Tom Daigon

Jerry, thank you for being the voice of reason.

Looking Good!

"Thanks, Max and Tom. Good input, I'm working on revisions as I get additional footage." Your very welcome Mark.

Hi Mark, Tom here. I thought I would give it a shot. Overall I like the music and the way you have cut to it with an ear for musical phrase changes and hits (like the drums and the high five) and the length of the piece. The open shot at 9 sec. is nice but I would move the sweeping shot at :13 in its place. I like how dynamic and powerful it is. Its says "steadicam" to me more that the original static. More drama for the open. So by eliminating the first shot and sliding the one I just mentioned in its place. You have room for another shot. I would like to see a little more shot variety instead of staying with the singer and drummer. If you have any more cools shots I also would replace the shot at :17 since its more of the same singer (although it is wider). I would lose the outdoor band shoot at :21 since it confused me and didn't add a lot. Since we just had a lot of cuts on the great open, I would move the long office shot at :33 to be next on the reel. You definitely want to wow them while you have their attention. I am tempted to lose the balloon and crowd stuff that start on your cut at :24. We see the same moves on other much cooler stuff on your reel. So I would follow with the helicopter sequence which has a lot of good stuff. I love the shot at 1:09, but they are all strong. Very nice editing job.

Bryan, I like the pace much better. And the restructuring of the soccer (regardless of its format) works because of how dynamic the shots are. I think you have hit the sweet spot for me with this piece. May the work flow in like wine.

Its always good to know the rationale behind the use. I agree, celebrity and quality are the best reasons to keep the music video where it is. Although I must admit, I was paying so much attention to the shots I did not discern the groups of shots by category, even though that is evident on the second viewing. On my reels in the past (not on my website) I would stick "mtv type" info lines to communicate category / client / my role (ie editor or compositor or motion graphics). But Im not really sure that is appropriate or necessary with your reel.

Thanks for the kind words Peter. I will be attending NAB and look forward to meeting you at the booth. My interaction with Bryan is pretty much a professional reflex that kicks in when helping clients with their projects. And I hope you dont hold the fact that I just bought a Glidecam V-25 / X-45 with a Gold vest against me. ;-) . My heart was really set on an Archer but since the bottom fell out of the local industry I had to be very conservative with my finances. Although its interesting to note the center of my learning process is based around Jerrys book, the old tutorial dvd and this site. Now if I could only swing a cost effective workshop life would be grand.

I spoke to them today and they are introducing 2 new models at NAB, both with hd sdi inputs. When I encourage them to accommodate using AB batteries they said that wouldn't be implemented. They seemed generally to be targeted at the prosumer market.

At the moment I dont have any shots. I can tell you it looks very clean and professional ;-) I spoke at great length to Dave at Glidecam before going to a machine shop and getting a squarish hole drilled to accommodate the small hdmi connector (about 2" below the stage and above the gimbal). Then a second larger squarish hole was drilled in the tube that telescopes down out of the main tube for the larger hdmi connector. I wanted to make sure I didnt mess with the structural integrity of the post. Buffing out the edges of the holes was also done. Its a very clean variation of the X-10 / 2000 hd configuration and it works very well with the 5D and DP-1 in my applications.

There are millions of ways to cut...this is my way to do it... I would keep most of the scenes just shorten them down to the visuals that show the essence of your skill with motion and composition... For example in the opening music video I would lose the shot at 11 sec.We have seen it before. The group walk at :17 doesnt add much for me. The guitar at :32 also doesn't speak to me .. although I know you timed things so the drums could hit when they do. If I was editing I might edit out a music phrase to shorten the open and allow the drums to happen while losing these other shots. The guy coming out of the water at :49 is one I would cut. The rest seem strong to me. Seconds could be shaved off everything if that was very important to you .I would open with the more dynamic soccer piece and just shove down the music video. I like the shot you ended with because it is a nice demonstration of re-composition and movement over time. If you really wanted to shorten it dramatically I would first cut the music to length (easily down with this piece) then shorten the scenes more radically. I personally think I would watch this entire reel if I was doing the hiring. A 3 minute demo reel is a very reasonable length if what you are showing is professional done...and your stuff fits that description.

Hi Bryan: Stepping out of my "newbie glidecam operator" role into my "veteran editor for 30 years" role I want to say that I think your reel is great. The moves and changing compositions are well executed and if I were asked by the director of a project I was cutting to give my opinion...I would say "Hire that guy!". Nice job.

I have a 5D that I use with a modified Glidecam 2000 (hdmi down the post ) with an X-10 vest / arm as well. I also modified the sled bottom (added yoke for monitor) for use with the DP-1. The image is great HD until the 5D goes into record then it becomes SD which still looks very good. The early batteries had problems but they have been rectified. Of course its wise to set the f/stop tp about 5.6 for extended depth of field. Im not sure how it might work in direct sunlight but indoors and on set it reads well. My sled stage was a bit light so I added some "cheese"plates to add a little weight to the camera and battery grip. I can get good static balance and a nice 2.5 sec. drop which helps its performance. Good luck with your shoot!

Charles, I agree that the Solar 7 is way more desirable as a professional tool to the SD LCD that I am currently using. Before I realized how much I needed a better vest, I was ready to buy one from Gaylen over the phone :-) As a professional editor / motion graphics artist I strive for the best hardware and software to get the job down. This is the motivation for building a well stocked edit bay at home ...to supplement learning opportunities that can be utilized at the work place. As a newbie Glidecam operator my desire is to have the same approach, but finances and minimal experience set limits on my purchases (d'oh...) I realize this is a board for full time professionals and can only hope as time and opportunity goes forward that I will be able to join the ranks of folks buying Solar 7s, nanoflashes (great invention) and the myriad of other basic necessities for this profession. At the moment I just feel blessed to have a solid rig, the handbook, the dvd and lots of enthusiasm. I guess that will have to do for the moment ;-)

Thanks for the info Andrew. As it turns out my primary camera is the Sony EX3 which has a menu option to output a down converted signal from several spigots. I am currently using a very adequate monitor called the DP-1 from smallhd.com. It isnt 1000 nit like the Nebtek and it doesnt have an SDI in yet. But it works well on the V-25 rig for balancing and its a great SD image. $3500 is a lot for a dilettante like me at this point. I have have a more pressing need to upgrade to the Gold vest for better support and design. Luckily the folks at Glidecam are the best when it comes to customer service. Its a moot point because the Nebtek site indicates the monitors are out of stock for 2-3 weeks pending some enhancements.

Thanks for the welcome Mark. I played with the placement and balance issues for several hours today and I think I have things at an optimal setup. I am envious of your workshop experience. If I hadnt been layed off from the production facility I was senior editor at for 10 years, I would spare no expense to take a workshop as well. The dvd and book will have to suffice for now . Its nice to have them augmented by the talented and helpful folks this this forum.

Thank you Jerry. I am honored to have your response. I was finally able to drop the hinged dual battery arm down to a 45 degree angle and position my hd monitor in a complementary angle and distance above it to get good clearance and good balance. Im sure this will be a dynamic process (intended pun) as I learn more about stuff. The handbook has been a good adjunct as well. At 55 years old I love learning new things, but I have to tell you, as I practice these techniques part of me is glad that my "day job" has been editing for 30 years. Pushing buttons has never made me sweat like practicing steadicam has. My hat is off to folks that do this 8-10 hours a day. You people are a bunch of animals ;-)

I have been getting used to my new rig (Glidecam V-25 / X45) by spending a lot of time refining its balance and practicing my line walking. As I watch Jerry do "the change" (on the old training dvd) I see how close he maintains his position to the sled as he circles around to the Don Juan and back to the Missionary. Its almost like the sled shaft is his pivot point. The base of the EFP he uses has a battery close to the shaft. It seems that rails these days are very popular and lots of the rigs I have seen seems to have rails that extend out enough to make Jerry's technique almost impossible (ie banging into the rails). I went and reconfigured my system to see if I could get a balance and buy a little extra clearance at the bottom. Is this an issue that the pros have to come to terms with or is it just a newbie distraction?

Great! Those jobs should give you an opportunity to put the monitor thru its paces. I look forward to checking it out and getting a full report when you return to Vegas.

I was talking to an old acquaintance (Gaylen Nebacker- who was a tape op at a large SLC post facility where I was an editor many years ago) about stuff earlier today. I mentioned my interest in his Solar HD-7 monitors. Since my budget is very lean this days but my rig is pleading for a hd monitor, I thought a good compromise was the SolarHD-7CW, which is the same (without 8 pin lemo and battery mount and customer frames and leveler ) as the SolarHD-7SC . Since my goal is just to augment my editing and motion graphics with some jib / glidecam work on "the side" I thought since I cant afford the $3500 for the SC, the CW would work. It would necessitate removing the mount for the CW but his brother Loren said that would be doable. What is your experience and opinion of this monitor line. Please keep in mind that my goal of stabilizer use is much more limited in scope than most on this forum (and so is my bank account ) ;-) I have read the other entries on the monitors, but want some current evaluation since some time and use has transpired since the comments were posted PS Im loving the V-25 /X-45 rig I just got. With the handbook and dvd close at hand, I spend time twice a day doing the exercises . I can feel muscles that my hour of swimming laps (3 times a week) haven't touched. But I seem noticeably stronger after the last week.

Hm!?!?!?!??? "Damaging the cable; popping out a bearing" what type of arm is it? How can it be!!!!! Ken. Ken, this discussion is just about the best way to hang the Glidecam V-25 arm on the docking station in a safe manner. It is a different approach to how the Steadicam arm is hung (I think) . Since I just bought the system I wanted to make sure I was doing things the right way ;-)

Thanks Matt. My instincts were to avoid the post bearings as well. Im glad the web (thanks Pascal) can help me learn how to care for and use my equipment. My arm is now hanging between its bones (boy that sure sounds painful) ;-)

Update...Pascal, an operator in the Netherlands had this suggestion... "The pin is indeed ment to take the arm. The best way I found is to hang it in between the upper and lower bone, so you hang it sideways on the pin. Any other way could possibly damage the cable inside or pop out a bearing :)"

Sounds good to me Brian.

I got the V-25 / X45 the other day. It is a fine piece of equipment. I am following along with the old EFP training video that Jerry and the late Ted put together. Its like having a private class! I have a question for you. On the docking station, adjacent to the balancing pin is a small angle post that sticks out that maybe 3 inches and angles slightly up. Is this where I can hang the arm? If it is, do I take the pin off the arm (that the sled sits on) and hang the arm by sliding the little post on the docking station thru the holes that the pin usually goes thru? I hesitated to do this since I see there are 2 small bearing rings in the holes that I didnt want to damage by sticking the angled post into, since the weight of the arm would be fully on the lower bearing ring. Tom Daigon Avid DS /FCP Editor www.hdshotsandcuts.com

Robert, the equipment thing makes sense. Experiencing another system is fine by me. But my current situation would limit me to a 2 day workshop. Given my state of employment (or lack there of of) and a pet recently diagnosed with diabetes (that needs daily injections) , I am somewhat limited as to what I can spend and where I can go. But maybe I will get a little luck going here and another 2 day flyer workshop will happen soon here in Vegas. I just got the V-25 balanced with my EX3 and am adjusting to the weight increase over the X-10 / Canon 5D combo. So for the moment I don't think I will need that weight ;-) Thanks for the words of encouragement!