Mark Karavite

Hey Lars, I just DP'd a F900 job last week, and the DIT had 2 of the TV Logic 17" LCD monitors. They were very nice as a tech monitor. Normally, I'd wouldn't expect to make critical decisions on a $3500 monitor, but I was pleasantly surprised how nice they looked. With that said, they are not Steadicam monitors. All the features we need (high brightness, framelines, image invert, etc...) are missing. For that price range, maybe consider a Transvideo high brightness model. At least you'll have a fighting chance to see outside. Mark Karavite

Jens, Search the forum on this subject. Lawrence Karman (among others) has a sweet DA that fits inside his PROII sled. All video feeds come off the DA, so there are no termination problems. I have a MK-V Nexus base, so there is no room inside. I working on a design to incorporate a DA into my sled. It will solve so many video signal issues. I think this is the correct one, but please confirm. I'm not 100% sure: http://www.vac-brick.com/CompositeVideoDAD...oductFamily=MFB Someone please chime in if this is the wrong DA. Mark Karavite

I was day playing on a feature, and the Directors had these 7" LCD's. They are pretty nice, and for $90, even nicer. Cheap enough to not worry when the neglect comes, and it will! You can get them from J&R in NYC: http://www.jr.com/JRProductPage.process?Product=4156805 Mark Karavite

John is correct, plus #5 if you need it. According to Fred Davis, the pinouts are as follows: 1 G 2 9V 3 Video 4 Vid Grnd 5 Video return

For anyone interested, here is a source for Archos AV500 TV docking pod kits, which contain the correct multi cable for the discontinued Archos AV500. I bought a couple to have as spares. Once they are gone, there will be no more. http://www.newmp3technology.com/av500-dock.htm Mark

So I digress to my original problem of not being able to ship a cart anymore. Does anyone know of a foldable cart, preferrably with shelves, magliner that takes my current Steadicam mast, and under 70 lbs. ? I'll kiss whoever comes up with the answer :P Mark

I'd give a big thumbs up to Innerspace. It's tough not living in LA, because you want the case maker to personally measure the gear for the foam. This spring I was prepping a pilot at Panavision Hollywood. Carlos came to prep, measured my gear, and then delivered the finished sled case to the Disney lot a week and 1/2 later. Great craftsmenship, even better service and a very fair price. I'm curious to hear if anyone has had problems with them, because this is the 5th or 6th case from Innerspace, and never a bad thing. Erwin must buy hundreds of cases, so maybe the odds just caught up with him :rolleyes: Mark

Hey Chris, Great idea using the Camelback. I have a festival concert this week, and the DP informed me that they want to shoot every act!!! I'm gong to buy a Camelback tomorrow. Thanks, Mark

There's no way around sweating on a hot day. Once I switched to a Klassen Universal vest, only my back sweats, as the front is open. Either way, I always let the vest air dry overnight, and wash the parts when needed. One thing I swear by lately are the nice, sweat wicking T shirts. Nike Dri Fit, Columbia, UnderArmor etc... all make this very comfortable material that wicks the sweat off of your skin, and the shirts dry off themselves during a break. You end up a bit gamey by the end of the day, but that is going to happen anyway. The Dri Fit shirts are way better than a cotton T shirt. Other than that, just be in shape, wear sensible shoes and embrace the elements. You'll enjoy yourself much more that way. Best regards, Mark

Here, I found a picture of the pig itself. The look on 1st AC Joe Ward's face says it all. BTW, that's the famous key grip Steve Cardellini (blue jacket) in the BG. Great key grip & great guy. I got a signed Cardellini clamp from him at the end of the shoot. I'm a swag groupie! Mark

Regarding the Doremi converter, I don't think the big issue would be feeding it 5v power. An MK-V Nexus base has an adjustable recorder power output, and 5v is selectable. For other sleds, Jim Bartell can make you a cable that converts 12v output to 5v. He has been making these for Archos recorders (along with Fred Davis of PCS). I think the bigger issue with this converter is that it only outputs SDI. Most Steadicam monitors are NTSC, and even though they are both standard def signals, they are not the same. Neither my greenscreen or LCD are SDI compatible, only NTSC. Don't get caught on that! My first call would be to the camera's manufacturer. They will want their camera to work well in this production environment, and they have more resources to make any modifications that might be needed. I'd sollicite their help on this one, it's in both your interests. Good luck, Mark

Hey David, I combine a DB3 with an XCS camera plate, and I have never had any vibration issues. I can't say enough good things about GPI's products & service. Another option to look at now might be the SteadyRig top stage. They don't have up to date images on their site (when I just looked), but you could contact Hugo at admin@steadyrig.com, and he could give you more info. I haven't flown the SteadyRig top stage, but it might be worth a look. Mark

Hey all, Anybody have a good, simple solution for this: my Gorelock ring tends to slip upwards on my XCS 2" carbon post when docking, especially with heavy cameras. What is the best material to put between the ring and the post to avoid slipping? I plan on calling Greg, but I thought someone in the forum might have a practical solution. Thanks, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

Hey Lars, My $.02 on the subject. 90% of the time, I always have the camera come with the proper Steadicam accessories: 100% video Steadicam mags Low mode bracket Clip on matte box A good AC will already have these things ordered for you before you even make the request. Although I own LMB's for a few older cameras (35-3, SR, HD), the one LMB I own which I use alot is the Hill bracket for a 435. The great thing about this bracket is that it works without requiring the 100% video tap (which is hard to find some times). The other great thing is that it tilts, which is really nice for certain low mode shots. For today's cameras, I find that the Hill 435 LMB is really the only one I need to own. If you were to buy LMB's for every possible camera (Arricam LT, ST, Moviecam SL, Compact, Panavision LW, Genesis, SR2, SR3, 416, 535, 435, etc...). At $400 to $500 per bracket, you could tie up some serious $$ in LMB's, when the rental houses should really be providing them as part of the package. After I am booked, one of the first discussions I have is to confirm that the correct accessories are ordered. Production is used to paying for that stuff, no big deal. Happy flying, Mark Karavite

While watching the final round of the British Open on Sunday, I caught a shot of an operator on a hands free transporter. He was hard mounted, rolling in Don Juan in front of some players walking down the fairway. It looked like a PRO2 rig with an LCD, and definately a PRO arm. This seemed like a great application for the hands free transporter. If the operator is out there, I'm sure there is some interest in hearing some details from this shoot. Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

Update: Items sold: Magliner Steadicam bumper BFD Matte Box Rod Mounting Bracket Items still available: 1) Magliner Vest Holder (for front mounted vest) New $115 / asking $50 2) Baer Bel Balance Mickey (never used): New $180 / asking $100 3) Jerry Hill BL-4 Low Mode Bracket: New $300 / asking $100 Mark Karavite A Camera / Steadicam Operator 248-618-9000 mkaravite@comcast.net

A Monday morning cleaning of my equipment room revealed the following items looking for a good home: 1) BFD Mattebox rod mounting bracket (brand new): New $175 / asking $125 2) Backstage Magliner accesories: - Mag Steadicam bumper: New $115 / asking $50 - Mag Steadicam vest holder (front mounted vest): New $115 / asking $50 3) Baer Bel Balance Mickey (never used): New $180 / asking $100 4) Jerry Hill BL-4 Low Mode Bracket: New $300 / asking $100 Mark Karavite A Camera / Steadicam Operator 248-618-9000 mkaravite@comcast.net

Marell HBM-5M monitor for sale. This has been my backup monitor for a couple years, and rarely used. I recently bought a MK-V LCD as well, so no need for the extra greenscreen. Marell HBM-5M features: 5" high brightness greenscreen Fadeable Frameline generator with crosshair Fadable border Image invert / scan reversal Variable aspect ratio PRO connector PRO / XCS spigot Built in tally lights Sun Hood Rain cover For more specs, here's the link to Marell's site: http://www.marell.co.uk/monitors/HBM-5M/ This is a great backup monitor, or as a primary for a newer operator. Very reliable unit, and great service from Marell. New HBM-5M is just under $4000 USD, asking $2700. Please email or call for pictures. Mark Karavite A Camera / Steadicam Operator 248-618-9000 mkaravite@comcast.net

It's appropriate that Gregg get's to knock off a few of his 15 minutes of fame on screen for Entourage. He has done a lot for our craft, and is a great guy. Am I the only one bothered by them intercutting an obvoius low mode shot (assuming it's from Dan Kneece) to Gregg doing the same arc in the "behind the scenes" in high mode? I guess they weren't worried about Steadicam Ops in the continuity department, or maybe I'm too picky! Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

I can't believe anyone would show up on set with $100K in gear, and not have it insured by production. When you lease a car, the auto company specifies the insurance required to protect their interest in the vehicle. I am always amazed how people in this business agree to thousands of dollars in contracts verbally over the phone. Most businesses require a PO for anything over a few hundred dollars. Why should we treat our livelyhood any different. Obtain signed deal memos and insurance certificates prior to production starting, or stay home. How production screwed Bill is immoral, and should be illegal. There's an old saying in business, "You'll never get screwed in business, if you don't give anyone the opportunity to screw you". Having a detailed deal memo and insurance certificate (making production liable for damage & deductables) is a sure fire way of protecting your interest, in writing. I deal in real estate on the side, and some brokers and contractors could give producers a run for their money in the scumbag department. When signing a contract, ask yourself, if I sue or get sued, will this contract give me a legal leg to stand on. If you have your interests covered in writing, when a producer or UPM attempts to screw you, telling him to pay, or loose to you in court, will warm your heart. FYI, someone mentioned that sueing for $1000 was not worth the effort, I disagree. Most small claims limits are $3000. It is much easier to sue in small claims, than a suit over the $3000 limit. Small claims requires a trip to the local circuit court to file documents, an informal hearing with a mediator, then a court appearance if the 2 parties cannot agree in mediation. No lawyers are allowed, therefore no legal fees. I have won 4 of 4 cases in small claims court. My personal equipment insurance covers my gear all the time, but that does not excuse production from it's liability. I'm all for an officail SOA stand against this type of lunacy. If some of us start to accept this, more producers will jump on the bandwagon. Let's not only be great operators, but smart businessmen (& women). Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

A nice item to have on F900 shoots is an Anton Bauer adapter plate with a gold mount (as if it were a battery) with a 4 pin XLR on the back. Some of the downconverters that mount on the back of the camera (Miranda & Evertz) normally get power from the battery. If you don't have the plate, then you may be forced to mount a battery on the camera, which you don't want to do on the already too long F900/3. The Miranda is nice, because it will also output framelines over the NTSC output. I don't leave them on, but I use them to set up my framelines. Also, if you have a 4x3 monitor, the set the output of the downconverter to 16x9 letterbox. You have a proper image, and I put my bubble in the letterbox area. Alec has a great point about running a lightweight BNC cable off the sled, to give your DP HD monitoring. I give them HD as much as possible, and for the few shots where you absolutely have to be cable free, you won't get the resistance. I make the DP aware of this ahead of time. First tell him he's going to be able to see HD the majority of the time, and he'll love it, then use the disclaimer for the needed cable free shots. Fred Davis makes some very nice "spaghetti" thin cables. I use the lighter 50ohm for monitoring only, and you need the slightly thicker 75ohm for a recorded signal (like Genesis). 6' to 8' is enough to get off the sled, and barrelled into another BNC on your back. Keep in mind the length of the F900, especially with a PRO 35 (I hope with Primes, not a zoom). Physics takes over, and the length of the camera makes it harder to get started, and harder to stop. It's just a big lever. The first time I used an F900, I thought my gimball was bad, because I was going back and forth between 2 talent, and I was a bit late for each line during the first rehearsal. I quickly realized my normal timing was not going to work, and I had to memorize the dialogue so I could anticipate the move, and get it started early enough. I shot a non Steadicam job with a F900, Miranda downconverter, Dionic 160, PRO 35, Ang HR 25 - 250, 6x6 mattebox with eyebrow. I asked the AC to break out his tape and measure that pig. It was 4'6". Regarding batteries, I always order Dionic 90's from the camera rental house, and cycle their batteries. My sled holds up to 3, so I can achieve good run times this way. If your rig normally takes Hytron 140's, see if you can get some Dionic 160's. You'll get longer run times, and save a couple pounds. Low mode can be a problem as well. See if you can order a camera with an aftermaket handle, that will allow you to mount a dovetail plate directly to the handle. Running low mode with the camera upside down is an option, but video village will have to flip all their monitors, because the F900 does not have an image invert. The techs hate to put down their beverage to flip the monitors, so expect some resistance there. Good luck, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

Not to sound like a broken record, but I had the same thing happen. The DP asked for me specifically, which in the good 'ol days meant you could almost name your price. The offer was for scale, no bump for Steadi, and $5000 for gear for 7 weeks! I told my agent not to even validate that offer with a counter. When I called the DP, he understood, and went back to prouction to ask for more $$ for A Cam/Steadicam. I ended up turning down 3 offers, each just a little less pitiful than the one before. What's rare about this situation, is the DP ended up telling production to go ahead and hire an operator for scale, but forget Steadicam. He didn't feel confident that he could get good Steadicam for that $$, so he told production that camera would live on a dolly, slowing down production, and obivously limiting camera movement. He'd rather not spend valuable time attempting Steadicam shots that he feared would be sub par. Bravo! Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

Hey Bill, A wise man once said, "A Hard Man is Good to Find". Actually, I saw it on a pillow, but it applies here. As an operator who has had 2 seperate 1 year injury hiatus in my 20 years of operating, I feel your pain (literally). What I think you will find, is that the rehab & training habits you endured to get back to this point will actually benefit you as your career progresses (a nice way of saying, as you get older). Chris Chelios of the Red Wings is playing playoff hockey at 45, and looking like a 25 year old. This is not because of good genes, it's because of hard work & training. If we stay in shape, there is no reason that we can't operate into our 50's. Injuries tend to nag us over the years, but that nagging is a great reminder to get your ass into the gym and become stronger. I destroyed my right knee 13 years ago, and to this day I can feel it. It only nags if I haven't worked out in a couple days. Pain is a great motivator, and I don't think my legs would be nearly as strong as they are today if I hadn't blown out my knee. You don't know what you have until someone take's it away. While I was on crutches for 7 weeks, I would have dreams I was operating, only to wake up not able to walk. We have the best job on the set, and you should be proud to have made it through your ordeal. How cool is it that your back on the same gig as before? Way to go! Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

Dear Mark, Here are a few items that my agent always includes in a standard deal memo. Even if you don't have an agent, it's prudent to have a deal memo signed by production. This way there is no question later as to what the "deal" was. Too many people make deals on a verbal agreement in this business, and it's easy for a less than reputable producer to take advantage of that situation. Labor: -State hourly rate -State overtime rates, ie X1.5 after 10, X2 after 12, etc... Be sure to include dollar amount for overtime hours worked. If you ever work out a 12 hr. rate, base your overtime on a 1/10th your day rate, not 1/12th. Also, start into double time after the flat 12, not X1.5 after 12, then X2 after 14. -State all travel or prep time rates. -State any charges for dark days -Production provides Workers Compenstion Insurance for the duration of the project. Equipment rental: -State daily (or weekly rate). -If working on a weekly rate, specify rates for any short weeks. Producers are trying to get a daily pro rated rate on gear, based on the weekly rate. For example, if your gear is $1000/day & $3000/week, the producers will try to get your gear for $600/day ($3000 divided by 5) for a short week. Clarify this going in. -Production provides full replacement value insurance on your equipment for the duration of the job, including travel time. You need to be provided an insurance certificate naming you as additional insured for the value of your gear before the gear goes out. Invoicing: -Specify if your labor is billed via timecard or invoice. -Specify if your equipment is billed via box rental on timecared, or invoice. -Include the terms for payment, 10 to 12 days is normal. COD for small, out of town companies you haven't worked for before & political ads. -Specify that all union contributions will be paid on your behalf. -Specify what expenses production will cover, including mileage rates, per dium, hotel, shipping, etc... -Specify cancellation fees. My agent books job on a "pay or play" agreement. If they sign the deal memo, they pay whether the job goes, cancels or delays. It seems like a lot of information, but you can easily create a 1 page deal memo that covers everything. Remember, it's show "business". Best of luck, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net