Charles Papert

Is the idea that AB will go out of business in 3-5 years?! Even then, I would think there would be some sort of 3rd party that would keep everyone who have invested in Gold Mount systems functional...it's rather hard to imagine that rather large group just walking away from their investment? Voice of reason--I can't hear you...were you saying something?

This is a PRO 1 base, 9 batteries and charger. The base (sled) is the later generation PRO 1 (circa 1997); internal cabling and but not the quick-release bayonet (to swap out with Superposts, etc.) but can be easily upgraded. The 9 batteries have mostly been recelled in the past 3 years. The meters work on all of them. The charger is a Frezzi M2100 four place charger. This is a fantastic charger with many great features including a discharge/charge mode for any selected channel, and a first-aid mode that will recondition a battery through a 12-hour program. This has brought back several batteries from "the dead". It is mounted in a custom Bob Derose assembly that allows the batteries to be dropped in to be charged in the NP1 style, meaning no fiddly cables and batteries lying around loose, ready to fall off the top if the charger is moved. This is mounted onto a tray that will also accomodate several other chargers (follow focus, hand monitors etc) with a single built in power cord, and it fits right into the custom battery case. Many assistants have admired this charging setup. I will post pictures of all of the goods shortly. Asking $5900 for all.

Mikko, I'll get the facts for you on the HD Flyer at the Tiffen event tonight, will post here and in the DVinfo.net.

Not...really. I tested the DVX100a/Mini35 combo with a Zeiss speed (lighter than the S4 shown in your picture) on the Flyer and it just maxed out the system, and the XL2 is about 1.5 lbs heavier, I believe. Obviously when flying you wouldn't carry the viewfinder and the studio follow focus either, but you would have to add the weight of your lens control system back in. It could be done by adding a bit of bottom weight, but you would have to hold the arm up to level, and you are overtaxing the vest in the meantime.

Perhaps Madamoiselle Pouty as seen on that web page might have some tips! She sure seems at home. Interesting looking rig. Best of luck finding assistance with it, Lemar.

Will, might you be better off making a vidstick type arrangement? Chop off the bottom of a cheap/lightweight tripod and stick a battery plate on it (can't remember which rig you are flying); mount the modulus down there somewhere and power off the battery. If you have a 12v adaptor for your camera you can run off that battery also. You can simply use the onboard LCD for framing. As a pogocam-type deal, it will obviously not be quite as steady as a JR, but probably less tiring to finagle in the long run.

Meaning that Lynn has done more for Steadicam than Garrett...?!

Taking instruction from an experienced operator like Howard or the Optex classes is definitely the way to go. And like Howard, I've been in the director/operator seat (sometimes director/DP/operator, and more times than I'd like, operator directing on behalf of a hapless director!). But it may be worthwhile to keep in mind that we are coming at this from the perspective of having operated long enough that the mechanical/mental skill and familiarity with the gear is second nature, freeing us up to focus on performances and the big picture. Nearly all novice operators are entirely consumed with the mechanics of the rig, trying to get it to behave in anything approaching a controlled fashion while dealing with the formidable weight on the body (2 red flags here: improv/documentary-style and anamorphic 35mm). You'd also need a really Steadicam savvy assistant who can set up, balance and troubleshoot the rig to give you maximum time to attend to the actors. Said assistant would actually have to be something of an ace, having to also be able to pull focus on anamorphics in a spontaneous setting! My personal advice is to go ahead and do a 2 day workshop and get a feel for what a rig of that weight is like to wrangle, and that will likely make up your mind whether or not this is a route you would want to pursue. And considering the added weight, slower speed and more demanding focus that anamorphics present--I'd probably recommend the Super 35 route for this sort of project.

I have three mags of the same description as Stephen's, and would sell them for the same deal. Charles 323-350-8822

Can't quite figure out elbow pads. 20 years in, and I've never banged my elbows yet. But knee pads are very useful, although I only wear them in situations where there is a possibility of falling (running shots) or having to work from a kneeling position (music videos) etc.

Kelsey: You lose about 1.5 stops with the current gen. Mini35. I haven't used the Pro35 myself, was about to and we just pulled it from a shoot. It is the same technology. Thus it is a bit discouraging to see it priced 3x as much in a blatant play for the "pro" market. I've had a great time with my Mini, certainly it hasn't paid off yet but that's the way it goes. I'm not out there pushing video production services so I shouldn't really expect to. It's a nicely made piece of gear and has a fantastic look. I've been planning to move on to the XL2 for a while, saved a bunch of my XL1 accessories with this in mind but now this little Sony HDV camera is causing me to hold off until I get a chance to play with it. The bummer is that every camera requires a unique $2300 relay lens to work with the Mini35, so it adds up.

Flattery will get you everywhere, Mr. Early-Adopter-Guy!

Yeah, it's a nice camera. I have some issues with the noise levels, but it definitely was revolutionary and you have to give it (well, Panasonic really) credit for advancing the state of indie filmmaking with this product. I've used it in conjunction with the Mini35 a number of times and it's a great package. Here's a couple of images of this setup on the rig; you don't need additional weights as it checks in between 15 and 20 lbs, and of course follow focus is the same as a 35mm camera setup. The other two links on that page are a couple of projects I shot with this setup (first is a short film, with some nice Steadi by Ron Baldwin; second is a spec spot).

Jason: The glove issue was sort of a fashion trend back in the day, but it was born out of the early Steadicam's having far less ergonomic gimbal handles than they do now. I was prone to using them myself but haven't in years. In particular, the hand on the post is so tactile in use from the fingertips to the palm, that I wouldn't personally entrust that to fabric of any kind. The only exception to this would be working in extreme cold, where it's more about avoiding frostbite than achieving subtlety...!

With truckloads of respect an admiration to Tilman Buttner, who operated and DP'd "Russian Ark", that 90 minute shot feels more like 5 hours when you are watching it... But that's everything to do with the director, who was incidentally very rude towards Tilman in some interviews I read.

I'm way late to this party, but Andrea (or any others), I have the PRO 1 electronic level assembly and would be delighted to sell it.

Our main man Garrett is a granddaddy. Hudson Jasper Brown Esq. was delivered to onetime rigflyer and now fabulously successful DP Jonathan Brown and his wife Alison on the 4th. Considering his lineage and genetic disposition, will likely invent an entirely new form of cinema before his 5th birthday. Congrats to all Browns involved!

We'll be at Sundance too, a film I shot is in the festival. Maybe we can hook up there.

Have a fun trip, Alec! I've meant to head up there myself, but I can't bring myself to do it in the dead of winter. You brave soul. Shouldn't you be heading out here to sunny LA (OK, completely drenched LA at the moment) this time of year? Say hey to Walter and Jennifer for me...and jeez, Jendra too! It's been a few years, eh? chas

Ron & Colin: checky outy

At my very best, a few times in my career, I might have come within sight of matching Larry's operating on an average day. But to turn that in (or better) every day? Amazing.

Knock on wood, my only serious boo boo in coming-up-on-20-years of flying was nearly choking to death on a craft service meatball sandwich while standing by in the arm and vest...sounds funny and it sort of was in retrospect, but luckily the medic got there soon after I had slipped out of the hardware and gave me three good Heimlichs, and I lived to fly another day. A bit embarassing in front of 400 extras, but what are you going to do.

Actually I'm quite relieved, Ron. As you may know, I live about six blocks from the Prospect Studios and it was nice to be able to watch TV again without every channel showing your transmission. (by the way, I would have played a bit more headroom on last Wednesday's martini shot, but I'm sure you were tired and eager to get home). Incidentally, you should stop by the house sometime once you get back in after the break--we are in full-on renovation mode, lots of fun holes in the walls (what walls still remain). Come swing a brick at it.

Kenny: I'll take it if still available--please give me a call at 323 350 8822. Thanks, Charles

Hi TJ: Yes, that's the whole point of the Mini35--retains the DOF of 35mm by rephotographing the aerial image via a ground glass. Thanks for checking out the short. We didn't win that time--I've directed 11 of those weekend films and generally the audience awards hinge on a flash factor of some kind, and this film was a bit low-key as written comparatively. (if anyone wants to check out the other efforts, see www.instantfilms.tv). 4mat: I have the DVX, haven't stepped up to the XL2 yet. Been shooting an HD feature so I'm off in 2/3" land at the moment. Regarding "The Undecided"--because of the limited time frame of the shoot, I had to do some slash-and-burn on the coverage for that final scene, and just do a punched-in version--unfortunately that particular moment was not as different in image size as the master, so it had a bit of a jump-cut quality. But I needed to use different takes for performance reasons. I decided to let it play, most people don't seem to mind the jumpiness (it looks better on a larger monitor, for some reason). I didn't do much color correction to this film. I'd have to agree with you that it's the lighting that usually makes stuff look good. Incidentally, our own beloved four-wheelin' Ron Baldwin operated this short for me and did a fantastic job, especially with the Steadicam work. The actor in "Body Factory" is one of our Instant Films regulars, Henry Dittman--just another barely-working and highly talented Los Angeles actors. If you want to see the film that beat out all from the festival that "Undecided" appeared in, which also featured Dittman, watch "The Swidge" at http://www.instantfilms.com/archive15.html. It was written by James Gunn (writer of the "Scooby-Doo" movies as well as "Dawn of the Dead") and is outrageous.