Sam Morgan Moore

The pilot spreads the mass out miles further than the merlin so is more intertially stable I would stick with it - if you have somewhere to stash it while shooting on sticks - or whatever other shots you do S

In such a situation you can cut and redo or often just work them round a bit, my Hofo lives rightside unlike my rig FF which lives leftside Jess - MTV was not on air when I was a kid ! S

A simple thing to add is a hotshoe mic because it is quite distant from the gimbal the additional stability is of significance (my understanding is inertia is driven by the SQUARE of the mass times distance from the gimbal) Some Rails will lift the camera and have some mass Becuase the camera is very compact unlike a 'long' video camera I think rotational inertia is low You can maybe configure with more mass at the front and close the spar to compensate maybe I have done things with rails and adding a little mass at the rear of the rails to add rotatinional inertia I think adding a plate is not such a bad idea to lift the camera a little, spreading the mass from the gimbal, it could also aid a transition to sticks or handheld rig S

Charles you may see my HOFO in action here set up on my handheld rig and see the flex (or not)

.. you may note that I am selecting my DSLR lenses a lot on their mechanical rather than optical properties In general the newest nikkor lenses that have proper iris rings (1995?) are IMO the best for DSLR use Low friction, end stops, real aperture This needs to be considered with the FF technology in mind, the good thing about the HoFo is it disconects the focus puller from the throw of the lens and also its direction of travel - which is 'wrong' on nikkors I dont know how more expensive FF devices work in this respect S

My longer lens is a canon 70-200 F4, so it doesnt have an adapter what it does have is a lens collar so the lens sits on the rails not the camera When mounted properly (via the collar) I dont foresee turning issues especially as I have drilled a second hole in the lens collar meaning it can be attached in a 'spin proof' manner Personally I dont see my operating skills as being able to get a useful shot with a lens longer than a 50 (on the 5d) on a steadicam - so its a sticks solution for my tele I have a plan up my sleeve to make a rail mount for the collar - complex to explain Here is my Mark One TelePhoto solution.. S

Steadicam does not frustrate me - my abilities with one do! The compas was a $5 EXPERIMENT The PC lens I will argue for - im 6'5 tall , everythig I read shows that 'aids' are not required but having your shot with a neutral rig always helps S

I said it was an experiment and yes I am laughing too but.. Think about this if you have tilt on when proceeding down for example a corridor you get keystoning, well known poor aesthetic in composition less discussed.. if your rig is not parrallel to the corridor even if you are flying level you get 'keystoning' in the other axis of the image - if you can see the ceiling or floor it looks wonky Lets say you are going for an X painted on a wall and there is no 'line' on the floor you can deviate of the line and use pan to keep the X in the middle of the frame the X looks right but the rest of the frame is developing a horizontal keystone Keeping on a compass heading THEORETICALLY keeps you on the line While it is common to have an aid for X and Y axes (a two axis level) why should it be so dumb to think about having an aid for the Z axis? point your rig at a brick wall, a tilt keystones the verticals, a pan keystones the horizontals While i am a steadi newb I have done a lot of architectural and interior photography, part of my model for making some easy cash from the rig is doing 'moving' photography on projects for my existant still photography architeture clients Giving the same look - square buildings and rooms , not keystoned or wedged rooms Not imaginitive approach to the business but better than lowballing traditional steadi jobs In such an environment keystoning is critical to avoid unlike dramatic shots that tend to follow the talent here we see the wedge effect, the carpet is exiting the frame at different heights on the image because the camera is a little right of the centre line and panned a little left Im off for a coffee..

Yes - I thought might help me walk in a straight line or at least keep the lens pointing the right way :) I am yet to be convinced of the value its just an experiment it does read when you are not tilting or panning and might help for example when doing a 90 turn down a corridor into a room and you want the room composed square - which is what I like Sam 'going south' MM

Indeed this is build 1.0 really just to test the electronics and basic theory ! The arm is nearly maxed out I will shorten the post For another £230 I can swap the 100w/hr vlock for a 70w/hr, that will save me some mass when I have the money (this is fast becoming and expensive pilot!) and lose the bottom mass Some of my home made components can be refined with a drill - trimming off more mass the mission to be to lower the camera and/or add some more mass up top give more configuration options On the rotational torque of the motor.. the nikkor is low torque and wonderful with end stops even clickless iris most of my other nikkors are similar - mid age af primes, - hard stops and smooth travel if you observe carefully there is a block behind the camera creating the RRS effect for $2 of materials - with a post for my swingaway viewfinder that I use operating HH you may also observe the tape sticking out of the lens adapter reducing rotational movement of the lens The lens is a PC - perscpective correction meaning I can trim headroom irrelevant of arm height (not in shot) You may read my review of this lens here.. 28P v 24-105 S

An update Got my rig sort of built last night, Hocus focus, Transvideo monitor, Vlock power 5dmk2nikkor glass Its got a kind of big rig spec with long power, focus, decent monitor, in a micro package As for the transvideo monitor, its got good vision, some other issues that a may expand on in time build 1.0 - needs a big clean up

I cannot recommend this.... but I got a bit of 3/4 ali bar 30cm long, 13mm drill bit, a careful placement of the 13mm hole goes over the male section of the arm connector 2 more tapped M6 holes recreate the 'threads' further drillings in the 3/4 bar to mount it to something I mounted mine to a heavy duty bit of L section extrusion (50mmX50mm) 1meter long the L then can be G clamped to various points on my vito van to enable shooting from the rear or side door cost $10 in materials and took an hour It works (so far), viewing angle can be limited by open rear doors, have put a lot more effort into 'safety' - operator in clibing harnes, wedging doors open, skilled driver etc as I said - at your own risk ! S

On buying a red my thoughts match those above My perspective as a stills photographer In 2005 I wanted a stills camera that could equal film - I bought the only thing that could - a £20k hasselblad digiback (A high quality device from a small manufactuer that trumps what the majors produce - see the analogy) Fast forward to 2010 and you the majors (canon/nikon) produce film equalling still cameras for $3k My $20k Blad is worthless junk, the speed and convenience of current cams from the majors make it a non economic tool, while the image quality is there the package is a bit clunky compared to todays offerings Extrapolate forward and you see you may need a business model that needs to profit from the Red camera in three years Your choice On a steadicam, Those future cameras may be light so the same could be true with a big rig investment but of course a big rig will always have more inertia and create a better shot So to argue the future death of the larger rig is harder to do, even if those rigs may not be needed just to lift future cameras To me renting is a funny thing to do because I like to know and practice with my kit - never could this be more true than with a steadicam I would buy.. Stuff that helps your business right now - and that might be a Red Stuff that will not become eaten by future technology Stuff that will last for ever I have sticks bought in 1993 that are still good and valuable (probably more valuable than when I bought them) grip ? lights ? steadicam? remote focus? Ronford head? Personally I see the current video capable DSLR as the perfect practice cameras I would put together a physical kit set where the everlasting bits are the best and the digital capture box is a cheap one - let someone else take the hit on the technology curve and rent that technology when you need it Another thought on developing a business, looking back I realise that if I had been less kit intensive an spent more money intangibles; models, locations, a smart van, test shoots, advertising, logos, dinner for clients, creating amazing stuff, an office in the hip part of town, I would probably be further along the road than I am now S

OK So I have my Transvision All looks good, nice neat size, endless power from my Vlock etc Now it has a mount point that is not centered I am seeking dynamic balance My thoughts go like this 1) off-centre monitor does not present a problem because you can DB a camera with all sorts of sh1t (remote focus etc) hanging off it 2) no thats wrong, because the camera and rubbish all moves on the stage you can DB a 'messy camera' but stuff not on the stage must be balanced (LR) when static to get DB I must therefore get my sled (and monitor) hanging vertical (L-R) to get DB Is this correct!!!!!!!! I could do this be creating a dogleg for the monitor or adding a small mass offset to the light side While both constructions are farily elementary for me I dont want to waste time due to screwy thinking Further once this is constructed and my sled hangs LR horizontal if I move the bottom beam of the pilot sled foreaft until it hangs fore aft horizontal my rig will be in DB when the camera is added ? ps Im not after a 100 spin perfection just a good rig to impove my newb moves on S

i guess the rig was too far from your body, like holding a dive wight out in front of your hurts flying a 'stabilizer' hurts if you do it wrong dont take advice from me - do a workshop S

Configuration is king my flexes when the post is fully extended but not when realistically set up S

Well its england and I live in the sticks my point I think is that $200 is not payment, it might cover your fuel, a pizza on the way home, some batteries before the shoot and if (as my stuff was for years but is no longer) you are paying leasing maybe the day cost of that too S

Coming from an editorial photographic background I work from the standpoint that the copyright to the footage is mine, it is my understanding that the same goes for video footage So unless you sign something no-one else has the rights to use 'your' footage I have done two indy films 'for free' - actually they gave me more money than my fuel to the gig cost But I arranged with them a licence - ie the terms under which they can use the footage, and a clause where should they break even or make a profit Im on a split 10%, 5% as DOP ,5% for kit - I think Now I never expect to get any money - because these projects will never make a profit I got what I wanted, experience and clips for my reel - yep I DL the rushes to my hard drive at the location before the wrap In the unlikely event that we have made a cult no budget hit like Blair Witch Im in for 10% of it I think working for 'free' is fine Being given $200 for fuel and a sandwhich on the way home is fine, it can show your non paying employer cares and appreciates you Exchanging $200 for any 'for profit' use of the footage is an outrage Working lo/no budget just robs from those who have kids to feed - learning does not S

No comparision is ridiculous -any bit of technology that is more than six months old its design is liable to be superceded by something half the price I was mainly talking about build quality, so yes, it is a ridiculous comparison. Which monitor did you settle on? Transvideo ! I think there is something about the build that will just float my personal boat , like my Sound Devices recorder- I love 'proper' gear But there is something inside me that says this may be a choice led by brand reputation and a 'cool factor' rather than harsh objectivity of evaluating spec (phyiscal and electronic) vs price and its got a level The main thing is that an extra element of 'daylight confidence' will inspire me to practice more - and that is what its all about the op not the kit S

No comparision is ridiculous -any bit of technology that is more than six months old its design is liable to be superceded by something half the price Any way I have ordered a transvideo and now need to wire it up.. Maybe someone could tell me a UK person who could do this for me otherwise.. Do I need this..FOR THE PILOT. http://uk.rs-online.com/web/search/searchBrowseAction.html?method=getProduct&R=2508374289 Or this http://uk.rs-online.com/web/search/searchBrowseAction.html?method=getProduct&R=2509558808 And this ? http://uk.rs-online.com/web/search/searchBrowseAction.html?method=getProduct&R=0405758 going to this? http://uk.rs-online.com/web/search/searchBrowseAction.html?method=getProduct&R=0476157 SMM

Here is my 'reel' - no a lot of it is not steadicam its my operators reel - Im not there to have a steadi reel yet Ive gone in a couple of years from nothing to that, I started off filming my mates for practice, I then moved to phoning a 'model' with a nice car who I had worked with in the past - the car sequence I also filmed a couple of people (clients) I had with before doing stills Then I did a no money indy flick (craiglist style) - the director had to meet me in person before I agreed which involved four hours in the car for him (a good way of checking him out?) There are a few seconds of corporate work that have come too as I have stepped on to the low end of 'paid' I have conceived directed it all my self and generally not had a crew at all, just a driver on the car to car Mainly I have used numbers in my book from my previous life (stills photographer) - can you not do the same ? S

My view from 20 years shooting stills - I started as a teen with manual focus doing night football before AF was invented, getting anything sharp was a personal victory and the sign of starting to be a 'pro' After professional grumblings about 'proper skills' we all went to AF, because is it just way better in 80%-95% of situations It made tele work on a moving subject possible - even for the soccer mom - or 20 year old newb lowballing 'pro' - quartering fees for being a sports photographer and ruining sports photography as a sustainable profession at anything but the highest level my nikon D3 today, which is probably the best AF ever still fails me, mainly backlit in the dark - exactly when I need help Face rec on conpact cams seems amazing with a wide in the stills world I still think there is little 'professional design' to AF systems For example the lack of ability to set the range, of the shot (eg 3-10m) to stop the shot killer of the lens hunting to a macro setting So the actual situation is the best stills AF is 90% good but you still need manual for 'artistic reasons' or technology baffling situations - backlight, shooting through a foreground or picking a face in a crowd so a system with no manual would be useless - and thats just for stills - unless of course the client is happy with 80-90% focus for 50% of cost - which lots are -the reason Im leveraging a change of profession away from stills SMM

Can you confirm that this is the same as this one.. http://www.creativevideo.co.uk/public/view_item_cat.php?catalogue_number=marshall-electronics_V-LCD651ST-HDMI-CM Im a little confused that it could be 1/4 the price of an HD trans vid with the same res yet still more viewable -maybe another owner would chime in too ? I live six hours drive from london and AFAIK, no one stocks Trans at all and certainly I would not know a dealer that had both Trans and Marshall, which makes the simple solution of doing my own mini test in (well outside) a store very difficult S

I thinking the marshall £1300 or, the marsh is 'HD' of course the 5d only outputs 480 anyway so thats sub SD, I have a 7d too which has a better out put and an EX1 too OR Transvideo, 5 inch SD superbright with level and framelines around £1600 now the Transvid is 4:3 so with the 5d the viewing area could be quite small and of course it is SDef Im leaning towards the transvid which seems a bit more 'pro' build etc There is a 16:6 6.5 inch Transvid but no level, seems like 1 inch of screen is a worthwhile swap for a level --- There is of course an option (maybe) to place the Transvid on top of my SmallHD so I have a pretty picture (inside and under cloud) on the SmallHD and a sunproof horizon facility on top Going down that road I could get the 4 inch transvideo with Horizon and Superbright, I could piggyback that on the smallHD, the 4 inch with level is around £1500 I dont know if the signal can be piggybacked of course or If I could get DB (or the newbs approximation of same) Thoughts?? EDIT I notice that the 4inch transvid is 1000NIT whereas the 5 inch is 700 NIT Im liking the concept of the 4inch on top of my SmallHD ! SMM

The transflective marshall is only 2 grand and is as good as it gets for daylight viewable LCDs. It is rather light weight and available with HD-SDI. ~Jess I was thinking of getting a tiddly 4 inch SD transvideo , they have not responded to my request yet so I dont actually know the cost Considering the marshall is (I think) 'HD' and larger it has uses beyond the rig in a way that an SD monitor would not really (I have two smallHD mons too for other camera operation (sticks) where I can at a push use the huge screenshade) HD marshal or SD Transvideo ? This marshall ? http://www.creativevideo.co.uk/public/view_item_cat.php?catalogue_number=marshall-electronics_V-LCD651ST-HDMI-CM S