John Buzz Moyer

And a Model 1 Low Mode...circa 1988 .....Mullet and 4 day facial hair, nnnice.

Back in the days of 6 foot multi core cable to guy carrying a 3/4 inch deck off of his shoulders.....My Model 2 sniffle, sniffle.... Oh how I miss thee ...okay not really.

Brings back memory's...Mullet, Glove, bright blue shorts, 32pitch delrin gear strip with hose clamp, modified 2 sled.... I did love the camera though..

Mark, It is unfortunate that people are selling the AR systems. As you know, the topic of AR has been discussed and debated for quite a few pages on the forum. I can answer a few of your questions, although etc. may be a little challenging. Based on my experience as an owner since May of 2006, I have found that the AR is not understood by many people who are paying for it. A situation on a film I did last summer arose that limited access to a technocrane on a set. The boarded shots were based on the ability to "easily" move walls and place the crane outside to move in an around the actors freely. It was discovered that the set was not as easily maneuvered and the AR was a reasonable option. The cost was not an issue as the company had budgeted for addition equipment for those days. The Producers were then made aware of its benefits through seeing it in use. I belief that job could be qualified as a high end production, so to answer that question... yes. The AR was used for specific shots that were boarded, most of which required stepping on and off a dolly rigged with a mountable platform on the arm, hidden off screen until the last minute.... so yes, they were specific shots. The AR allowed me to pass the camera over set pieces, then continue past actors connecting dialogue between them. The set was a multi tiered floor plan from Hell....so to keep the camera moving in limited space without a technocrane...the AR proved a worthy item. Feeling very alone now in this statement, I have not had gliches, issues, or failures that could not be easily remedied. I have not had any "major" failures, and support from MK-V has been great. I am currently using it on a film, and will again use it on an ice rink on Monday. Furthermore, the D.P.'s for the next 2 films I'm involved are Boarding shots that are designed for the AR. Again, I feel alone in saying I am working steadily with the system. The shots require precise starts...middles... and ends, which is the challenge of operating Steadicam. The AR adds another set of challenges, and for me, its been satisfying.... John "Buzz" Moyer

From the front

Another Red Camera usage....I too had the opportunity to use the Red for an indy film the other day. We were strapped for time so I didn't get a chance to put it in the AR, but considering the size and balance of the camera it seemed very feasible. Only a few of the output connectors were functioning, and there was no eyepiece. At one point, the camera (rolled out) and a large red "X" appeared on the monitor with a friendly reminder that the card was full. We had a down converter which I powered off the sled as there was no appropriate cable to connect to the camera. Running the camera was a push of one of the buttons, a remote activation opportunity in still in the works. The video output connector are something I'm not familiar with, I assumed they would be BNC but were not. The cables from the camera were connected to a break out box that was BNC. If the photos posted, you can see a quick "ugly" rigging that was more "function as fast as can be" not "pretty as can be". The image from the RED was fantastic....I'm sure it will be a great option for cameramen in the future... J "Buzz" Moyer

Is anyone using the Mod Quad yet...

4Pin 0B Lemo PWR/VID Pin 1 = GND Pin 2 = +12V Pin 3 = Video Pin 4 = Video Gnd I believe this is it...

Nicola Pecorini is also blind in one eye...I worked with him as an assistant mid 80's and he never let it become an issue. He ran up three flights of narrow stairs backwards with a Bl 3 and ran back down and didi it again...

Say Hello to Scott Eddo for me...you can pass on my E mail address as well... Buzz

I seem to remember drawing a square with a grease pencil somewhere in the middle of frame and being told to "keep it in there or it won't be comfortable to watch." , and yes...heavy was the main feature that day.

Why not?

Will, I can say quickly that the XL was stuck in there and the MDR was velcroed on...plus the cinetape and motors in about 10 minutes...that was the first time we ever had the that camera in there. To be honest, I didn't take the belt off and do the "real" trim ever... It just worked perfectly anyway. I guess if something wasn't working I would have taken the time to balance the CG and the side to side in the AR cage more precisely, but it wasn't an issue. The hardest part was getting the cables to a nodal point off the back of the mag. I used some old 1/2 inch focus rods and a dog bone to make it work. I used the throat extension to get the camera more forward for the lens motors to have plenty of clearance. Like I said before, it worked flawlessly. The MDR was on the door side (Brian my good buddy and first assistant didn't mind at all for reloads) and the motor side was right up against the ring on the other side. We powered the Fiz off the camera. The modulus is stuck on the bottom of the rig...I haven't seen any problem with interference yet with a low to high mode transition. Cables are whatever Howard gives standard with the system and have worked with the 235, LT, and XL. I've had the nexus system for a year and a half now and got the AR in April. I used Mike O'Shea's AR system on a job last february and he was quite a help in getting me on track. Howard and Chris spent time with me at Universal with some pointers as well...it was nice to do some shots that those guys admittedly were impressed with... I'll get to the other particulars hopefully this weekend for you...I don't have specifics of measurements but I think I can forward some pictures when I get home for next weekend... JBM

Will...that's alot of info...we can talk it out when you get back... Good Luck in Morocco... John "Buzz" Moyer

Will, I'll be happy to talk to you and anyone else with questions about the AR. I've been very busy since April and will continue to be so until mid December. I really don't have the time to post all of my thoughts about and experience with the AR to be honest. I've have had quite alot of success with the system (Arri LT, 235 and Panavision XL). You can see it used in a trailer for the film "Norbit" on many different web sites. It's the shot with the lemonade stand. I'm currently using the Viper system and will at some point stick it in the thing to see if it will work as well as it did with everything else. The fiber cable will be interesting but it should work fine. I have quite a few shots of me with Arri LT and the 235 that I promised to get to Howard for the web site but I just haven't been home long enough to deal with it. One picture shows that I had a pan axis gyro with the AR that I used to reduce wandering during a long vfx pov shot. I recently used the AR on a process trailer, walking around a Motorcycle with two actors. Then went on to the front of the insert car for tracking shots over their shoulder then down to 3 inches off the ground. I was very surprised at how the Ar reduced the all too common wind effects from such a position. Yes, mounting all the crap is a pain, but it's nothing that can't be dealt with in my opinion. I've had only the need for 2 motors and has success mounting the mdr to the camera with velcro. No it didn't come off and jam anything...just push on it hard...it was fine. I made it clear to everyone on the set that with this equipment, we may need some extra time, but fortunately up to this point I've had great success, and the crew that I've been with for some time as well as some day players, took it to task and we all made it happen with limited to no delay. As far as balance top to bottom, I used a large brick on the bottom and two hytrons for the 235 and this allowed a large amount of gimbal to top stage clearance. I found the over all weight equivalent to a sled with a compact on it. The LT and XT however does require a slightly longer post to get more clearance and I don't use the big brick for weight , I use 3 hytrons and just bend over more and push down. Yes, it's heavy, but because you can shoot across your body I found it less tiring to operate than standard off to the side mode. Like I said, If you want to talk about the AR, you can call me. I'm not a salesman, I'm just an operator making a living. The AR seemed to be a great thing to figure out...I find myself thinking of different shots to do. I've been lucky to have a few D.P. 's and Directors embrace it and use it on their movies. It is new for sure, and there will are alot of things to figure out, but I think as talented a group of people we are, who else better to do it. Thanks, John "Buzz" Moyer

Good one Mate.... :D

Clairmont makes a dovetail plate that attaches directly to the camera. I've asked the possibilty of having one made for me and alas I never followed through with the request. Maybe if enough folks inquire they would make a run of them. I'll see if I can get a photo...I'm sure by the time I get to it someone else will have done it.

So what's the answer Jerry. I fought the change over to the back mounted vest until recently and now that I've used it daily for the last couple of months I hate to think about going back. I recently had my Master arm (#12 or so) rebuild and it has been flawless...But I'm concerned about you findings...please let us know as you progress. Thanks, John "Buzz" Moyer

Congratulations Mate!...Well Done.

Get a cooler and some hot water bottles...have the loader go to craft service and get hot water for them. Keep your batteries in the cooler with the bottles and they will stay very toasty. John "Buzz" moyer Pittsburgh Pa.

When can I try it out...? John "Buzz" Moyer jbuzzmo@comcast.net

I'm just Gonna throw this out, but did you make sure the antenna was on the video output BNC....I know.....Of course you did, but I've done that before. John "Buzz" Moyer

Sorry, dinner... I haven't made significant modifications to the sled over the years. I added a collar on the post for a Gyro mount and had a bracket made for an lcd monitor. I changed to Anton Bauer batteries a few years ago instead of the CP type. I still hear from the assistants..."You mean there's only one battery...jeez I'm used to having to deal with nine or so..." I think you make of it what you will, everyone lives in a different house. I chose to go with C.P. back then...they were good to me over the years and the equipment never failed me (well almost never). When it did go wrong they were there to take care of the problem. The Master Series is a quality piece of equipment and I will always appreciate what it has allowed me to do in my career. I also anticipate the continued support and improvements by Tiffen and look forward to all manufacturers improving the state of the art in what we all know as Steadicam.... John "Buzz" Moyer

I've owned a Master Series for 10 years. When I first saw it on the cover of one of the old Steadicam newsletters, I would lie in bed staring at it, dreaming of the possibilites. At the time my trusty modified model 2, was becoming less than trusty and it was time for a change. I remember the day she arrived...it was a cool Fall day, okay...you get the point. It was a far cry better than the model 2, so that was what I was comparing it to. The remote trim was very helpful as I was regularly using a BL2 and 3. The monitor was much brighter and bigger than the model 2 screen. Having 24 volts on board as a production unit was new for CP and was very reliable and effective (although later with the 435 it became an issue solved by adding an additional battery in place of the converter). The extendable post was great for low mode for us tall people. The spin balance was easily achieved by increasing or decreasing the battery mount or the monitor mount. to be continued John "Buzz" Moyer

I must say, the duration of the shot is impressive. Walking uphill without a steadicam for that long is something many people find aerobic and do as a daily ritual to shed unwanted pounds. Basically, I think this is a good exercise in exercise. If you are not familiar with the basics of operating, walking uphill for 10 minutes behind a guy is not a bad thing. As far as peeking interest cinematically...well, we all wonder why editors cut and paste a perfectly good oner and why much of our finest work goes the land of avid trash, but in this case I can't argue with the decision. You've got a great tool and you can do great things with it. It ultimately comes down to telling a story... with a beginning, a middle and an end. Technically the move was fine, if the story is titled: "A guys back as he walks up a hill to a house". If you change the title to: "A guy of varying sizes and angles walking to a house because he is worried", then not only will the shot be more interesting, you're operating will improve, based on the complexity of the move you have to design to tell the story. Good Luck John "Buzz" Moyer