John Buzz Moyer

Jamie, If Jerry needs his Modulus back, we have a couple back ups over here on the truck we could send your way. John "Buzz" Moyer (shooting in New Orleans on a stage kept at 57 degrees...)

Master Series Sled for Sale... Asking 18,000 US Email me for complete details and photos. John "Buzz" Moyer

Selling four master batteries. Two are newly recelled from Tiffen. The other two were recelled two years ago. I haven't used them for two years since I changed to Anton Bauer's. I just want to get rid of them...asking $ 1750 with a very old but still very working PAG single charger. Contact me at jbuzzmo@comcast.net Thanks

Sorry I forgot to mention that the steadicam was hard mounted to the platform with a garfield mount. JBM

...It was, in fact, a bike modified specifically for use as a camera platform. We were rehearsing a shot involving two sharp turns. The first turn had an oil slick, and because it was a night shot no one was aware. It all happened very fast which only stresses the importance of knowing the situation you are about to operate... Steve Holladay was on the second unit while this shot was on the first unit with another bike and a different driver. Steve is all that everyone has said... on learning of this "close call", he and the stunt coordinator spoke up to production and reinforced continued safety for both units for the duration of the job. If you don't feel safe or have any doubts....don't do it. We all want to do our best work for a production, just be safe about it.... Buzz

Just a thought from a guy who operated on a FAST AND FURIOUS type of movie....Think twice before getting on a motorcycle with a Steadicam...without getting into detail it was not an experience I will repeat. JBM

I too had many offers like this regarding a car I recently posted to sell on a web site.

We had a flash back scene to shoot that the director wanted to use infra red film. We had the pressure plate modified for the thickness difference from the chosen stock on the platinum (the B camera). At that time the plate was modified, there were no shots requiring steadicam to be in infrared. On that cold (10-15 degrees) and damp night, it was decided to shoot a steadicam shot at a base 6 frames per second with a portrait lens, and random speed changes at chosen times. The location was an old concrete plant roughly three acres in size with a 60 foot shear shale wall on one side. The talent was in a pick up truck roughly 20 foot from the base of the wall in the center of the enormous space. This allowed the shot to arc in wide passes and aproach the driver from long distances. Because of the slow speed I was concerned with steadiness when it was projected at normal speed so.. on went the gyros (k-4's). My preston sysytem was not one that could do the required speed change so...on went the fitzac ( with the required motors). The only interface ( in resonable time) for the Master to panavision mount ( fx later made up a wonderful piece for me) was the auto base (not light). Realizing that 6 frames a second is 4 times slower than normal speed, I was in for a llllonnng continuos take with quite alot of additional weight. I think we did four passes, each pass was roughly four minutes requiring continuous usable footage. If it weren't for a long time friend and Grip who literally held me up for the eternal lock off at the end of each pass, I would have collapsed in embarrassment and shame. The reward was seeing the entire shot in the theatre, although cut up a little for suspence and intrigue ( we all need that in our movies). I don't really know the full weight, but I suspect someone will figure it out. My master arm was at its max setting and I had to use some surgical tubing wrapped around the bones on the upper arm to give a little more support. Thanks for reading... Buzz