Imran Naqvi

I'm posting on behalf of Richard J Lewis.

Please contact him if you are interested, or would like more information. rick@steadicam-operator.co.uk

For sale:

Steadicam Archer 1.5" gimbal, complete with MK-V tools free upgrade.

Gimbal is just under 3 years old, in good condition, well aligned, and with a nice smooth pan bearing. Excellent for new operators, as a backup, or for a running rig.

Currently set up for ProVid / Archer size posts, but can be machined out to 5/8"

I can have this professionally done before it is sent out to you if you require.

Looking for £1000.

PRO 1.5" wrap grip in black 3.5" long: £110 ono

Steadicam Archer docking bracket: £160 ono

It's a great time for people to take advantage of the current exchange rates.

--

Richard J Lewis

Steadicam Owner / Operator

rick@steadicam-operator.co.uk

www.steadicam-operator.co.uk

+44 (0) 7766 594 383

Bump!

Take advantage of the weak pound!

Quad for £450 + Shipping

Dual for £250 + Shipping

Both for £600 + Shipping

Sure Amando!

Do you want a specific number and players' name on the back?

I assume you want the home shirt too?

e-mail with what you want and I'll grab it for you.

Happy Birthday Robert, nice talking to you at NAB last year.

Ok dammit

Quad for £500 + Shipping

Dual for £300 + Shipping

Both for £725 + Shipping

Plus a pic of the rear with the XM connector shown on both.

Sounds like something you could do using a Handsfree Segway.

BUMP

Finally some pix.

Also being listed on ebay

My favourite question was at a trade show.

"Could you wear it on a parachute jump?"

I'll leave my answer to your imaginations.

SOLD, thanks for your interest.

Hi

I am Tim and I am new here, Thank you for being here, and I just got my Pilot a few weeks ago. I have a Sony Z1 and I need advice one the best setup for the weights to be place on top and or the bottom? Right now I have all the weights evenly distributed on the top "Fore and Aft", and at the bottom of the sled as well. I was told buy a guy at Tiffen to put all the weights below? and how far should the gimble be down? 3 in? 5 in? I am look for good stability and is there anybody who is using a Z1, FX1 out there with a pilot that could give me some pointers?

 

Thank You Very Much

Tim C.

http://uk.youtube.com/watch?v=S3PgqKF6ugY

This is a great video that describes the basics of balancing a steadicam. The setup of your rig will vary depending on how you camera is setup, but everything you need to work out how to balance is in the video.

Ideally the best thing to do is take on of Peter Abrahams Flyer/Pilot 2 day courses.

Quad 2702 with DDM and Dual 2701 Chargers For sale.

 

Both in Excellent Condition with latest ROM chips, so able to charge NiCad, NiMH, and Li-Ions.

 

Quad 2702 available for £550

Dual 2701 available for £350

 

Will sell both together for £850

 

Happy to ship internationally, buyer pays shipping.

 

Pix to follow.

Bump.

Pix will follow soon, promise!

If you're a genius your method might work.

Otherwise, there really is no quick route, it's politics, proving your ability and learning the craft.

The only shortcuts I can see are if your surname is Spielberg, Scorsese, Kubrick etc etc.

Quad 2702 with DDM and Dual 2701 Chargers For sale.

Both in Excellent Condition with latest ROM chips, so able to charge NiCad, NiMH, and Li-Ions.

Quad 2702 available for £550

Dual 2701 available for £350

Will sell both together for £850

Happy to ship internationally, buyer pays shipping.

Pix to follow.

Ouch, need to replace some batteries, so pricing this to move at £700 or sensible offer.

Buyer still pays shipping.

You're right Jason, and I'm sure I've unknowingly undercut someone because I believed a producers BS about how they have no budget. But it comes down to the fact that as a much smaller pool of talent here, and with correspondingly smaller budgets, UK ops are secretive, and seem to go out of their way to not help each other out by being willing to drop their rate when offered someone else's job.

I'm not saying we should form a union, but when something smells we should be trying to help each other get a decent rate out of a producer that has the money rather immediately drop our rate through our own fear.

Case in point, there's a 35mm feature shooting around London that is calling around trying to get ops to undercut each other. Because I didn't know a friend had agreed a rate, I offered something that was lower because I believed them about having no money. He and I are cool about it now, but if you get asked to do it, and told it's an Arri LT you're being played, feel free to call me about it and I'll get you upto speed. They wrap shooting at the end of next week.

For the next couple of years we're going to hear about how producers are having their budgets squeezed and how we need to cut our rates or someone else will do it, but most of the time that's rubbish, I don't want to be the guy that is cool with stealing work and dropping their rate to unsustainable levels, because I'd quite like to have a roof over my head.

Right sorry, Rant over

Price drop to £900 o.n.o.

Congratulations to all three of you!

At the moment I'm not prepared to name the hypothetical company because their name came from someone else and whilst I believe him, it wouldn't be right.

However there are only a few such companies in the UK whose business involves hiring out professional rigs.

The best part, these guys aren't new to the industry they tend to have been established AC's before making the transition.

I love how anything goes in the UK it seems.

How would you guys feel if you heard a rental place was offering newbies cheap rigs so that they could massively undercut regular ops for work knowing that they would eventually buy a rig from them?

I had a chance to use the monitor on a gig yesterday with a hired in Pro-Lite in Berlin.

My only gripes if I were to own one would be that I would like some user assignable buttons, a feature I like on my Blackbird, so if I want a quick button to show me a particular waveform I could go straight to it rather than cycle through the other options.

Also I found the menu wheel scrolling a bit skittish, whilst it has a nice positive notched turn, one turn doesn't always seem to take you to the next option on the menu and pressing it often resulted in it jumping to an adjacent option and selection that instead. This seems like it should be a simple fix though.

Overall I liked it, good build quality lovely image and lots of features.

I use the 1650 as well, the other option is go for the double height 1660, and you should be able to squeeze in your arm and a front mount vest too!

Used EFP Vest available, sold as is.

New Leather on lower sections plus modified to add Ultra Vest ratchet buckles for quick release.

Looking for £1000 but reasonable offers will be considered.

Happy to ship internationally (currently located in London), buyer pays shipping.

The only thing I can suggest it to check your outputs with a voltmeter.

If you're getting correct volts out of the ports, then check the pins on your power cables once they're plugged into the rig with fresh batteries. It does sound like you're getting a voltage drop somewhere.

I've had a job with a 750, where because the audio guy's ebay bought disk recorder died, I was asked to fly with a curly umbilical cable.

It was hell, what should have been a simple move took 18 takes because of that damn cable. Then again there were no other options, production didn't have the budget or the time to get something else out there and they weren't willing to pay for me to come back another day to reshoot the scene, so I gritted my teeth and we finally got 3 useable takes.

In the end I sort of agree with Rich, if production need it and they make the decision to compromise, should I walk away from the job?

I feel as long as you make it clear that you won't be doing your best work and it will probably require more takes to get what they want, then the end result is down to the person making the call.