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Ants Martin Vahur

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Posts posted by Ants Martin Vahur

  1. Hi!

     

    Can you guys suggest a good place for Master Film Steadicam service in Europe?

    Aside from the routine service I would also like to have some tune up for the Master vest and fix the Master arm- I noticed last week that forearm's cable inside the arm, that connects the springs has this first phase "twing"- like when you see from a movies, when a character is hanging on a rope and the rope starts losing it's threads "twing" by "twing" until the character falls down- so I have the same thing with my arm. I haven't noticed it before until the last week, so I don't know if it's some months old or one day old, and if it's gonna last for another week or maybe another year- anyways it needs to be fixed, before the last "twing" happens and I get face-smacked with my arm.. ouch..

    And then there are some other tune ups that need to be done.

     

    So has anyone any recommendations where I could send it in EU that has necessary tools and spare parts?

     

    All the best!

    Ants Martin Vahur

     

    Estonia, Europe

  2. I do agree with Ken's calculations. But I also agree with Erik, Sanjay and Jerry..

     

    I myself did this a few weeks ago:

     

     

     

    When I first saw this scaffolding on that Fisher 10 (100x70cm or 38x26inch base) I was almost to say no (somewhat of a safety freak as I am), but then after climbing on it (without the steadicam), hanging on it like a monkey to see how easily it could tip over- didn't at all!, and asking the grip to lower the platform for about 20cm (8 inches) for safer roof lamps clearance, I climbed on, hard mounted the steadicam with my CG-s and steadicam CG-s common CG (if that makes any sense in a sentence) somewhere in the middle of the platform, and we got the shot very nicely done in 2 or 3 takes.

     

    I also must add, that I was introduced to this idea before the whole shoot began and it was all safe (seemingly), so it wasn't the someones last minute crazy idea without any proper preparation.

     

    AntsMartin

    fly safe!

  3. Hi, Hans!

     

    If your shots need focus pulling, then you definitely need a remote focus.

    If you get your own then you surely can and should charge for it separately or merge it into your package deal.

     

    I don't see though how it brings more work for your friend focus puller, as usually this kind of equipment comes from rental house (or from a steadicam operator) and not from a camera assistent.

    And- yes, mostly, if not almost always, production already has their camera assistent, who also comes usually with the DP, before they bring in a steadicam operator.

    1AC-s job is not only to know and work with your (steadicam operator) remote focus, but they have to run the whole camera department below the DP- organise the equipment, keep on eye on 2AC-s, camera trainees etc., so it seems quite unlikely that they would consider the AC recommended by you, unless they agree to have a separate focus puller for steadicam.

     

    Also, if this focus puller is your friend and you are planning to buy the remote focus together, I deeply recommend to sort out the business scheme beforehand between you two. So you know exactly how much you will each get for it from the rental. Maybe you want to do 50:50 split, or maybe if it goes out with one of you then the other gets only 30%, or some other deal, but this needs to be clear between you beforehand and it would be good to make a written statement about it too, so there is no misunderstanding in 2 or 3 years.

     

    About half the films I've worked on have their own remote focus and I have kept mine as a back up. But most commercial and TV shoots don't have their own remote focus, so I can rent them mine.

     

    Hope my long letter makes any sense. :)

     

    All the best!

    Ants Martin, working on a feature film in Helsinki, with Alexa cameras and my own Bartech remote focus.

  4. Hi!

     

    I just settled in on this topic instead of starting a new one.

     

    Does anyone know if there is a possibility to get from somewhere a adaptor plate for Steadicam Master Series to mount V-lock batteries?

    I don't want to rebuild the base but be able to use my own Master batteries and in need swap to a V-lock (provided by production).

     

    I am on a feature film shoot in Finland, working with Arri Alexa in sub-zero conditions and I have 4 Master batteries (my own) and 6 onboard V-lock batteries (from the camera rental). Been using them both simultaneously when we have had loads of steadicam shots, but would like to send all the batteries to the base of my steadicam to get a bit weight off.

    Without the onboard battery on the camera (powered from steadicam) Alexa balances really nicely- with BFD, Modulus 3000, Cinetape, Decimator.

     

    Thanks and hope it was all clear.. :P

     

    Ants Martin from Estonia

     

    P.S. Love the Alexa's power system (and the camera altogether)- Can swap from onboard to steadicam power or to 24V block battery without swithcing off the camera. And even during between the takes we can put the onboard battery on the camera to save steadicam batteries.

  5. Hi!

     

    I sent my M-one motor to Don to repair about a week ago (it arrived a week ago to his address), but haven't heard of him ever since. Does anyone know where he could be reached from?

    I have a feature film starting very soon, so I'm gonna need my motor for that.

     

    Ants Martin from Estonia, Europe

  6. For swaying problem- try different drop times. I have found myself in the past years setting the rig to a quite long (3-4sec) drop time.

    With lines on the garage wall bear in mind that the lines are straight only if the lens is pointing at them perpendicularly.

    If you look at the (horisontal) line at an angle and the lens is slightly higher or lower than the line, then the line will be tilted on the screen even though the camera is in level- thats perspective. ;)

  7. Hi, Rick an others!

     

    As Charles said- practice. And I also add- more practice.

     

    But firstly I would get the definitions straight..

    I would call a "lock off" something that is a situation when you need to keep the frame static for a longer period of time.

    I would call the situation you described a "starting and stopping the move". Totally? two different things.

    For a latter one it is more important the operting hand work. How you affect the sled when it wants to be inert- wants to keep being static when you start the move, or wants to keep moving when you want to stop the sled. Obviously the issue is the "swinging" effect, because 99,9% of the times your sled will be bottom heavy to a any certain extent.

     

    For a good "lock off"'s I would say the most important is the position of your feet and body- like in boxing. If you come to a lock off and realize that your feet are 3feet behind the sled and the actors still need to deliver 1,5 pages of dialogue, then you've made your life very hard.. :) Been there..

     

    So.. to avoid swinging- practice your operating hand (left hand in regular mode) and for good "lock off"'s- take a boxing lessons.. No.. joke.. :) Just try to get your body position right, but try do that before the sled comes to a full stop. See Jerry Holway's "Steadicam Operators Handbook" for proper postures.

     

    All the best!

    Hope I could help

    Ants Martin Vahur

  8. Hey!

     

    I saw you used the same scheme on chorus during the Estonian song, that we used in our national Eurovision on the same song by Malcolm Lincoln "Sings".

    I was one of the two steadicam ops in Estonia during our Eurovision song selection and we had the scheme were we did a circle around the singer and then ended on the back vocals. And then immediately the other steadicam did the same thing.

    And you used the same moves in Oslo. I think that was really cool to see that you tributed to the original with some modifications.

    That made me feel very warm. :)

    It's a shame though that these links have such a delay..

     

    Thank you for that and all the best!

    Norway- 12 points!

     

    BTW.. Who won the Eurovision after all??

  9. I like the V-lock because it's a bit easier/faster to take off. And simpler to take off and mount with one hand when it's necessary.

    But of course AB feels much more rigid and secure.

     

    The V-lock problem is very big with RED cameras. You always need to secure it with an extra strap for handheld or even for steadicam which loses the whole point of it being easier to mount/dismount.

     

    I also haven't noticed that problem with Sony cameras. Maybe a few times in many years when I have seriously bumped into low ceiling or wall at a certain angle.

     

    But put my vote on AB for now :)

  10. So, now it's done. Here's my summary:

     

    Firstly it was very new experience to me. I've done before hard mount from quadbike, van or pick up truck, but this one was different first because of the weather and secondly because of the length. So..

     

    We arrived to the place two days before the event to build everything up. All seemed to go pretty good without biggest kickbacks.

     

    We were supposed to feed the signal to the helicopter flying above us and from the helicopter they feed to the EVS bus and so on to the live TV. The day before the event- helicopter doesn't fly because of the weather- switch to plan B. Link crew from Sweden takes down their link antennas.

    Plan B was that we record on XDcam tapes (yeah I know they're disks actually) and give them at each checkpoint (roughly at every 30-40 mins) to feed to the air, so audience sees our picture with 1 hr delay. That's fine. Also we lost the communication with the director. Well that's fine too. I know what to do- shoot the lead group.

     

    The day before we did the whole track to see if there is any major kickback and how everything works. On the first half we managed to fall down because of the very unstable setup. Luckily I caught my rig with the camera 10cm (4 inches) above the ground and after little bit of struggle we managed to pull up the snowmobile. That worked fine for adrenaline.

    Rest of the track was fine. Other steadicam operator (yeah there was two of us) fell down twice!. The second time he said he saw only lense and steadicam monitor above the snow- everything else was under the snow.. But it seemed that no harm was done- the snow was very soft and about 50cm (1.5 feet) high on uncleaned places. And the ride continued..

    Average speed of the skiiers was 20kmh (13 mph). Downhill speeds grew up to 50kmh (35mph)!

     

    Weather wise. I had all the double socks, double gloves, skiiers under shirt with pullover and winter jacket. Hands were fine due to the constant work and trying to tame the beast (steadicam). Only feet got very cold up to the knees. But not too bad. It wasn't that painful feelign when you feel your joints are falling off.

     

    So the main day.. 6000 skiiers from I don't know how many different countries.. Adrenaline is very high. I'm picking up the skiiers from the first curve and start driving in front of them. Everything works fine. I tell the driver that the most important thing is that we don't fall. We had a very good open radio communication between us so we could speak in normal voices.

    I built my monitors power from the snowmobile batteries so I don't have to change my monitors batteries (green screen- very hungry). On the good land I could even zoom in to the skiiers almost close up! I'm surprised myself. Downside is that I had to produce 30 mins constant footage. So obviously there are some bigger mistakes too..

     

    And then... on the 15th kilometer (9th mile) (quarter from the whole track) few km-s (1.3miles) before the first checkpoint where I have to leave my first XDcam tape.. the snowmobile starts doing very weird noises.. We come to a stop and discover that something very serious has happened to the transmission from engine to the tracks. So I give the tape to the driver and ask him to run to the first uplink van to give the tape. He manages.

     

    We tried to fix the snowmobile but it seemed to require a lot more then four hands on the busy skiing track.. So.. here ends my story. I was quite pissed off, but what can I do. Obviously it's the thing you leat expect that happens. We were prepare for everything else but this. So the other steadicam guy takes my positions and works all the way to the finish with the skiiers.

     

    Here are some videos from the snowmobile. I thought someone might be interested:

     

     

     

     

    Sorry about the last video- it's in wrong aspect ratio. And I couldn't change it because I used the homevideo programs.

    I also try to get my camera footage in the next few days to show the result of this all.

     

     

    Hope it was any interesting. Please feel free to ask any questions! I surely learned a lot.

     

    Ants Martin

  11. Hi, Bryan!

     

    I noticed you have still the steadicam operators demon called "horizon", many shots seemed to keep tilted slightly to the left horizon wise. I have the same problem with stills photography when I'm in a slightly off the "perfect looking through the viewfinder position".

    But of course it's something you shouldn't be afraid of showreel wise. Because directors and producers don't see that. Even some DP-s don't notice it. But I just couldn't help noticing.

     

    Sorry, I'm not trying to be picky but to be helpful. Because I and probably thousands of other steadicam operators fight with the same problem.

    What I would search into would be your finger position, in your case on the right hand? Because you operate goofy?

    Try different finger positions to see if it works out. I've grown completely keen to the stretched down pinkie position where your pinkie is stretched out all the way to give you better feedback about the rig behavior.

     

    Otherwise you had some really cool stuff. I also looked your short" Thank You" and I think it was done really well. Maybe a bit cheezy for my taste, but I actually liked it.. :)

     

    Hope I was being helpful.

    Ants Martin Vahur

     

    You can always "hit me back". :)

    It's my third post in 8 years! so hope I'm not braking any rules here.. :)

  12. (I have spare room with nice bed. Did I mention the spare room is also the cinema room w/ big screen tv, PS3 and 5.1 surround)

     

    wow.. Ok.. screw the skiing. I'll pack my stuff and fly over tomorrow morning. :))

     

    But for the camera I don't know the model, but anyways it's a big camera not one of these small homevideo cameras that dare to call themselves a "proffessional cameras" :)

     

    ants martin

    off to the motorcycle shop to check some socks and gloves with heating..

  13. Wow.. Thanks guys for your help!

     

    I'm glad you liked Tallinn, Rob! :) I assume you were in Tallinn in Old Town..

    And big thanks for the thorough walkthrough, Lars!

     

    I think I found some heated socks and gloves from a moto shop. I've used these "one time" heaters and you're right, they stop working after an hour or so, so that wouldn't be the best option.

    I think condensation won't be a problem, because after the marathon the whole thing is over and we go home.

     

    Camera's are XDCam-s, they're digibeta type of cameras, only work with disks. And we feed the SDI signal to the link. Also we have the communication with the driver through the headsets (hope they work.. :P). And we specifically asked for good drivers. "Luckilly" one of the producers had a small fall last year from snowmobile so he knows the meaning of a good driver. And we gonna give them a "know how" beforehand.

    Funnily I never had any problems with the lenses in cold. In -20 they still have worked fine (betacam, dvcam..). Only zoom gets a bit stiff.. and batteries last about 10 times less then usual.. :P

     

    Safety wise I'm definitely not gonna strap myself to the machine. I'm gonna get a firm supports for my legs and chest to support. So in case the snowmobile falls over (spitting over my shoulder) I have the chance to fly away from it instead of getting trapped under it.

    And the camera will be between my legs so I have my support around the camera in each direction. Because I know the forces it'll be pulling me. Especially since there are loads of going up the hill and down the hills.

     

    About the kicking up the snow the guys told us that "noooo.. surely there won't be too much snow kicking up from the back of the machine!" But I have learned to trust but to check. So I try to be ready for this too. Hopefully the lens will stay clean as we are pointing it mostly opposite direction of the snowmobile movement.

     

    And I think it is a good idea to wrap as much of the equipment into the thick cloth as possible. Maybe not the monitor fully.. :)

     

     

    I'd really like to visit Norway one day. I know so many people who have been to different places in the world and said they're great, but most of them finish they're sentence's with: "..but of course not as beautiful as Norway." :)

     

    Thanks again, guys!

    Ants Martin

  14. Hi all!

    So after being 8 years! a very active passive member (reading a lot of the posts) of this great forum I finally put down my very first post. Hopefully many others will follow.

     

    I thought that in 8 years of steadicam operating I have finally come to something that is worth mentioning here. So..

     

    Next week I'll be steadicam operating an international skiing TV transmission in Estonia which is the skiing marathon 63km-s! in length. And I will be following (or precede) the whole show on the snowmobile with the steadicam hard mounted to it. There's another steadicam operator doing the same thing, following other groups.

    We both have tv links transmitted to the helicopter flying above us.

    So my main concern of course is the weather because it'll be around -8 degrees in Celsius. Plus the wind which is a very big factor (moving vehicle), even bigger then the temperature.

     

    So I would like to know from you guys, who you have had any similar experience, to give me some advice how to improve my comfort and how to survive!

    Well obviously the main thing is to clothe properly. Also to be prepared battery wise etc.

    The production will have us built a proper support for feet and ourselves.

     

    But mostly I would like to know how do you manage with the weather? And with the length of that sort of shoot? Because we have to produce TV quality image most of the time.

     

    I'm sorry my letter has become so long, but I guess what I mostly need is moral support from fellow operators.. :)

     

    All the best! And this is truly one the best film related forums I've come to. I've found many answers even to the non-steadicam related questions.. :)

    Ants Martin Vahur

     

     

    For background information:

    I just turned 30, I've been operating steadicam for 8 years now. I have a Steadicam Master Series rig for 1,5 yrs.

    I live in Estonia which is in north-east Europe.

    And mostly I shoot films and commercials so I'm not very TV ready.

    And my showreels can be seen at:

     

    so.. here goes my first post.. :) what do I have to click now? "Toggle side panel"? or "upload"? :) no.. that's for photos.. hmm.. Ah!! found it!- "post topic". :)

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