michael carstensen

Jerry i would Like to see what you guys did with the "Peg Leg" Sounds like a We could have a resurgence of something great

Adi - I should have called you man haha. Ja I have a cage that I can put a light camera in and it's better than bendy knee steadicam. The problem is there is vibration so they are either unhappy with low mode or unhappy with vibration. But I would love to see what you have Adi

Thanks Jess and Jens. Its annoying not being able to feel like you have nailed a shot. Most of the time you are running after a director trying to show you a shot on his new iphone. Thanks for the replies

Calling on the Greats... I'm struggling with Super Low mode. In an ideal world I can get the lens height about 50cm ( 19inches) off the ground. When shooting with the Red Epic on the last 3 commercials I have had to put the camera on the deck. POV of a dog or a soccer ball or a lawnmower. After setting up the shot it's usually the Director wanting to go lower lower lower - so I move my gimbal right up drop my arm post take off my shoes ... Anything to just get the lens inbetween the blades of grass. Sometimes asking for a tighter lens helps but it doesn't always fly with the powers that be. I only have a 2 stage post, I don't have the spare cash for a superpost and I fly an Italian rig called a UniSteadicam that is in its build quite similar to PRO but with a 1,7" post. Somedays I have had to hard-mount her onto a desert dolly with my Garfield mount, I can go as low as the soil but it hampers your operating and you can't run around the set like a dog/cat/soccer ball. If you guys have any tips I could look at, I have a low mode cage but I'm looking for a comfortable way to work and still delivering what they want. Thanks for your time

Well that could save me a few dollars thanks Victor. I just like the idea of having the show and my live picture together. We shoot a lot of live music and it's nice to be able to play off the other operators frames as you mix from static to steadicam. But having said that acetate is not a bad idea too.

Thanks Harris It's just a reference so that should work well.

Hi guys I'm on a live TV breakfast show here in Cape Town South Africa and I am currently flying with a trusty little green screen Marrel monitor ( as we broadcast an analogue signal in South Africa ). I want to pair this with a relatively inexpensive small 3" to 5" monitor to get a return - saves having to flip the screen during live to see bugs and strap positions. Any of you doing something similar - would love to see what you are using as a "return screen" Thanks so much Michael Carstensen

Thanks Peter I have the screw top type. I will take it up with manufacturer as you say

Thanks for all the help guys

@Eric Its exactly what Jens said, Its sort of a mash up between an EFP with a modernised batery hanger, The Gimbal is 3A (stand to be corrected) @ Janice. I think you hit the nail on the head there, travelling to the location was a super bumpy road, I think thats a great thing to check next time It happens. Is it something I can try "seat" whilst on the post? Im guessing not. Its really not a nice thing to happen on set. @Victor Thanks Victor haha vagisil why didnt I think of that???

Hi Peeps I recently did a daily on a feature in a very arid part of the Northern Cape in South Africa that was incredibly Hot and quite dusty. I was given all of 10min with the camera (Millenium XL) and I had to hike my gear up the side of a mountain where we were gonna shoot. I got to the top poped the camera onto my rig did a quick balance... but something just didnt feel great and in the rush of trying to do all of this under a minute because they were behind schedule It felt as if there was a gyro attached to my rig and the Gimbal was as stiff as a donkey. My conclusion is that there must have been some dust that crept into the gymbal and jammed the bearing, but now im stuck everyone is ready to shoot and I have to man handle the rig, instead of letting the gimbal do the work. After 3 or 4 takes I had to tell the DP and he seemed uninterested. How do I stop this from happening in future? I could make sure I cover the gimbal somehow or take it apart and clean it every-time but what a mission? What do you guys do in such a situation? Has it ever happened to you? As soon as I swung over to Low Mode she behaved and there was a massive sigh of relief but since then I have cleaned her up and im just waiting for the day it happens again. Help?

Try Do That With a 435 haha Nice try... needs more Red Bull

Thank you so much guys Im super interested in using the iPad, I see you can actually control the app with your iphone... wow its pretty incredible. Thanks for all your help its very much appreciated. Have a fantastic Easter and all the best wishes from Cape Town SA Michael

Thanks James Thats the sort of thing I need, If I can get the budget Check this out... I love Apple, but when you can do this it just boggles my mind http://www.autocue.com/prompter-iPad%20Straight-Read

Hi Peeps I just started a new TV show that runs a pre-recorded show once a week. While we go through teething problems in the format of shooting the show, the producers asked me if I could mount the Auto-cue to my rig... Of course I said I will give it a bash, but unfortunately its about as heavy as a SI2K mini 3D rig the camera sits a good 3 inches off the back of my rig and is too badly configured with the Autocue bracket that It just wont balance let alone make drop time... just too top heavy My question to the Forum is do you know of any makes of AutoCue out there that I could look at rigging up. Its a case of doing the right research - The monitor on our Autocue is 22 inches and I feel there must be a smaller solution to the monitor firstly and maybe there is a bracket I could design. But if anyone has had the same problem I could do with the knowledge. Thanks For your time guys. Michael Carstensen

Its such a tight Space and we have to run around so much, I really have to just hold on tight until the credits roll. No place for the stand, there is however a rather neatly placed butchers block they use in the kitchen set that I rest on and my assistant is there to hold on for me until we hit the floor running after the commercial break. Catch up with you next week Rich

Amazing Thanks so much for your help, Its a good thing I have your book Jerry. :) Alfeo and Rob too, thanks, I will check to see if I can get a jumper here in SA. Really appreciate guys, Thank You Mike

Hi Guys I just started this Breakfast show, it goes live on air at 05:30 every morning and goes off air at about 07:30. I dont usually do TV, but at this point in time work is work. So I have the rig on for the full two hours and try and sneak a break and rest the rig with my assistant every chance I get. Somedays I am broken and somedays I feel stronger. The other problem, per say, is that we shoot in a loft style building on the top floor and because the show is so new they dont have budget for any fancy Transmitters, so I have this Tri-ax cable from the pits of a dark place attached to the camera. My question to the forum is: 1.Is there a way to operate and make this cable my friend, I have heard of holding the cable with the same hand as I hold the gimble, restricting the cable from, throwing my balance off... But I found that uncomfortable too for some reason. 2. Preserving energy, I know its best to keep the rig as close to you at all times... is there anything else? I hope you can help, thanks so much Michael Carstensen Cape Town, South Africa

Thanks Afton I will see you guys next summer, if I can save up the dosh. Thanks so much for all the info. All the best Mike

Hi Afton Sorry if this is off the topic, I am quite keen to do a workshop out in the States next year, would you know how I could get hold of any details. I am from Cape Town, South Africa. Thanks so much, all the best