopping around for, because we'll also use one for prompter above the lens. I had Tiffen include a 2nd monitor arm in the PO so we can use the 2nd mount, so besides the weight, I wouldn't be totally opposed to slapping another TV Logic on there.. Therefore I won't have an artificial horizon on my monitor. I'll probably stick my bubble level somewhere nearby. It's been serving me well thus far.

Well my friends, it looks like we will agree to disagree. The best part about this forum is that everyone has opinions. It still doesn't change my decision to have production buy the U2 w/ manual tilt stage. What was this topic about again? :lol:

It's really a moot point anyways because Eric couldn't get a tilt stage on his rig if he wanted to..

Haha thanks. Peter Abraham was proud when I sent him some photos. Can you believe I operated that for 3 weeks without a Mohawk Jumper! (actually the fiber operated it, I was just along for the ride) I have done all this testing already. Peter was kind enough to send a Clipper and an Ultra2 over for a week. I put both through the paces on my daily work load. I like the G-series arms for the ride adjustment and not always returning to "center." The tip-toe shot you described is part of my Thurs-Sun for 30mins on our Live pregame shows (plural because some days have 2 pregames). I've been able to keep footsteps from translating with the FlyerLE, but it's a heck of a lot more work! Both the Clipper and the Ultra2 eased that pain quite a bit. I have my framelines set in the camera, and I keep my crosshairs locked onto a certain point in the set for that show, and since I'm the 2/3/4shot, I get a LOT of action. Moral of the story, I used the tilt-stage a TON and the motorized stage NONE. That was my point from the start..

That's the "Extreme" tilt you're working with???? I stand by my statement Any issues with the horizon are operator induced and indicative of technique being used. For that little tilt you don't need a tilt stage. Eric, I never said I had issues with horizon, I'm just sick of working extra to prevent it from happening. Jerry has so eloquently put my thoughts into words, so I'll say no more..

A look at the average tilt I'm working with...now if I could null that out with a tilt stage and get the post back to vertical, I can work less on pans and make the usual minor adjustments by hand as needed.

Eric, I think you misread my post. I am in agreeance that the motorized stage is a "convenience" device. I was talking about the manual tilt stage. I shoot two 30min Live shows every day, 5 days a week, and for the majority of the stuff, I'm tilting the camera down at a pretty severe angle (it's golf after all). Having the widest HDTV lens that Canon makes is part of the reason that I need to tilt so severely to properly frame the shot. I've done this for 2 months straight with no tilt stage, and then for 7 days shot with a Clipper312 and an Ultra2 with the tilt stage. THAT is what I am referencing as a necessity...because now I can get the rig back (close to) dynamic balance most of the time and only make minor tilt adjustments by hand. Think Mad Money live, but for 1hr, essentially shooting the ground most of the time, and 90% steadi. If you're telling me that I should work harder when I don't have to, I won't buy that argument for $1 You're preaching to the choir Charles. I've been working every last bit out of my Flyer LE these past few months. I'm ready to breath a sigh of relief when the Ultra2 finally comes in. I gotta say, it's really kept me on my toes as far as maintaining proper operating techniques. And to think that for the first 3 weeks, I didn't even have the Mohawk jumper. I shutter to think what my footage must have looked like back then. Now, I can be almost robotic. There is something to be said for the toll that extra bit of concentration takes on you when you do it upwards of 14 times a week.. (I somehow duplicated my post while editing it, feel free to delete the first one)

I can't live without a Tilt Stage after 1 week of shooting with an Ultra2 demo. For the type of stuff I'm doing, it solves so much of the horizon roll on slow, delicate arcs. When I can take all of my concentration off of that one aspect of the shot, I can start paying more attention to the finer details.. For Live TV, the motorized stage is still a "may be nice to have"

It has been a brisk winter here in Orlando, in fact today started out at 37F! It's no supprise to me that lately Miami hasn't been the sun splashed metropolis that Burn Notice and CSI have made it out to be. Great work Mike! If you don't have stock in White Pants then it must be in BTS videos. Never a dull moment on a hip-hop set it seems. I may be coming your way for a production in a few weeks. If so, we should grab a drink..

Canon 5D to light for flyer that addresses your weight problem...if you have any questions specific to the 7D, search for any of the seemingly endless topics already on here. I can think of a few off hand that address the video output..

Charles and I have had this same lens discussion in another thread, but he his right. The Bartech seems the only way to keep your sanity while pulling focus with these lenses. Once you (very carefully) set the end points of the motor, you can transfer the markings to the BFD's ring and you're in business. If you go past a mark, you might as well start calibration all over again because everything will shift. It's the 2nd worst focus setup next to the HVX endless spinning, no markings, prosumer cameras..

Hi Mike With the Canon 70-200mm f2.8 lens on this rig, it must have been a challenge for your focus puller? :blink: Cheers Norbert :) It was only for a commercial, so the usable portions of shots that we needed were minimal. But you are right in assuming it was a nightmare for the focus puller. I tried to keep moves simple for him. They really could have gotten away with a dolly for 70% of the shots.

Notice the 4"x1" steel stock that I had cut to a 10" length. I did my own machining, but the jist of it is alternated 1/4-20 and 3/8-16 threaded holes all down it's length with a Manfrotto quick release adapter plate on top.. Comes out to about 12lbs..

Robert, First off, welcome to the forum. I'll be the first (but probably not the last) to remind you that you must use your full name on this forum.. On to your question: On my way out of a university in Michigan when I started operating steadicam and they started doing inhouse jumbotron productions. We started our arsenal out with 4 DVX100's and 2 HVX200's, though you could be describing any number of Panasonic P2 cameras. I have flown the camwave on the above mentioned Panasonic cameras for a live stream to the Jumbotron, but I have a Flyer LE which seems to have a capacity that spans beyond what Tiffen says it will hold. Even with a ENG bodied P2 camera, I still disagree with Emre that it will be too heavy for the old Flyer. I rented a friend's Flyer when my LE was on another shoot, and I managed to fly a Sony EX1, Letus35, 70mm canon lens, zacuto rails system, zacuto mattebox, Bartech w/ M-One motor, and a 2.5lb steel counterweight on the top with the SD monitor and 2 PowerCubes on the bottom. That far exceeds a bare ENG bodied camera with a camwave (as long as you run everything off the onboard batteries). Where there's a will, there's a way my man!

Let me use this short story to explain the situation Markus is describing: I own a Flyer LE, which is a lightweight rig (not nearly as light as the Merlin). I have been operating it for 2yrs with a large variety of cameras. Everybody at the Golf Channel loves my work over what other operaters have done for them. When other operators are in the studio, I tend to let them fly my setup. The usual responses are as follows: OPERATOR) how do you keep this steady, it's so light! DIRECTORS) do it the way Mike does it! Touch and experience is everything with these light rigs. Just because an operator has experience with the biggest, most inert PRO or Ultra2 rig doesn't necessarliy mean they are going to produce good footage on a Flyer/Pilot/Merlin. IMO, the Merlin has no place in the professional market, though it doesn't sound like you need a professional product (just something a little better than normal).

Apparently Michael Nelson left his account logged into this exact studio imac last time he was in the Golf Channel studios...that was actually me that posted above.. So Mike, if you're wondering why you get email notifications of this topic...you're welcome :lol:

I don't know that I've ever posted pictures, but I have made mention OF it. So here it is: I'm using it right now to run multiple Litepanels MiniPlus at the Golf Channel. In the past it has allowed me to run my Bartech, wireless video, and the camera of choice all at once. I always have a PTap cable for all my accessories, plus I'll usually have a backup in the flavor of 4-pin XLR or my sled's 3-pin LEMO..