Mark Schlicher

None of my gear goes out to anyone without me operating, period...unless it is one or two close friends who rent it from me and who are professional cameramen like me. I don't feel guilty saying "no" and neither should you. You don't even owe them or anyone else an explanation. It's your gear. You can set the rules. Once I lent my personal handycam to a high school student filmmaker. I agreed on the condition that I come along. He could operate but I would be right there. Well, the shoot was a disaster on several levels, such as he asked something like 10 or 15 cast and crew to show up on location and he'd not thought to provide lunch or even water bottles. He actually tried to borrow money from his crew for his own lunch...but I digress. I stayed on the camera like a hawk, but later in the day I walked away to set a light. Before I did I said to him "do not leave the camera. Do not walk away." I was gone no more than half a minute, and he wandered away from the camera to talk to a buddy....while he was wearing headphones connected to the camera. The camera got pulled to the floor and smashed. He was a good-hearted kid but totally clueless. He said, "what do I do now?" I said "call 'wrap'!"

Here are some pictures. First, the Garfield mount (underside) and tie-down. Diameter 7" Second, the MSE hi-hat with what appears to be a typcial Mitchell plate (diameter 6 1/2") Third, the mount sitting centered on top of the plate (tiedown omitted for clarity) Fourth, the mount slid off to the side to illustrate how the retaining screw can slip out of the keyway Note the raised center portion of the Garfield (with the four holes.) Diameter: about 2 7/8"). This mates to the recessed circular "shelf" in the Mitchell mount, which is 4 1/8" in diameter. Even if the mount is absolutely centered and the tiedown is cranked down tight, the retaining screw is right at the very outside of the keyway, due to the Garfield's larger diameter. If the mount were to slip off-center even the slightest (due to the 1 1/4 inch difference in the diameters of the parts that mate together). the retaining pin could slip out of the keyway entirely. If this is the way these pieces are designed to work, I'm kind of surprised. Why wouldn't the raised center of the underside of the mount be machined to the diameter of the recess in the Mitchell base (4 2/8")? Why wouldn't the retaining screw holes be drilled closer to the center of the mount so that there was less chance of the pin disengaging the keyway if the mount slipped off-center? Thanks in advance for help and clarification.

I'm stumped. Bought a used Jerry Hill Garfield mount, and a Matthews 815510 mitchel base hi-hat (from separate sources). Much to my surprise, they don't seem to fit together right. Long story short, the mount slides around the 3" center hole of the Mitchell plate and the screw that is supposed to fit in the keyway slips out. I would have thought there would be a snug and secure fit... I'm mainly from the video world; my experience is mostly with ball heads. I never expected to see incompatibility between a major brand Mitchell hi-hat and a Hill mount. Am I missing something here? If my description is not clear please ask and I'll expand on it and try to post a picture or two. Thanks!

I'd add that the "EFP Training" DVD from Tiffen is an excellent resource also, especially when paired up with the Book. With the DVD you can really visualize the necessary basic skills, preparation, exercises and precautions. Then you can refer back to the book for more details on each topic. Invaluable in combination.

Keith, Yes, I have the small-diameter aluminum post version. "2nd generation" defined by all-black (vs. gray arm and red gimbal). The aircraft pin replaces the hinge pin that connects the arm to the male socket. This allows you to remove the pin to flip the arm "upside down", switch the socket block tto the left side of the vest, and operate "goofy foot." Why? In case a situation arises where you need to in order to clear an obstacle like a wall, or for personal preference. Which zoom/focus unit do you use? Peter Abraham told me that, due to liability issues we won't be allowed to use our own rigs in class. I may bring it along just for kicks anyway. I've been known to hoist an occasional brew, so thank you for the invitation!

Keith, Welcome. Your story is remarkably similar in broad strokes to mine. Longtime professional DP/camera op in a market that requires one to gain a wide skillset and wear a lot of hats. Became interested in the art/craft of Steadicam operating for lightweight pro cameras, then a used Flyer became available. Been hard at practice and reading for a few months myself. I'll look forward to meeting you at the Eastern Classic Workshop! I fly an HVX200 on my original/2nd gen Flyer and I have added a Bogen quick-release plate to the camera stage. It adds a little weight and height up top, and allows me to get the gimbal about 5 1/2 inches below the camera stage with a 2 second drop time (which all works fine for me.) I also use the largest capacity battery on the camera. I've considered adding more weights but haven't gotten around to it yet. If you haven't already, tilt your battery bracket so the battery is vertical (I have one Anton Bauer Hytron 50), and tilt the monitor bracket upwards to about a 30 degree angle. These adjustments make dynamic balance possible on the Flyer. I also recommend contacting Tiffen and getting some kip handles for your dovetail lock and the battery bracket, and an aircraft pin to upgrade the arm to allow you to switch to right-hand operating. Michael Craigs can hook you up.

Ron, I've found lots of info on the high-end systems such as Titan, Camwave, Wevi, Modulus etc., and not very much info on the lower-end repurposed stuff that he was specifically asking about. I think it comes as quite a shock to some of the newbies who pay $7-10k for their Pilot/Flyers, only to discover that professional-grade wireless video can cost as much as the rig itself. So the desire to find something that's at least useable for hundreds, rather than thousands, is understandable, particularly if you're trying to make money at the lower end of the market (weddings, corporate, documentary, local commercials, etc.)

Xax, I looked at your music videos...very nice lighting, art direction, and shot design, particularly in the concrete garden clip. Editing also cleverly hid shortcomings of the moves. Well done. I hope you are successful in finding an up-and-coming operator who is ready to step up and execute a challenging one-er, in exchange for whatever value is agreed to be mutually beneficial. If the feature is as well-planned and well-conceived as the music videos, you will both get some handsome footage. Best of success.

I was googling the other day and came across a recent Navy procurement bid request for a Steadicam Ultra rig. The document discussd how they used it to stabilize shots when filming from one craft to another, I believe. I have a friend who works for the National Guard (he's a civilian but many of the folks he works with are active duty Army). They do a lot of recruitment/PR videos and they just took delivery on an Archer2. You may also be aware that GB has teamed up with someone to market modified Steadicam arms to industry, to provide lift assistance to people who have to carry heavy loads or operate equipment at arms-length for extended periods of time. That's kinda going a little far Ha, you're probably right. Could be an interesting thread to find out where people find there gear.

I asked some similar questions not too long ago -after- searching the archives and not finding many answers. And, some of my questions remained unanswered, and I was left to my own devices (but thank you to those folks who did kindly offer information.) So do search the archives, Nelson, but probably you won't find all the information you've asked about. Here is some information to get you started (I would also appreciate any clarifications or corrections from anyone reading this.): 1. Generally, the inexpensive stuff is not very good. Generally, the good stuff is very, very expensive. There are some exceptions but frankly it's hard to tell the difference from ads or web pages. 2. The expensive stuff includes the Modulus, transvideo and Canatrans units. They are well-designed and built, and include important features like diversity receivers for better reception. If you need the highest reliability, there is no substitute. 3. The cheap stuff includes units sold for wireless security/spy cameras and model rocketry/rc aircraft. Many of that gear is sold on ebay. Much of it is said to be unreliable. The security stuff in particular is designed for transmitters that are stationary. When you put the transmitter in motion, the signal breaks up. The rc aircraft stuff appears to be better for this. 4. In general, the higher the frequency the more the video signal is prone to fail. THe range is less with higher frequency, and there are more problems with walls and other obstructions. 1.2ghz and 2.4ghz can also conflict with wireless networks, as well as pro wireless follow focus units. But some apparently use them with little problem. 5. 900mhz seems to be widely used, but is illegal in the US without a ham radio operators license. If that is not a problem in Colombia, then 900mhz seems to be a good frequency range. 6. Some pro units actually broadcast on the UHF TV channels, allowing you to tune in the signal on multiple inexpensive portable TVs on set without special receivers. This is also illegal in the US but widely done. 7. The specs on the cheap units, particularly the power and transmitting range, are probably useless. There's no telling, other than trying it out or getting a recommendation from someone. The Range Video gear gets favorably mentioned on this and other forums, for being pretty good for inexpensive gear. The transmitters are available with or without an outer case. Without a case, the unit gets very hot to the touch. I haven't seen comments on either of the others you've linked to. Charles Papert has pointed to some links of inexpensive wireless video gear, I'm sure a search will bring those up. It does seem hard to find people who have experience with the inexpensive systems. Good luck.

I'm in. Deposit sent. See you in Atlanta. Anybody else here committed yet?

Brian, I'm using the 45 degree monitor arm trick (per Micheal) to improve the DB. I have the battery practically vertical. Nearly perfect DB. I have the original allen screws on the monitor arm joint, monitor joint, and spar connection. I replaced the battery joint allen screw with a Kip handle. What happens is that it is nearly impossible to tighten down the battery enough to keep it from slipping. The mass of the battery will cause it to slip out of position when, for instance, tipping the sled horizontal to check the drop time, or inadvertantly bumping it against my leg. The monitor arm joint tends to slip too, but not as easily. The LE has a slight design change from the "old" Flyer which I believe was also implemented on some of the latest "old" flyers. Instead of the battery joint looking just like the monitor joint, it has a curved slot (kinda like a miniature version of an Ultra's camera tilt stage) that allows fine adjustment and better "grip" on the battery plate. But it seems that the whole bottom spar might need to be replaced, to upgrade this. Instead, I am hoping that I can source a thin washer/gasket made of friction material that can keep the small metal mating surfaces from slipping against each other, to get a solid "lock" without having to crank down the bolts unreasonably.

Brian, Thanks for the referral. I'm having a set of risers made as we speak. :-) How's that Delrin grip project coming? Meanwhile, the lower spar is driving me crazy. Small bumps against my leg, or even checking drop time, cause the battery and/or monitor to shift out of position, wrecking DB and often static balance. A big letdown after tweaking endlessly to achieve the elusive DB in the first place!! Even torquing down the recently-installed kip handle on the battery holder doesn't do the job. I can't seem to get Micheal Craigs to return my calls or emails with a price on replacing the piece with the revised pivoting dealy like they have on the LE (and some later original Flyers--I saw one at the factory during my recent visit.) Would hope that this would improve the situation. I also want to put a kip handle on the monitor arm piece (which I wish I'd bought when I was there). Still, short of a complete custom lower spar transplant, which I can't afford at the moment, I'm thinking of some very thin washers made out of some friction material (some kind of fiber?) They'd have to be thin in order to fit the gap between the monitor arm and the bracket...before I go on a wild goose chase to every Lowes or industrial supply place, has anyone solved this particular problem with some kind of friction washer? It is very frustrating that such an otherwise excellent piece of gear is hobbled by such an elementary design problem--the inability to lock the battery or monitor in place. It's like trying to learn how to play a guitar that won't stay in tune!

I've been lucky enough to work on a few concert shoots where John was operating...I was handheld or on sticks. It's a pleasure to watch him work, and a pleasure to work with him. A virtuoso and a great guy to boot. Next time he's in working in Nashville, I'd be happy to volunteer to shoot some BTS of him at work. Erik, What makes you think I would be just hanging around on the set while John is working and I could shoot a behind the scenes . . . . .LOL . . . . . Geeze . . . . If I did that I would need my fisheye lens to fit Johns head into frame . . . .LOL . . . Not that it's like tyhat now John, but it would inflate If I became his behind the scenes videographer . . . . Maybe Soulman can set up a lock off camera to help facilitate this curiosity

Wow. Some nice stuff. Working mostly in the doc/ENG video/HD world for the last few years, I'm not familiar with when one would need 24 volts (which accessories and/or cameras specifically). Can you enlighten me? And is 3 pin Fisher the standard for these aks, vs. 4 pin XLR? Love the risers. I'd imagined something like that, nice to see them built and working well for you.

Jason, If it was me I'd call or email Michael Craigs at Tiffen/Steadicam. The gimbal is such a critical part I wouldn't mess with it without at least some advice from the source. Good luck and please report what you find out.

Tommy, I've recently seen used Pilots go for $3100 US asking price. Try watching dvinfo.net or dvxuer.com as well as this forum. With negotiation you may be able to do a bit better and have your brother in LA store it for you until September. If you can, I'd maybe hold out a little while longer for a (2nd generation standard) Flyer, used. If you are patient and watch for deals, you should be able to get a nice used Flyer for under $5000 US (or even less; I bought mine, in pristine condition, for under $4000). I don't know if the Flyer can hold the Panny3000 but I'm told that it can fly the HPX500 (I plan to test that very thing next week). You can't go wrong with either a Pilot or Flyer, in my opinion. Resale value should be very strong, when you trade up to an Archer2 or Clipper. :-) Good luck and have fun!

Was in LA and stopped by the Steadicam factory in Glendale. Michael Craigs was extremely helpful, and here's a few things I found out: D-box: nobody making this in quantity but the camera stage has a couple of screws that will make mounting a homemade box pretty easy. Even easier is to have a Y-cable wired up...not an immediate need for focus/zoom motors, just a video transmitter. Monitor yoke: Tiffen makes a wraparound case for the 7" flyer monitor that makes it compatible with the yokes used by the fullsize rigs. Not a a cost-effective option for a small rig, though. Bottom stage rails/brackets: again, possible to DIY but not a TIffen offering. Battery bracket upgrade for dynamic balance: the LE has an improved pivoting attachment for the battery bracket, with a kip handle instead of an allen-nut. A retrofit is possible but I didn't discuss cost. The kip handle is very inexpensive and helps, but the old-style attachment is still prone to slippage. I'll probably add a small fiber washer to add friction. In addition, I picked up an LE-style kip handle for the dovetail lockdown, and a long aircraft pin for the arm to make it easy to flip to goofy foot. Michael told me about a guy who is experimenting with putting the new LE post grip on a Flyer post (apparently the new grip inner diameter is close to the right size to fit around the "old" flyer grip. Seems like it might just be crazy enough to work..

Anybody? Beuhler?

Hi, all, New Flyer (2nd gen, not LE) owner here, working my way through training exercises. In the meantime, I'm curious as to what favorite mods and upgrades other Flyer ops have made to their rigs? Especially interested in high-value additions such as: Weight plates/cages in the 5-10 pound range, to tweak the balance for HVX-class cameras Power distro on the top stage to accommodate multiple 12v accessories Monitor yokes or rails/brackets Battery rails/brackets to aid dynamic balance, -or- Battery bracket upgrade for toolless adjustment and to combat slippage Vehicle mount bracket options Any other mods that would add flexibility or capability to the rig Thanks!

Very nice indeed. At two points the shot received some "help" from a slight zoom, which I suspect was done in post...in both cases to delay a reveal of one of the bigger props. The first was the TV wall and the second was the banner.

Just to clarify that question...I understand that when the US analog-to-digital TV broadcast transition is completed this summer, the spectrum formerly occupied by the analog TV channels will be carved up for the use of other services (such as emergency communications, perhaps??) Anyway, if I had a UHF setup, for instance...are there specific channels or frequencies that will become completely unusable due to whatever communication services end up occupying that spectrum?

Santiago, Thanks for the info. I understand and totally respect the point about the limitations of cheap gear. I've read extensively and know about the high-end solutions; modulus, canatrans, titan, etc. That said, my work is mostly in corporate/industrials, direct to video and cable documentary, and low budget multi-cam and low budget commercials. The cost-benefit calculations in this world are brutal, so the choice at some level becomes to try to find a lower cost solution and accept its limitations. The idea is to find something that allows me to lose the cable and utility guy in at least some situations, or provide the director with a confidence monitor instead of relying solely on "trust me." Some have reported on this forum that they have gotten acceptable results with some low-cost wireless gear, so I'm trying to tap the collective wisdom. Again, thanks for the information you've shared.

I'm looking into a cheap wireless video transmitter & receiver combo to use for handheld and Flyer with an HVX200, I've scoured the threads and gotten some good info, but I just can't seem to put all the pieces together. Can someone enlighten me on the pros and cons of different options, and in particular the practical issues with different frequency ranges and technologies? Specifically, -What are the pros and cons of 900mhz vs 1.2ghz vs 2.4 ghz? Seems most folks are using 2.4ghz or 900mhz, few are using 1.2. It seems that range is a function of both frequency band, and transmitter/receiver design. -Can you define "microwave" vs. UHF range in terms of 900/1.2/2.4? Are there other UHF frequencies? -Is there a cheap unit available in a frequency range that would allow me to simultaneously have a cheap directors' monitor/tuner and a dedicated receiver for video village? -for any of the frequency ranges, are any of the cheap, consumer-grade receivers worth buying? I've seen some UHF antennas. -anything else I need to consider? Any real-world considerations or specific recommendations of systems that you like (or hate)? -what frequencies or ranges may be the least prone to interfere with, or be affected by, other items such as wireless focus, walkies, or other radio communications? -what does the digital transition mean to the legality and practicality of using these frequency ranges? Thanks!