William Demeritt

I brought up cost as a final point because the preceding two points are more important to me. We weigh cost against usefulness and determine if what we perceive as excessive cost is worth it, considering the benefits. - How does this device outperform the Alexa built-in iris rods? - What does it do that those rods do not? - How is it "ideal for handheld and Steadicam configurations"? (like I said, why is it ideal to mount the lens motors at a top-most point on the camera, raising the center of gravity further from my gimbal?) To me, if there's a fatal flaw in the Arri Alexa that this device saves us from, then a 295 euro price tag is justified. If this is just a backup device in the event the Alexa's iris rods, and my dovetail lens motor support rods, don't fit the bill, then the price is harder to justify. I can appreciate that the individual making these has a dedication to quality and precision that rivals none, but I don't yet see the connection that makes me reach for my wallet. I think I started looking at it in dollars, because that's where my currency is being converted from (at an additional fee).

Forgive me, I've only played with the Alexa once, but out of curiosity: why buy a motor bracket when the camera itself has built in iris rod support? In my recollection, the lower iris rods built into the Alexa body are in good position for motors, but still clear of the handles in handheld configuration. As far as Steadicam, why replace lower iris rods with a top-mounted rod that raises the center of gravity for the whole configuration? Also, as for the price, 295 euro or ~$408. I don't know much about machining prices, but let's compare: a 6inch arm post (anodized aluminum) from GPI costs ~$30, and your motor bracket is just under 5 inches. So, you mean the 3/8" 1/2" long socket cap screw plus the aluminum housing it with two small steel pins cost $365 for parts and labor? Since the parts would probably cost $15 max, that must be $350 worth of precision work.

I came from doing G&E, so I still take that kind of work whenever I'm free. It's nice to be on set in another capacity, keeps my perspective fresh when doing Steadicam.

Last night, I was browsing the internet in a post-Steadicam day daze (lots of lock offs, so my brain needed to soak some new info), and came across a newer technology called WHDI. Simply: HD wireless sharing (broadcasting/receiving) from an HDMI enabled source to an HDMI enabled receiver. Then, I discovered this company AMIMON's newly announced prototype for their "WHDI Stick". http://www.whdi.org/News/showPR.php?pr_20101005 http://www.engadget.com/2010/10/05/amimon-crams-1080p-wireless-streaming-into-its-whdi-stick-has-t/ Reviewing the technology, not just of this "stick" but also of the AMIMON chips themselves, which has a proposed 100 foot broadcast distance (I think they're assuming that's with walls and obstructions) and approx. 1ms of lag. The devices themselves seem to utilize dynamic frequency selection, so the chips themselves will already try to fight interference. Also, they seem to require 5 volts at 2 amps, and an estimated street price of the "stick" is $150 (nobody specifically says for a pair, or per stick, or price difference in tx or rx "sticks"). I'm sure it will require getting the actual devices for testing in our applications, but some operators have previously said that for their needs, wireless monitoring and video solutions need not go more than 100'. Assuming you can build some custom wiring for your sled to power the device (LEMO to mini-USB with a voltage regulator to give 5v out), I'm wondering if this is a good solution in the near future. Wiring: $200 (estimating and being very liberal) 2x WHDI "Sticks": $300 Decimator 2: $495 AJA HA5 (HDMI to HD-SDI converter): $490 TOTAL COST: $1,485.00 (before tax, based on approximate values) Price comparison of uncompressed HD transmission solutions: WHDI Stick based solution: $1,485.00 Titan HD Wireless: $11,502.97 (more range of course) CamWave: $5,298.00 Just thinking out loud, but it seems like an interesting possibility. What are your thoughts? DISCLAIMER: I don't work for this company, nor am I in any way affiliated with this company.

I know the meeting you're referring to, but keep in mind, many of us have also had numerous meetings in the last 2 months. Strange, I do recall having a PM conversation with you, but you wanted to keep the discussion online since our "circle" (which includes Brian and Jess) didn't include any "heavy hitters"? Meanwhile, I think we have over a dozen operators (some owners, some just operators) in frequent communication with each other, all quoting the same rates to the same producers, all sharing work when one of us is booked. Maybe we're not doing EVERYTHING the "heavy hitters" do, but I'd say our tactics of frequent, open communication between fellow ops is serving us well. I think Steadicam still is a small world, but the industry has grown significantly (vertically with bigger shows, and horizontally with more indie jobs). Our "small world" was bound to grow. Sure, our market is becoming saturated with overnight Steadicam owners, but in my opinion: what does that have to do with my business? My clients are happy with me, and I look forward to working with them again. The clients you want should know quality from garbage. If they just want the lowest bidder, then they'll get what they paid for. Personally, I don't want to be the guy whose pissed off at everyone else for the way they run (or run down) their business. I want to be the guy clients want to go to because I've proven my worth. I'll stay competitive, but I still gotta bid jobs as what's right and fair. Too low? Don't take it. If they're pinching pennies for the bottom floor lowest bid, chances are they don't know what they're shopping for anyway. I honestly think your cynicism is painting a VERY strong picture of you on the forums, one that may come back to haunt you. I haven't even met you yet, and I find myself battling a negative mental image of you. All the more reason why rates discussions, venting, frustrations, rants et al belong in person, over some libations and unhealthy food. If you're frustrated, and believe me, we ALL are, give me/us a call. Let's go grab some wings and beers and talk this crap out. I got a list of over a dozen fellow ops who'd LOVE to commiserate over this!

That planet must have a moon called "Let's just shoot the rehearsal!"

You're going to have a lot of trouble flying a RED with a "large zoom" on a Flyer. Just the words "RED" and "large zoom" already sounds overweight for a Flyer.

You guys in NYC should really extend a hand to him. I actually know Kyle from college, and I know he's a good guy. He just made the move to NYC permanently, he's probably just trying to work the Craigslist circuit to get some more footage (on his back, unfortunately). He's also a member here.

I'm trying to figure out just what he's trying to achieve here... maybe I'll ask him.

Read through Craigslist... lots of people reply to posts asking ridiculous rates with "Are you kidding me!?" Those are posted all the time. Now, imagine how many legit responses you'll get! Go give it a try, it's a strange blend of depressing and funny. "Of course I'll come fly Steadicam for 17 hours with no breaks for $250/day. I don't know you, I don't owe you anything, but you seem legit!"

Refer them to me if you don't want that job. I love saying things in person like: "No, the terms of my rental agreement clearly state that myself or another person I authorize are the only people to operate my equipment," and "Yes, you're still responsible for paying my invoice." Did you get paid? Did you operate? Did you take something home more than just money (set experience, business experience, demo reel material, just one, all three)? I'd say that's a great way to start your operating career. EDIT: Also, I'm sure someone, somewhere, has in fact worked for complete idiots.

With Craigslist, you'll learn (the hard way) all the things you need to ask and double check with certain types of productions which you'd probably just assume anywhere else (in the professional world). These things include: 12 hour day (or less) Production insurance (not just gear insurance, but injury insurance) Overtime agreements Reasonable payment terms Limitations of Steadicam or shots expected with Steadicam ("We need to jump from the fence...") Meals and craft services Expectations ("Can you help light when you're not shooting? We'd like to have an extra set of hands.")

Just use the acronym IASMMCAOTPAINFOOMCL next time.

Just as a thought for the car situation: maybe consider getting a Zipcar account? Make quick rentals, go pick up your car, use it for the time period you reserve and return it. Gas and insurance are included in the price. That offers flexibility for when you just need a car for a gig one day, but can make other arrangements another day. Prices are pretty low as well, as far as hourly or daily rates go.

Just relax, it won't hurt after the first couple minutes ;) If you already know some of the shots, you're already ahead of the game. Brush up your skills (or at least your reading) on dynamic balance, if only knowing how to approximate it with the sled you'll have. First job: have fun with it, smile, don't take too long or second guess yourself with anything, and most importantly: COMPOSITION COMPOSITION COMPOSITION.

Something to consider: 1. That operator is standing on his right foot for some reason, maybe tiptoes on his left foot to maintain that position... or... 2. The operator is standing on both feet, square to the photographer, and the post is actually several degrees pitched left. If this is true, it's actually advertising that the device doesn't work. That leads me to believe they adjusted the photograph in Photoshop to make the post vertical, leading back to option 1's bizarre posture. Oh well. Someone will buy it, and 6 months from now, some low budget film will chastise me for not having that gear in my kit after someone had it on another shoot. Vicious cycle, I tell you...

Cool, now I know the Spanish ops' rates! Time to undercut! I'll even fly myself to Spain!

I think this statement is contrary to good operating. As the caretaker of the vision the director is entrusting to you, I think it becomes my job to quickly tell people what needs to be fixed. If I notice problems, I mention them immediately. If the problems are ignored, or impossible to correct, I suggest ways to fix them (add a beat to the actor's movement, give a reason to recompose, motivate from somewhere else, etc). Ultimately, I don't see recommendations for things that need to change in order to successfully execute a shot as things that "slow down" production. Everyone on set has a common purpose: get the shots needed. That work needs to take place, and it's a lucky day when you never need to change anything from take to take. Assert yourself, tell them early and quickly what needs to change to fix the shot. You're the caretaker, so it's your responsibility to spot when lights are hung too close to the shot, the trucks are visible, maybe the extras need to find another staging area for this shot, etc. If they are absolutely unwilling to make the changes, then go ahead and do the shot, and you'll do your best to fix it. As for "seemingly unplanned, unprepared-for shots", that's when you still gotta be on point. Some of the coolest shots I've done were sudden ideas. Encourage that kind of collaboration, and offer easy ways to make the shot go smoothly. Stay on set, know the blocking, interact with your G&E brothers early when you see a dangerous light, etc. Lastly, some directors are just small, frustrated bundles of energy, and they want to get you on the same page. My mantra: "what's your action and your cut for this scene?" I've had directors try to race ahead and explain the blocking of the entire scene, and compress 3 scenes into one description of camera movement. Just bring them back: "Ok, we'll get to that, but I really want to make sure we have this scene blocked. So, here's my 1, I move, turn, come around and land here, step forward, lock off for the dialogue and you say cut. Right? OK, that's one scene, now what's next?..."

Peter, I have a PRO monitor on my sled, which is smaller than the 8.4" UltraBrite2 HD monitor's screen I used to operate off. When I say "compact size monitor", I mean that with a smaller screen size, my eyes can more quickly scan over surface area of the screen (and comprehend the image) than on a larger screen. I already feel like I am absorbing more information as I operate on the PRO monitor, since I can recall more elements throughout the take. I guess I'm OK with a smaller image, as I like being able to comprehend the entire frame at a quick glance, especially when my eyes glance away to check my marks and surroundings and then come back to operating. I just flew the RED framing 2.40:1 on a short film Monday, and even with the 4:3 PRO, I felt fine operating. Try out someone else's monitor, see how it feels?

As an iPhone junkie, I've started using Bento to manage this information when away from my computer. I had fields for everything, plus who referred me job, rates, notes and dates. Thanks to the iPhone, I can talk while filling out the fields. Bento is essentially a personal database app, where you create the fields of the database, enter the info, can link to other databases, etc. Made by Filemaker. Further, there's a powerful desktop client (also called Bento) which syncs with the app. From there, I can sync to iCal and address book. On the desktop client, I can also attach PDF docs to track call sheets, etc.

Is this item still for sale?

Since I started, I had operated off an HD UltraBrite2 monitor. Now, I fly a PRO2 with the PRO monitor, and I must say I absolutely LOVE the green screen monitor. I get a lot of questions and comments: "Why do you have the green monitor?", "Why don't you have an LCD?", or my favorite "It's only standard def? So it's not compatible with the RED?" (I prefer to think the RED isn't compatible with it, Decimator fixes that problem). I have to say, the PRO monitor new has a huge price shock. Further, it eats through my batteries like mad. However, I have absolutely fallen for operating off it. The image is compact, so I need not scan a huge surface area, checking corners and watching for other elements. In full daylight, I can still see the image without additional shading. I guess what makes a good monitor for me is versatility, battery life, image size (how big of a screen do I really need?), brightness, how it interacts with my sled (balancing and operating, both off the monitor and functioning as an element of my sled).

I live in North Hollwood / Burbank, have Blue Shield CA dental PPO. Can anyone refer me to a competent dentist somewhere nearby? Preferably someone you or your friends/loved ones go too and can vouch they do quality work? Many thanks in advance!

You may not know any other operators well enough to borrow rigs to practice, but we're all eager to practice with someone in a larger group or practice session. Try and get in touch with other operators in your area, ask if you can come to their practice sessions, and maybe someone will let you fly their rig. If you don't have a vest, that may make it problematic, but who knows. Lots of generous people out there!

Brad, Just a few quick questions: does your sled have an SD or HD monitor? What kind of rig do you have, actually? If you have an HD monitor, then yes you'll need an HDMI to HDSDI converter. The 7D has a "mini" HDMI port, so make sure you have a mini-HDMI to HDMI cable. If you have an SD monitor, then make sure you have the AV breakout cable (one end looks like a mini-USB plug, other end is composite video/audio (yellow RCA plug). Get a female RCA to male BNC connector, and you'll be OK. Wouldn't hurt to have a backup cable, or even own one, they sell for $20 online. The 7D has a camera shut-off feature that usually annoys me to no end. If you set it to more than 5 minutes, you'll burn through batteries and possibly overheat the camera (if you're exterior). If you set it to 30 seconds - 2 minutes, you'll be rehearsing and the camera will shut off while playing. Make sure you have plenty of spare camera batteries and chargers. If you're just using still lenses, make sure you have lens gears so your follow focus will spin the lens. What sort of equipment will you have for the camera? Beware of matteboxes and iris rods that are flimsy plastic and mate to the 7D base. I've found they're incredibly weak, and if the lenses have any stiffness to the focus ring at all, the motor will push the lens and camera away.