Mark Karavite

The search for the perfect on board continues. Has anyone tried out the Ovideon AVIAh1000? http://ovideon.com/cgi-bin/merchant2/merch...tegory_Code=PMD Any input would be helpful. Thanks, Mark Karavite A Camera / Steadicam Operator mkaravite@comcast.net

FYI, Many airlines have what they call a "media rate". You need to request the media rate, and if they give it to you, here are the advantages: Less $$ per extra bag: usually $50 per bag instead of $80 Weight allowed: 100lbs instead of 50lbs. For example, Northwest airlines asked for either media credentials (which most of us don't have) or a letter on your clients letterhead describing the project, including dates. I had to have the client letter to get the lower rate. Also, they usually attache first class tags to your bags when using the media rate. Keep in mind to allow plenty of time, since it seems that the desk personnel are not familiar with the process, and have a hard time getting their computer program to accept a lower rate. For those of you checking carts, do they weigh more than 100lbs. I was told they couldn't accept baggage over this weight. Mark Karavite FYI, Many airlines have what they call a "media rate". You need to request the media rate, and if they give it to you, here are the advantages: Less $$ per extra bag: usually $50 per bag instead of $80 Weight allowed: 100lbs instead of 50lbs. For example, Northwest airlines asked for either media credentials (which most of us don't have) or a letter on your clients letterhead describing the project, including dates. I had to have the client letter to get the lower rate. Also, they usually attache first class tags to your bags when using the media rate. Keep in mind to allow plenty of time, since it seems that the desk personnel are not familiar with the process, and have a hard time getting their computer program to accept a lower rate. For those of you checking carts, do they weigh more than 100lbs. I was told they couldn't accept baggage over this weight. Mark Karavite

Dear Lars, When I bought my new rig, I did extensive battery testing with a 435 before I bought my battery package. Combining 2 Hytrons (or any NiMH) batteries is suspect for 435 use. The safest way, especially if you have a 12v rig modified to 24v, is to combine 2 NiCads. I have a hybrid sled with a PRO DB3, XCS 2" post and gimbal, and the MK-V Nexus battery base. With my setup, combining a Hytron 120 with a Proformer gave me reliable 90fps with the 435. In order to run top speed, it required 2 Nicads. Other sleds may react differently. Wil's Ultimate sled would react differently to a battery combination than my sled would. Although I tested my sled to 90fps with my normal batteries, I always bring NiCad's for 435 high speed work. Besides cold weather affecting both camera tension and battery performance, I'd never want to limit a DP to a certain frame rate, just because they said they wouldn't go higher than a certain fps in prep. We should show up ready to run the dedicated Steadicam body at all speeds. You are smart to modify your rig to 24v. It is an issue you will run into on almost every job. What sled do you have now? Mark Karavite

Jay, The biggest difference regarding the arm is it's position while front mounted. The angle of the arm is very different between front and rear mounted. For harness clearance, the footptint for the arm is as helpful as not having the carbon arm attached to the harness. As far as feel or "action", I think the arm reacts similarly in either mode. As I said, I hardly use the front mount, but when I do need it, I'm glad it's there. Mark Karavite

Dear Guido, I have one main question about the hands free transporter. I have always found that I would rather be moving than standing still. Nothing more painful than the director who shoots a full mag master, only to decide to stay on Steadicam for the coverage, hence making us a human tripod. Considering that you are basically standing still, is it more painful to use a hands free rig, instead of doing the shot the traditional way? I did a 125' move today, and I hard mounted to a Fisher. How many shots really require the hands free transporter, as opposed to other hard mount options? Now don't get me wrong, I think it's a very cool idea, and pulling out the AR on the hands free is taking it to a new level (of pain as well). I heard rumblings about a hard mount on the hands free, does anybody have further info on that? I'm interested in your feedback. Mark Karavite

Dear Rich, I had Walter add the GB front mount to my harness last summer, so I have had it for about a year now. Certainly, I always make every effort to stay back mounted. I only switch to the front mount for the occasional narrow doorway. Besides that, I never use it. I was considering buying a 2nd front mounted vest strictly for these doorway situations, but when Walter & Garrett had the idea, I tried it. For me, it was a less expensive fix to my problem, and I don't have to cart around a 2nd vest. There is a big difference in the feel, and fatique factor between front and back mounting. Front mounting on a back mounted vest jsut doesn't work as well, but it certainly has it's purpose. In addition to that, you don't have the nice adjustability of the socket block positioning while under weight. I have had to add shims to tilt the front mount towards me, so the sled doesn't want to run away from me, and it's still not perfect, but it certainly eases my nerves while rapidly approaching a tight doorway. As far as concert work goes, I agree with Charles, and that decision is a no brainer. For me, it's back mount all the way. I have done concert work for years with both style vests. In the old days, after a 3 hour nonstop gig, I would be pretty sore in the morning. My first job with my Klassen harness was a music video for R & B artist, KEM. We shot for 11 hours of conceptual / close up performance stuff, followed by a full concert. I was carrying a Sony F900 / zoom for a good part of the day, and then only stopped for 1 battery change during the concert. I woke up the next morning feeling like I could do it all again (although pancakes and a hot tub felt better). I called Walter that day to tell him the amazing difference in strain. I know some guys swear by front mount vests, and it's totally a personal preference. For me, it was a welcome change to the forces on my body to go with a Klassen harness. I personally think it will add years of operating to anyones career. If you really have your heart set on front mount for concert work, then I would probably reccommend looking into a PRO (or other brand) vest for those jobs. I wouldn't suggest using the GB/Klassen front mount for such sustained shooting lengths. Hope that helps, Mark Karavite

Dear Jamie, Sorry I misunderstood your post. I thought you hadn't obtained your PRO parts yet. My bad! Hey John, If I hear you right, it sounds like you want to build a PRO sled, with a 2" carbon fiber post. If that is your goal, you will have an easier time than I did, because I complicated the process with a MK-V battery stage. For your needs, you would simply order a 2" carbon fiber post from XCS with PRO connectors instead of XCS Ultimate connectors. Gregg builds it both ways, and even has a PRO style superpost for rental if needed. If you buy the PRO 2 battery stage, it will come with the proper connectors. My rig was more complicated because I needed the PRO connector for the MK-V battery stage. In hindsight, I might have gone the route you are considering. The MK-V Nexus is not completely PRO compatible. I needed my machinist to make a custom spacer to mount the Nexus to my post. Also, the Nexus doesn't feed the 12v Aux power to a PRO upper J Box, so if I ever need to run a high speed base for an Arri 3, I'm kind of screwed. A couple of other thoughts: 1) A PRO gimbal won't work on a 2" post, so your options are XCS (which I own and love) or maybe an MK-V which I haven't flown. I saw that Erwin Landau was selling a XCS gimbal, so check out the For Sale section, and you could save some $$. Look at the ergo handle as well. 2) MK-V also makes a PRO conversion, with a their 2" carbon fiber post. Eric Fletcher has this setup, and you can find pictures of his rig on this forum. The reason I didn't like the MK-V 4 stage post is that, when not using the super post feature, I thought it was too long in standard length. I just prefer a shorter sled when doing standard operating. 3) Whether you choose an XCS or MK-V 2" post, I would suggest buying post, gimball and monitor bracket all from the same vendor. I own gear from both, and personally the XCS gear has not had any issues, and XCS support has been top notch. 4) While I'm on the XCS bandwagon, you should take a hard look at the Ultimate sled as well. It is a different approach to power managment and sled adjustments, but a very nice piece of equipment. The good news about building a new sled, is that there are so many choices. The bad news about building a new sled, is that there are so many choicies. Good luck, Mark Karavite

I agree with Alec that owning both the 75 ohm, and the thinner 50 ohm is a good idea. I route HD-SDI to the downconverter using the heavier cable, then usually off the sled with a 6' ultra thin 50 ohm cable. The DP's will love you for giving them an HD monitor to look at while shooting. Also, if you give them HD most of the time, it's easier to sell them on wireless when you really need to be cable free. As long as they know they'll be looking at the HD monitor the majority of the time, they're cool with it. Of course, this is for a monitoring signal only. Fred Davis at PCS also makes both kinds of BNC jumpers, with his usual quality. I know many ops take pride in making their own cables, but if you're inclined to just buy them, Fred is another great source at 626-794-1534. Mark Karavite A Camera / Steadicam Operator

Hey Jamie, I remember hearing that PRO would not sell connectors to operators who weren't buying a complete system from them. When I put together my new rig 1 1/2 years ago, George not only sold me the parts I needed to complete my dream Frankenrig, but he went above and beyond to help me figure out some compatibility problems, which ended up being MK-V issues, not PRO issues. If you are still wanting the PRO connectors, maybe you should try George again, & offer him the $$ with a slice of humble pie. I ended up with a PRO DB3 & upper J box, XCS 2" post and gimbal, & an MK-V nexus battery stage. I went with the MK-V, partly because the AR was looming on the horizon, and I wanted to be compatible if I went with an AR. I must say, PRO and XCS make gear that works the first time, and every time. If there is a hint of a problem, they are on it like a rat on a cheetoh. I wish all equipment suppliers supported us like they do. The PRO DB3 is the best top stage I have ever flown, and combining it with XCS baseplate makes for an extremely rigid combo. Whether Erwin came up with the idea to combine the 2 or not, others should cut the man some slack. Erwin spends more time and money than a small country looking to progress the art and technology of Steadicam (just look at the contacts list he posts on his site). Mark "can't we all just get along" Karavite

Hey Will, I remember seeing an ad for a real Steadicam mag for the 235, I think SL Cine might make it. I know it's not an Arri mag (although they say one is in the works), but I know it exists. Having done both Steadicam and handheld with the "Dolphin" shoulder mag, I think that mag should stay in the handheld world. CSC probably has that mag as well. Good luck, Mark Karavite

A snap plate is basically an adapter that allows you to mount the camera on a head, without removing your Steadicam dovetail. I have the Baer Bel "Catgriller", which is a very simple device. It's great for speed when you are on a show with only 1 body. You're faster going onto sticks, and then back to Steadicam. Just don't try to use it for any insert car shots or situations where there may be vibration on a head. For Lars, great advice above. Going to prep, even if they don't pay you for it, is a great idea. Get all of your equipment issues handled before you ever get on set. Then you can concentrate on operating, and not look bad taking too much time setting up. Here's a few feature tips: 1) In prep, talk to the 1st AC, and make sure they have all needed Steadi accessories: 100% video, low mode brackets, Steadicam mags, downconverters for HD, etc... Ask the AC his preference on follow focus. If you have a Bartech, and he prefers FIZ, that can be rented. Just make sure you have the correct mounting bracket & power cable. 2) Watch all rehearsals, even if Steadicam is not planned. Stay in tune with what is being filmed. You never know when the Director or DP will change their mind at the last minute, and decide to use Steadicam. You want to have your mind in the game for that call, not sleeping in the truck. 3) Sweep the shot. Before you rehearse with 2nd team, walk the shot's path. Clear the scene of any equipment in the frame, lens flares, camera shadows, boom issues, etc... Work with the gaffer, key grip & boom op to remedy these issues well before it's time to go. As wisely stated before, worry only about technical issues with the lighting, not aesthetic ones. 4) During lighting (near the end), do a couple rehearsals with 2nd team. Make friends with the AD, and let him know ahead of time that you would like 1 or 2 with 2nd team. This way, when 1st team arrives, their first take is your 3rd or 4th, and you have some muscle memory in place for the shot. Most people's first take is not their best. 5) Trust yourself. Even though you may be new to Steadicam, it's not your first week on a set. If you tell yourself "I hope I don't blow this shot", you'll blow it. If you tell yourself, "I'm going to nail this one", chances are you will. 6) If time given, get feedback from the DP between takes. Many DP's like to make little modifications to the shot from take to take. Keep what he liked from the previous take, and add his request into the shot. 7) You mentioned it was an HD shoot. Remember that a HD camera body is very long, and it's inertia pans slower than a film body. Anticipate any whip pans or quick moves with this in mind. Enjoy yourself. Steadicam is not only perceived as the best job on the set, it is. Let us know how it goes. Good luck, Mark Karavite A Camera / Steadicam Op mkaravite@comcast.net

Jay, I sent the parts to Janice Arthur (a friend) in Chicago. She is going to send you any unneeded parts. Best regards, Mark Karavite

Jay, Sorry, but I promised the parts already. I would have been more than happy to help out the workshops. Best regards, Mark Karavite mkaravite@comcast.net

For those out there with a Master's vest, I have some spare ratchets and buckles that were ordered with modifying a 3a vest in mind. Never did the mod, bought a Klassen harness, and have the Masters parts laying around. They are useless to me, and free to anyone who wants them. Any takers, give me a shout. Mark Karavite mkaravite@comcast.net

Dear Erik, Check out the Mako Head: http://www.airsealand.com/rentals/Stabilize/Mako_Head/ These guys are out of Florida. I don't know if you can get your hands on it in Norway, but they would be able to tell you. I havn't used this particular head, but I have used The Perfect Horizon Head, and it works very well on water. The advantage of the Mako is that it doesn't require an expensive operator, where the Perfect Horizon does. This makes me believe it is a simpler (and usually this is better) system. Either way, a horizon stabilizing head would yield better results than either Steadicam or handheld, and certainly be a safer option for you. Are you a boater? Being in high seas can make most anyone a bit seasick, but looking into a viewfinder all day magnifies the effect. It's the same with aerial work. Consider dramamine for motion sickness. Also taking breaks, and focusing your sight on the horizon, will help with any seasickness you might encounter. Good luck, Mark Karavite

I bought this Archos AV420 end of 2005, and never ended up using it. Brand new in the box. New $420, selling for $300. Also for sale: Sony XC-77 video tap camera: $250 PCI Optical Relay (for mounting XC-77 to Arri eyepiece): $500 Contact: Mark Karavite 248-618-9000 mkaravite@comcast.net

Dear Jason, I own a Marell HB monitor, and I have been very happy with it. It is bright enough to view in direct sunlight. The frameline generator is very easy & quick to use (1 set of framelines) and has a crosshair. You can invert image vertically or horizontally. It is very much shaped like a TB-6, and weighs a bit less. Marell has a weight you can attach to match TB-6 weight exactly. I have always been a green screen guy. I am leaning towards a LCD, but just waiting for the right one to come along that has everything I am looking for. Even if I get a LCD, I'll hold onto the Marell HB. I live in a cold climate, and I'd be nervous with a LCD in really cold weather. Aside from liking the monitor, Marell has been very good with customer support. To me, this is becoming a big part of my decision to buy Steadicam gear. Not all companies are so good once the sale is made, but Marell has treated me right. They don't claim this monitor is a TB-6, but at less that 1/2 the price, I believe it is a good deal. Hope this helps. Mark Karavite Steadicam Owner / Operator mkaravite@comcast.net

Hey John, I have been looking for the same cable, with no luck so far. I also talked with Fred Davis, and he referred me to someone who does fiber connectors, but he couldn't help me. You are correct, the HD fiber cable carries the fiber optic signal for HD video and control signals, as well as copper cable for power to the camera. It is the copper cable that makes the cable too stiff for Steadicam. I have flown Telecast's Copperhead unit on HD cameas with good results. Telecast has both a powered, and a non powered version (no copper cable in the non powered version). This non powered fiber cable is very light and supple, and created very little pull on the camera. The problem with creating a non powered jumper cable, is what do you do with the DC voltage that is coming down the 950's cable? That was the stumbling block with the technicians I spoke with. None of them were sure what would happen with adding a cable that would not continue to provide power, and you can't turn the power off at the camera's CCU. Email me at mkaravite@comcast.net, and I can give you the number for a guy I know at Telecast, and he may be able to help us out. I think it would be worthwhile for someone to manufacture a nice, Steadicam fiber cable, because it seems alot of people could use them. Mark Karavite Steadicam Owner / Operator mkaravite@comcast.net

Another guy cleaning out his equipment room, for sale: 1) Brand new PRO 7" Dovetail plate, $150 2) PCI Optical Relay. Allows video tap to mount to 16mm & 35mm Arri eyepieces. $700 ($1500 new) 3) Sony XC77 Video tap camera with cable. $400 ($1180 new) Contact info: Mark Karavite 248-618-9000 mkaravite@comcast.net

From viewing the video shooting of Patrick operating, his movements looked very smooth and elegant. Is there any chance to see the resulting footage? God bless the inventive spirit. It is alive and well in Garrett, Jerry and their partners in advanced vision. Just the look of exhilaration on Patricks's face when interviewed after shooting is enough to get me to want to try one on. Remember back to your first big Steadicam gig, and the feeling you had when you nailed it. Patrick looked like he just won the lottery. Very cool, someone please post rental information if/when available. Mark Karavite Steadicam Owner / Operator

Dear Doug, I've done quite a bit of live concert work, and in addition to the above helpful hints, consider the following: 1) Fred Davis at Production Cable Service can supply you with a nice, lightweight triax cable for around $300. Mine is about 8' long. I just connect to the big triax cable on the back of my vest. Don't waste your money on the CP Triax adapter, it's expensive, combersome and unreliable 2) Consider using a LCD monitor. I have a LCD backup monitor, and it goes on when I want to lighten up the sled. 3) Test how long your batteries last in your final shooting mode. It's good to plan out battery changes if needed. If using the triax cable, you won't have to power the camera. Consider getting some lithium batteries, tons of power for the weight. I did a KEM concert with a F900/3, and 3 dionic 90's. Even with powering the HD camera, I only had to change out batteries once. 4) Rig a tally light on your monitor. You won't be able to see the camera's tally light while operating. Knowing when you are "on" or "off" is a huge benefit. You know when to make it count, and know when you can steal a rest. I have a modified tally rig from a Jimmy Jib. It only cost $100, and I just cut off the 12v power in, and use the Anton Bauer power tap on my battery mount to power the tally. 5) My Klassen harness has been a real life saver on 2-3 hour live gigs. 6) Ask production for a wireless intercom. Normally, the headset powers off the camera, and you have to run a cable off the sled to your headset, and that's a big pain. If they don't have a wireless, have your utility guy run an audio cable down the triax, and wear a intercom beltpack on your vest somewhere. If it's a loud act, get David Clark noise cancelling headsets so you can hear the Director. 7) Your spotter is very important. I've been into my 3rd hour of a concert, and was so tired I nearly walked off the stage during the encore. My spotter saved my ass. If you don't know your spotter, whoever he is, have him work with you during rehearsals, and train him for what you need and expect. If I can't pick my spotter, I take a look at the available utility guys, and pick the one who is most athletic, and seems to have a good head on his shoulders. BTW, your focus puller IS NOT your spotter. He can't pay attention to your safety while pulling focus, get another guy. 8) Bring earplugs and show black clothing. 9) As the other guys said, rest up, work out your legs, stretch before the shoot, have plenty of water standing by, don't let them kill you during rehearsals and rest during the shoot whenever you get the chance. Good luck, Mark Karavite mkaravite@comcast.net

Rod, I checked into Quantem Scientific aluminum cases. They are 35% lighter than ATA style cases, completely waterproof, and I can keep my sled built. It sounds perfect. I am talking to one of their design guys about a custom case. A couple of questions: -Being that you are both in Toronto, did you take your sled to them for measurement? I'd have to make templates and send them. -What is your assessment of their interior foam work? -Did you get wheels built into one side for rolling? -What is the weight of your case empty. Thanks for the info. My sled's been on a camera truck for the last 8 weeks, so I put the new case on the back burner. Now that I'm done with the film, I need to make a decision. It sounds like you've been very happy with your case. I'll post what I find out. Mark Karavite mkaravite@comcast.net

I have owned a Universal harness since December, and have loved it. The only complaint I have had is the difficulty in getting through tight spaces. Walter and I have had many discussions on this point prior to Garrett's design of the dual harness. I first saw the dual at NAB. The socket block was a little high off the front door of the harness, and you felt like you were operating with your elbows in the air. Garrett and Walter modified the design to a mount that's top ends at the top of the front door. I had my vest modified just prior to starting a feature in late July. After nearly 2 weeks of shooting, I have found myself jumping back and forth between back mounted and front mounted positions quite often. The AC's have named the front mount "old school". When in the front mounted position, it does feel more like my old front mounted vest. What I give up in comfort is a small consession, not having to cringe everytime I approach a doorway. I am finding that I can fly full tilt through doorways like before. Switching modes literally takes less than a minute. To change over, simply remove your back mount carbon arm, flip your arm socket over, and tighten your shoulder straps a bit. The only big problem I have is that I cannot adjust the socket block to balance the rig fore and aft. With the top screw all the way in, the sled still wants to run away from me. Walter is working on a wedge that will change slightly tilt the whole front mounted rig towards me, and it should solve this problem. Depending on the angle of your front door, the angle needed might be different. Although the new dual harness has more carbon fiber, and is therefore slightly stiffer than a normal Universal, I have had success operating with a modified Universal harness. You need to have the metal hinge on your front door for rigidity (ratchets on both sides won't work). I was hired on the feature on Thursday night, I shipped Walter the harness on Friday, he modified it on Monday, I received it back on Wednesday, and was shooting on Friday. Thanks to the Klassen clan for turning it around so quickly for me. They're great! Mark Karavite Steadicam Owner / Operator mkaravite@comcast.net

Dear Matt, I was using the plumber analogy to try to make a point, which is that he charges what the job is worth. If you called 20 plumbers, all their rates would be comparable. I was in no way degrading the plumbing profession, but rather comparing a trade that has fair standardized rates, versus our trade that has rates all over the board. As long as people will work for very low rates, producers will continue to play us against each other. Now this is just my humble opinion after being in the Steadicam game for 19 years. I have always been undercut, but stuck to my rate. That strategy has paid off in the long run, and I was am simply trying to express my personal experience to some of the younger operators who might feel pressured to work for very little money. I just think that strategy is hurtful to themselves, as well as the profession as a whole. Now I agree that the Hollywood elite deserve to make the $2500 / day range, and that all producers cannot be expected to pay those rates to everyone, but why can't there be a standard minimum rate. I personally feel that it should be more than $800 for labor / gear. If you have made the investment in time and money to become a Steadicam owner / operator, than I think you are worth at least $1500 for gear / labor, minimum. If everyone charged the same minimum, call it a Steadicam scale rate, then producers would pay it. If you can get more than "scale" more power to you. It's a free country (as is Canada), and I respect your opinion, this is mine. Best regards, Mark Karavite Steadicam Owner / Operator mkaravite@comcast.net

Dear Yuri, If it makes you feel any better, Ben Fisher did finally refund my purchase in full. With that said, it took many emails and phone calls, and significantly longer than I thought was appropriate. It doesn't matter if there are technical problems or not, if a customer is not satisfied, and the deal included a "no quibble" (I quote the FBX paperwork) money back guaranty, then a customer who has a problem should receive a full refund in a timely manner. Myself, I was to the point of finding a UK attorney who could chase my funds legally, when the refund finally was transferred to my bank. Now I am not a sue happy guy, but waiting 3 months for a refund, after waiting over a month for delivery of a "in stock" item, brought me to the point where I was willing to spend the money to pursue legal action. It was simply a matter of principle. My only regret is that I didn't speak up sooner on this forum. I was not comfortable with hurting a suppliers reputation, but as I continued to see postings about FBX, I felt obligated to simply state my experience, and let others make their own conclusions. Ben Fisher was always polite and helpful when I spoke on the phone with him, he just was never able to deliver on his promises to me. That doesn't mean that he is out to screw every operator he comes in contact with, as other operators have posted favorable reports about FBX. I would be very skeptical of any company that requires sending money up front, for equipment to come later. It seems like a very British way of doing business. There are other ways for suppliers to be guaranteed payment for equipment shipped. I understand that they have to protect themselves from the few who would take the gear, and not provide timely payment. This forum is an appropriate place to share both good and bad stories. And to end on a positive note, I raise my glass to suppliers who have continously gone above and beyond the call of duty for me in both product quality and customer service: George Paddock Greg Bubb Jim Bartell Fred Davis Walter & Jennifer Klassen Hugo & Dean @ Rig Engineering David @ Marell Louis @ Inner Space Cases Mark Karavite Steadicam Owner / Operator mkaravite@comcast.net