Mark Schlicher

Andrew and Victor: I rotated the bracket 90 degrees to line up with the tube clamp, then ran a 1/4-20 into the Marshall unit, mounting it vertically. I disable the vertical axis readout and just use the horizontal readout. That's why I like Alan's solution...easy to mount the unit flat. My PIAA bracket is a discontinued model, not exactly like the pictured one...So I don't know if the "rotate" trick works on the new ones. Re: not being universal, the H.I. seems to be compatible with all current Marshalls (although the new modular series is not mentioned...maybe the website is just not updated??). Previous models had hardware limitations apparently, that don't allow the firmware to be updated to a version that supports the H.I. You can limit the delay by turning the sensitivity up all the way in the menu. The unit is limited...no motion compensation and even at max sensitivity it doesn't compete with high-end systems. I find it useful in some situations but not in others. Glad I have it but it's definitely a low-end solution.

Yep buy a second digital receiver and motor, buy the slider upgrade...you're golden.

Thanks, Eric. You're always a ray of sunshine. By the way, I didn't "hide" issues with slow motion. Those shots were blocked and designed for slow motion by the director and I opted to show them as intended. PS: 22awg according to Tiffen.

Elliot, I submit that the composition of the shot is always relevant, because it reflects on the operator's compositional skills, which is a critical skill of a Steadicam operator. Also, well-lit, well-composed shots imply that the operator works on "legit" productions...or at least knows how to compose a good test shot. Why is that important? Because a Steadicam operator often is called on to collaborate on shot design. Your reel may be seen by both DP's and producer-types, regardless of who it is "intended" for. Good production value is a plus no matter what. I wouldn't use a bad shot just because it had good production values, but I also would avoid a badly designed shot, or one that was so badly lit that it was distracting. It tends to say to the people who would hire you (fairly or unfairly--does it matter?) either "this guy either doesn't know a good shot from a bad one" or "this guy doesn't have enough experience to be able to fill a reel with watchable shots". Sometimes you don't have control over the lighting or the shot design. But Matt has complete control, and it wouldn't take a lot of time or effort to shoot a much better stairs shot. The lighting isn't the only issue, nor is leading vs. following. The horizons, headroom, and composition (letting one actor completely block the other) could also be improved. That's why I encouraged him to dig a little deeper. My philosophy of editing of a Steadicam reel is that it should be crisp, well-paced, but never intrusive or call attention away from the shots. A Steadicam reel is not the place to attempt to promote editing, camera op or your skills as a whole. That is the function of other reels (which may include Steadicam work but are not a Steadicam reel per se.) Of course you want to fill your reel with your best shots. Why would you knowingly show less than your best? A reel full of "only great shots" is only "lying" if you can't reasonably deliver what the reel promises. In that case, you are not ready to show anyone your reel. Post-stabilizing your shots, however, is always cheating in my book.

Paralinx Arrow is the only prosumer HDMI choice at your pricepoint. There are some cheap HDMI consumer units that have less range and you would need to build or locate your own power cables.

Matt, About the stairs shot, basically what Victor said. Since you agree that it's weak, my advice is don't use any shots in a demo that you know are weak. If you want a stairs shot, design and shoot a well-lit, well-blocked shot. This particular shot feels too much like a "test shot" and not enough like a shot from a film or commercial. It's not just that it's a following shot. Following shots that are thoughtfully designed can be effective. For instance, a couple of cops with guns drawn, warily creeping up stairs. Or an amorous couple charging up to their bedroom. Shots that tell a story with body language, wardrobe, etc. Also agree that post-stabilizing demo reel shots should not be done.

James, Things can get complicated fast...Brian's suggestion re: Terry West is a good one. He's fast, reasonable, and knows what he's doing. For two batteries (even 12V) you need to install a diode in-line, to prevent back-charging problems (use the search function here to pull up several threads that contain details).

Matt, Not bad for a first reel. If you want a critique as a demo reel to get you work, here's my two cents- Lose shots that are obviously "test shots" particularly the following the kid with the toy gun. The stairs shot is weak (too dark and you're following instead of leading) Stage another one with more production value if you want a stairs shot. This one does not showcase anything. Edit out most the skateboard guy...a little goes a long way and some of your horizons were off. Also chasing skateboarders around seems to be a cliche, but that might just be me. The first shot was one of the best, partly because of the production value of the graffiti and because it looked credibly like it could have come from a paid shoot. The music was fine, except I found the vocals toward the end distracting. I'd edit the track to eliminate vocals. Shorter is better until you get more variety of shots and productions on your reel. Every shot should tell us something new about your capabilities. As you add to the reel, consider designing very specific shots with production value and storytelling value. Shots that start somewhere specific and lead the viewer through space to a specific destination. Also consider the kind of work you want to do and try to come up with a test shot that replicates it (ie., dramatic, or music video performance) Good start. Keep at it and good luck, enjoy your new rig.

The Pilot definitely takes a "light touch". I started with an HVX200 on a Flyer and actually enjoyed how nimble it was. I never saw it as a disadvantage, just a variation. When I first started flying heavier cameras with a new rig, it felt sluggish and unresponsive until I got used to it. A lot of good work on your reel...great sense of composition and good control of the rig. "If it ain't broke..." Honestly it doesn't sound like the minor advantages of the Scout would justify the cost in your current situation, and if you were to start flying larger cameras you'd run out of capacity with the Scout pretty quickly anyway. Now, you might consider upgrading your vest...the Flyer/Scout vest is a significant upgrade in comfort compared to the Pilot vest, I'm told.

Watts is watts. Correct. Never said that 12V vs. 24V made a difference in runtime. Only makes a difference in lowering the amperage being pushed through the 22AWG wiring of the Zephyr sled. This, in my understanding, reduces the heat buildup in the wires. Talking about heat buildup. Given the same power draw (watts), Greater voltage= lower amps=less heat buildup. As for "marginal" vs. "totally inadequate"...these are subjective descriptions and subject to a lot of factors that have been discussed before.

I was trying to answer Matthew's question about hot-swap and other advantages of the plate. Primarily clarifying that the hot-swap capability is only available in 12V mode. For me personally, the aux battery plate is mostly useful for flying heavier video cameras by adding a second battery as counterweight. It also helps distribute the weight so that dynamic balance is easier. Increased battery life is a bonus. The other benefits are minor by comparison, depending on specific configurations and needs. Power-hungry 12V cameras like Epic benefit from extended runtime provided by two batteries...but also are light enough that usually you are better off with a battery mounted to the back of the camera. If you are trying to fly Alexa on Zephyr, you need battery weight below, and since the camera's already so heavy for Zephyr you'd want to avoid adding a battery on the camera. The challenge is that the Zephyr's wiring is marginal for the Alexa power draw, resulting in voltage drop and heating. The problem is mitigated somewhat by running the sled at 24V (with a 24V Alexa power cable). Higher voltage means lower amperage, so lower heat buildup. The separating of the two batteries is a kind of theoretical benefit. I've never used it that way, but perhaps it would be useful. It adds the ability to power everything on the top stage separately from the bottom of the sled.

Matthew, The hot-swap is only in 12V configuration. No hot-swap in 24V The other main benefits of the battery hanger are: - better weight distribution and ability to mount sufficient weight to balance heavier cameras (the main benefit, IMO) - mix 12V and 24V AKS - extended runtime for power-hungry cameras - run in 24V mode for a 12/24V camera, to reduce current draw at a given power demand (100w at 24V = half the amps as 100W at 12V. This minimizes the possibility of problems due to heat buildup in the Zephyr's 22AWG sled wiring) - separate 12V power sources to split the load if desired* * a word of explanation: to do this you unplug the regular battery paddle from the sled and power AKS such as the monitor other AKS mounted to the bottom spar with the D-tap on that paddle. Keep the aux battery hanger plugged into the sled to power items on the topstage. Tiffen has chosen to deactivate the d-tap on the aux battery hanger for some technical reason, so if you unplug the aux hanger you won't have access to that battery's output unless you had a lemo adapter made.

Alan, what size is your monitor? Surprisingly the bracket looks a little cramped at the handgrips. On the Alzo unit, the 7" Marshall fits nicely, though the 6.5 sticks up a little.

I'd go with the Ikan...only a little more than the Alzo unit but looks more robust. It wasn't available when I bought mine. The MD series monitor is great from the looks of things...however you need one of the $999 versions to get the HDSDI (the one with input and output, not the one with two outputs). Also, the AB mount should not be an extra-cost option, you should be able to order a version with that mount. B&H's website looks confusing on that point. Edit: caution, it looks like the 7" Marshall MD series monitors may not have a compatible Anton Bauer plate...only V Mount and small battery plates.

I use this low-cost but solid and versatile set of handles with plenty of receiver mount points: http://www.alzovideo.com/alzo-transformer-dslr-rig.htm I pair this with a 6.5" transflective Marshall HDMI monitor with AB mount, since I have a Paralinx Arrow.

Nice...and the price is right!

I use a clamp similar to this on the monitor tube, right behind the post. http://www.amazon.com/PIAA-74000-1-25-L-Bracket-Twin/dp/B004TXS0SS/ref=pd_sim_auto_2

Tom, I'm pretty sure I've seen a thread or two that mentioned the appropriate diode, possibly under a "hot-swap" topic heading. Don't know the answer myself. In 24V mode Tiffen's unit puts 24V on the third lemo pin, while still delivering 12V on the other pin, so that 12V aks still see 12V and the 24V is only seen by 24V aks. (Assuming appropriately-wired cables). Since there is only set of power cables up the post, every power connector gets the same feed: 12V only in 12V mode, and 12/24V in 24V mode.

The Paralinx P-tap cable also works (and is sold separately from the Arrow).

To the best of my knowledge, as of a few months ago anyway, no. Nothing for Clipper/Archer/Zephyr size plates.

Like I said, I'm not getting back into that discussion.

Alzo Video has a couple of padded bags worth looking into, fairly well-made and inexpensive. Also check out Guitar Center and other online vendors for On-Stage brand padded bags in various sizes.

I don't keep up with the pricing on the Zephyr variants but as of a couple of years ago the HD Zephyr cost about $3000 more than the SD Zephyr as I recall. So, by buying a Marshall for $1200 and a $240 cable, you have an HD monitor solution, a backup SD monitor, and $1500 in savings. The math may be different now, YMMV. I will also say that I was an early Zephyr adopter and Tiffen drove me crazy with their inability/unwillingness to give me specs or any description of either their HD or SD monitors prior to purchase, despite repeated requests to the factory. I was only able to see that it was a rebadged Marshall by looking at a user-posted photo (I later had an opportunity to compare actual units side-by-side). As for the power cable, Matthew....I own custom power cables for Red One/MX and Epic. Both cameras are pretty power-hungry so it's good advice to power the camera from an onboard battery if you can. I won't wade back into the threads on that subject, but suffice it to say that Red's sensitivity to voltage drops, combined with the wiring used in the Zephyr, can result in operational problems. Specifically, when you power up a (analog) Bartech receiver after the camera can cause a voltage drop that can shut the camera down. Workarounds are necessary. Easiest workaround is power the camera separately. Don't know if digital BFD receiver has the same issue.

You should never give away your rig for free. Always a rental on top of your rate. And your "DP rate" should be the starting point . The principle is that Steadicam is a special skill and you should get paid more for that skill. Even if your overall rate is lower than some because of your rig and experience, it should be higher than your own "normal" operating rate. Even for the same client. And what Alan said.