William Demeritt

I would disagree, since my interest in pursuing Steadicam wasn't just an infatuation I developed looking at photos of operators wearing their rigs, nor something I developed watching my first Steadicam operator work. Granted, I hadn't worked in the industry for long (I'm still probably a baby), but I had gone through film school, graduated as a DP, interned at Panavision Florida, and operated on student projects (film and digital). Everything came together when I simply asked a Steadicam operator I was working with (the talented and generous Phil Martinez... it's all his fault!) if I could fly his rig (Clipper 24 with a Panavision Elaine). Only after wearing a rig did I decide where I wanted to be. The investment costs tens of thousands, be it a lightweight rig or a full package. Bigger deal = bigger investment. Compare that cost to a $3,000 week-long workshop. Perhaps even a 1 day Merlin or Pilot workshop costing a fraction of that? Investment isn't always to make you money. Sometimes, it's to save you money by educating you and saving you from making another bad investment. So, I'd offer this option as a strategy: why not contact a Steadicam operator somewhere nearby, and ask to come assist him for a day (for free), and as compensation, he show you the ropes? Let you wear the rig and see if you "catch the bug". Also, in regard to the RED, I just want to remind you that, even in the slimmest configuration that still "works", it's still a heavy camera. The minimum you're looking at is an Archer2 or something comparable with a 20-30lbs payload.

Robert, Are you switching from walking backwards into Don Juan or vice versa? If you perform the switch, and in the action, you find the post is leaning away from you, that makes me think during your switch, you're tipping your body into the direction you're switching. Perhaps this scenario (assuming you operate normal and not goofy): you're operating walking backwards, and begin to switch into Don Juan: 1. you step back a bit further on your right foot. 2. you step back with your left foot, crossing the path of your rig, and the rig is briefly directly in front of you before it's on the "wrong" side of you" (for the direction you're facing). 3. you step back with your right foot and pivot on your left foot. you're now facing 180 degrees from your previous path, and the rig is still facing behind you. During step 2, when you step away with your left foot, you may be pulling the gimbal in the direction of your step for a moment, causing a pendulum effect whereby the rig leans away. Likewise, during step 2, even if your hand was off the gimbal, if you pitch left (direction of the step) then the rig will move left, causing the pendulum effect. Ideally, during the switch, the path of the rig should not change direction or be otherwise influenced, and you should maintain proper operating attitude at all times.

Congratulations, Job! Cheers brother!

How many forklift training videos have you watched? The second half of that video was probably directed by Sam Raimi.

I don't necessarily think the question is "how long is too long?", but rather you should ask "how can I minimize it as much as possible?" Bring your rig to the camera prep and build into all configurations necessary, figure out all the headaches on a day when everyone won't be asking "how long until you're ready?" Build it, remember it, and then build it again on the day.

Hey Kyle, I'm sorry to hear you're having issues with someone not paying, I've been in your situation a few times before. I'm not sure if an all-out "blacklist" will work, but I do think open communication about production companies and agents of those companies failing/refusing to pay is smart. Obviously, people will take their chances if they want to, and I'm not sure if I'd refuse a job simply because another operator claimed nonpayment (unless I trusted the operator, or spoke to him directly). However, would a centralized list of companies whom other operators have struggled to receive payment work? Similar to what you're doing with this thread, but instead of needing to sift through the various threads or search the archives, just one site or subforum? Not sure, just spitballing.

Look for the latest version of an app called "Requiem". When you drop the DRM protected file onto the droplet, it removes the DRM and leaves you with a clean version of the video. For example, if you purchased the m4v file from iTunes, drop it onto the droplet and it removes the DRM and saves it as a separate copy in the same folder. NOTE: keep in mind, Requiem and this method ONLY works on computers AUTHORIZED to play back that particular video or music file (yea, it works on iTunes m4p audio files). The machine you're doing this on must be authorized to play the content you purchased from iTunes. Afton: actually, removal of DRM and copyright protection techniques is a different kind of illegal. Removing DRM is in violation of the Digital Millenium Copyright Act of 1996, which explicitly criminalizes the creation of software that circumvents digital rights management techniques, and also criminalizes the use of any software which circumvents DRM. Copyright law basically forbids unauthorized duplication and transmission of copyrighted materials without the authorization of the copyright holder. When it comes to film/video, the copyright holder authorizes playback via very specific mediums: DVD, VHS, compact disc, cable television, etc. You buy the DVD, you can watch it off that DVD, that's it (supposedly). Basically, every mix tape or CD you've ever made since you were a kid? Yea, illegal. When you make a copy of a DVD you purchased in a store, you're actually breaking both laws; 1) DMCA when you decrypt the CSS encryption that protects DVD's, and 2) copyright law prohibiting unauthorized duplication. Things get funny when you purchase things from iTunes. Some of the music is still protected, even though even Uncle Steve has fought hard to have DRM removed from all music sold on iTunes. When you purchase DRM protected music, you can of course remove the DRM using iTunes' built in CD burning capability. Make an audio CD of any protected music, import it back into iTunes and boom... DRM free music. Seems that everyone hits a loophole where everyone's common sense just doesn't mesh with the letter of the law: "I bought this video from iTunes for the same cost as buying the DVD, why can't I watch it on my WDTV playback device? Or my Zune? Or my Linux computer, my home theater PC, etc?" Basically, the major networks where copyrighted music and movies are traded en masse do not get their videos from iTunes. They get them from standard definition DVD's and Blu-rays. Simply put: the quality of iTunes videos are not up to the standards of the file-sharing community.

Will my GED suffice? I always heard that it was inappropriate to define something with the same word you're defining. Uses the term "steadicam" 23 times (not including title headings). I particularly like this gem: "A career as a steadicam operator is an excellent choice for individuals with a strong interest ... the use of steadicam equipment." Really?

Gets interesting when you honestly lose count and forget the actual take count in the days after the shoot. I did a oner music video last year, and I'm pretty sure we did over 30, almost 40 takes. MANY of the takes were solid (from what I remember), but we were daylight exterior near golden hour, and the sun kept creeping into a new spot where the DP wanted to shoot again. This continued for 3 hours, but it was actually a lot of fun. I learned I will need to practice S-L-O-W moves for the future.

Here's a message to the fellow up-and-coming Los Angeles operators: let's get together! Flashback In March, a bunch of operators got together at Barney's Beanery to do what good Steadicam ops do: drink and talk smack. Well, about a week ago, we held another gathering, only this time it was at my house in North Hollywood. It was a rather huge success, as you can see: Some of the veteran operators have told me before that networking amongst ourselves is a critical part of the Steadicam community, not just online. I've experienced that firsthand in hearing my name mentioned as a referral on a list of names by a few producers. Also, I've seen a small circle forming among some Steadicam operators who I'd now call my friends (Grant Culwell, one of the most generous guys I know; Jerry Franck, my death metal brother in arms; and Brian Freesh... he wears a hat a lot... uhm). As the industry picks up, economy improves, and we all start getting calls for more work, I know I'd love to meet more of you so I can refer you guys some work. The gatherings also give us a chance to discuss what we're seeing on set, make sure we're telling people the same rates, etc. Let's get organized! So, feel free to drop me a line or participate in this thread, and we'll make sure you get invited to the next FNG BBQ. Veteran ops in Los Angeles, you'll be welcome to come as well, we're not exclusive. Here's photos to prove that it did happen.

"Good for sound!" Hahahaha nice!

I do believe the Steadicam Guild is recording the panel discussion.

Great, now I feel self conscious. What's the average Lemo size?

Sometimes, asking a grip to block the wind with a 4x4 double net instead of a flag works better. Similar principle to the Windkiller, but typically available on set. I've also seen a clever grip make one out of an open 4x4 frame and a roll of plastic netting used to block pets from areas of the house.

Understandably so, and I'd probably be inclined to have Afton's device as a backup. Just offering an alternative that fits in your pocket, and can charge while your phone is on, in your pocket with you or sitting on your cart.

I actually bought one of these when Costco carried them almost 2 years ago: http://www.eneloop.info/products/mobile-boosters/with-li-ion-battery.html http://www.amazon.com/gp/offer-listing/B001LWZ4BG/ref=sr_1_1_olp?ie=UTF8&qid=1274377112&sr=8-1&condition=new I personally have the KBC-L2S, which sports a 5000mAh Li-ion battery and two USB ports. Take your iPhone charging cable, plug into the USB, and press the button. I've charged my iPhone from near-dead 3 times before recharging the KBC-L2S. Just other options, I guess?

Funny, how the same reaction transcends language barriers... I was thinking (what I imagine) was the same thing. :blink: Exact same reason I don't care for riding on stand-up rollercoasters anymore.

Everyone seemed pretty impressed with the video, we discussed a few months ago here: http://www.steadicamforum.com/index.php?showtopic=11502 Mike McGowan even contributes a few thoughts on working with his costars. They really seemed quite natural. :P

As with Steadicam, form is everything with squats. I've been doing squats exercises since 2006, and at my max I squatted 315lbs. However, my form was off and I wasn't getting low enough. As a result, I was compensating too much with my lower back, and tweaking things quite a bit. Moral of the story, get someone to teach you proper form for all the weight training exercises you take on, or you could someday hurt yourself quite easily.

As someone afflicted with chronic foot-in-the-mouth disease, this seems like a good practice opportunity for the diplomacy side of our business. You took the rate, so might as well do your best to get everyone on the same page through some cleverness. If you get the feeling your AC cannot eyeball approximate distance, maybe ask him early on: "If you're more comfortable pulling tape to the subject, or eyeballing the focus, let's find a way to take a hot second during camera rehearsal to grab your focus marks. I'll ask for a stop and go rehearsal, and we can grab marks real fast." If your DP lives off the false color, maybe he can get onboard with the stop-and-go rehearsal. Make sure he can see your monitor, and program the user buttons to False Color so you can quickly show him exposure on every beat while your AC grabs marks. This is probably one of those situations where production delays could very easily look like your fault, because you exhausted yourself doing 15 rehearsals before going for a take and you need a moment. Get your AC and DP on your side, so you all find the most efficient solution where you're not exhausted, your DP knows his exposure, and your AC has marks. Sounds like a lemons into lemonade kind of situation. Just remember the DP and AC's names, and next time you are offered a gig with them, remember how open they were to your suggestions, or if they just wanted you to be steadi-sticks.

I've flown the RED on an Archer2 many times, and I'd say RED has a nice "Steadicam mode" if you have the right accessories: - clip-on matte box - power off your sled - remove the RED baseplate, use the top brackets for iris rod support - shoot to CF cards, or get an ET shock mount to clip onto the iris rod and mount the RED drive flat on top of the camera - screw your dovetail directly to the RED body base Every time I've used this configuration, I've flown quite safely on the G-40 arm. If you were OK with having 30lbs as max payload, I'd say check out the Archer2 with the G-50 arm. Or, wait for more information about the new Phantom. Also, I hear Robert Starling is selling his Clipper 24 in the Steadicam Marketplace, you may want to check that out. http://www.steadicamforum.com/index.php?showtopic=11729

I get the feeling that you won't find many film theorists discussing the use of Steadicam, as they tend to analyze the end result of a technical achievement rather than the decision to use that technical device. Everyone has an opinion about personal preference, but those are the technicians in the field, and those opinions usually come from the ease of use as opposed to the screen aesthetic. I doubt you could see the difference between the choice of a Fisher 11 dolly or a Chapman Super Peewee IV. What I'm getting at: I suggest you use the Steadishots.org as a reference for shots in films where you know they're Steadicam, find the ones that resonate with you, and then detail how that shot itself was otherwise impossible to achieve without Steadicam. You're writing a paper about how Steadicam influenced film style, which is itself an enormous dialogue regarding the aesthetic of the moving camera, and the choices made in production.

Forgot to mention, it's a Tiffen HD UltraBRITE monitor. I thought I went through all of the menus trying to locate a way to flip the image. I'll take another look.

I'm wondering if someone out there has come up with a clever solution, or perhaps I'm doing it wrong: How do you flip the monitor for when flying in low mode with the camera upright? I haven't tried pulling the monitor rods out of the bracket, since they're held in place by the locking screw for when folding it up or travel. As of lately, I've removed the screws holding the monitor to the monitor bracket, rotated the monitor to be upright when sled is inverted, and screwed it back in. Requires smaller allen key and too much time, in my opinion. Anyone come up with a simpler solution?