James Puli

That was the part I didnt mention in my last post. The operators here are using Steadyrig gear. Hugo is here as Tech Support at the Aquatics and there is another couple of people and rigs at some of the other events Pics no probs will take some and post them when done. JP

G'day all. I am currently working on the Commonwealth Games in Melbourne. Good call Brad. The cameras are RF cameras (D Links or something similar) provided by Gear House Broadcast. The only problem with these systems as I have said in another post in another topic, is that they tend to break up when you walk around corners or under things. We've had huge technical probelms with them and rarley (at least at the swimming where I am) have we ever had talley lights and dont even think about talkbacks. As far as I know the Steadicam Ops who are operating here are Glen Steer (does all the swimming at most world champs, Olympics etc) and Dale Henderson is doing some on the Marathon and Mountain bikes mouonted to a 6 wheeler, as well as a couple of network guys scattered around the place. I know at the Swimming there are about 6 guys who are Steadicam Operators who are operating normal cameras as well. And its the same at a number of other events from what I have herd. Im working with the Polecam which has had its own complete sets of problems which are driving us all nuts so I havent been taking too much notice of the Steadicams. JP Aussie, Aussie, Aussie, Oi, Oi, Oi

Hey Guys I just thought I would say that we showed it at the Melbourne Steadicam workshop a few weeks ago and every one absolutley loved the clip (Students and Instructors) Its always good to see what our Steadicam coligues are doing in other countries that its out of the ordinary. JP

Hey guys For our Pro we have a 5kg steel plate which we screw in between the dovetail plate and the camera which works pretty well. When using Flyers or similar smaller rigs, I have about 1kg - 2kg of lead flashing and some gaffer tape. Last job with the Flyer I had a PD150 for one setup and a DVX100 for another. The lead we had gaffer taped to the handle of the PD150 and on the DVX100 we had a little camera light, powered through the rig which gave it just enough more weight to help us out. JP

Hey I recently worked at the Melbourne Cup horse racing and for the Steadicam the production provided us D-Link Cameras. Not too sure how they work except to say they transmit a fairly decent picture which the TD can handle the same way as if you had a triax cable back to the OB truck. We were outside and the system was pretty much line of sight from the recievers antenna and covered the area we were in pretty well. However it radomly did still drop out or the colours would change. Luckily it never did at the wrong time. Either a minute before we were going on or a second or three after they cut out of us. The only problem with this system was that there is a delay in the link. So if what you are shooting has alot of dialogue that requires lip syncing this system may not be good for you. We were mainly shooting horses and their riders walking around the mounting yard so there was no need for syncing. When we needed to shoot presentations or the national anthem we had to swap to a different camera with a cable, so there was no sync loss. Hope this helps a bit at least. JP Melbourne Australia

Hey guys Thanks Joe and Chris for your help. At the moment I've got hotels booked at both ends and am really pumped about the trip and really looking forward to meeting as many people as I can when I'm literally on the other side of the world to where I am now. Will speek before then and hope to meet you both. JP

Hi all. Subject should read IBC 2006 (not used to the new year yet). I know its only Janurary and IBC is in September, but I am planning my trip to Europe and am trying to make it so that I can visit IBC as well. (Killing two birds with one stone so to speek). Was just wondering wether anyone out there can reccomend any good places to stay, that wont cost me 150EURO per night (about $180 US) and is of reasonable quality. Being Amsterdam I would prefer to be on the safe side, and not wanting to stay at any dodgy back packers etc. Hopefully I will get to meet some more of you guys there. Being from Australia we dont get to meet too many from the International Steadicam community. I'm also spending a week in London in July, as well and would love to meet up with some of the London guys for a beer or something. Thanks in advance. JP Melbourne Australia

Hi Guys I saw this monitor (I think) on rigs at the SMPTE tradeshow here in Australia a couple of months ago. Didnt get a chance to take it outside, but was pretty nice (if its the one that I saw). Have to agree with the possibility of being a re-badged Marshal monitor. Looks almost too similar. I have used a couple of the other Marshal HD-SDI monitors (not on Steadicam), on other shoots and they had their own problems. Non reflective glass and was definantly not bright enough for Steadicam use outside even with the brightness and contrast turned all the way up. But then again, it may not be the Marshall, and hopefully they wont have these little problems. Frank, are you out there? Im sure you can help us all out here. I remember you knowing all the tech specs for all the monitors when you were here at SMPTE. James Puli Melbourne Australia

I think the education a good accountant gives you is about as good as you can get these days. I have been with my accountant for a fair few years, and was given him as a recomendation of a collegue. Its like looking for a lawyer or a good AC. Once you find the right one you are pretty much set. JP

Hey Grimmett I completly agree with you, I was just stating what I had herd. And according to the source of this information it is as legal as writing off a home alarm system. Without the jail time of course. JP

Hey All I have herd people, who have gear stored at home, writing off their "Guard Dogs" and all associated vet bills, food, etc and getting away with it. I supose you'd just have to make the different between "Guard" and "Pets" clear. Dont know how legit it is, but its not too bad for a bit of a laugh otherwise. The other handy one that I know of is that DVD's now, mainly because of extra features, can be written off as "Research and Development". Gotta love those special editions and mulit disc sets. JP Melbourne Australia

There are still a few places available in the 5th Annual Film Making Summer School Steadicam Workshop 23rd - 27th January 2006, Melbourne Australia This intensive theoretical and practical course will provide training to a high professional level in the use of steadicam operation for use in feature film, documentary and television production. By the end of the workshop participants should be able to confidently assemble, balance and operate steadicam in various modes and configurations. Each day will consist of lectures, demonstrations and intensive practical exercises with various steadicam rigs. The ONLY Steadicam course in the Southern Hemisphere, Melbournes beautiful Summer conditions (in Janurary) make for a fantastic week. The Couse is lead by some of Australias finest and most experienced Steadicam Operators including Louis Puli (Irresistible, Romper Stomper, Crackerjack, Metal Skin, The Interview), Phil Balsdon (Peter Pan, The Quiet American, Two Hands) and American ex pat veteran Rusty Geller (Bird Cage, Die Hard 2, CSI, Startrek Voyager). With special guests each day as well. For more info check out www.summerfilmschool.com or Phil Balsdons website www.steadi-onfilms.com.au/steadicam_workshop2005.html Or contact Louis Puli lpulicam@tpg.com.au

Hey Guys Here in Aust, Steadicam Ops use a range of different cases. Most of the ones I have, have been custom made Anvil style cases. I tend not to take them all on each job, but I prefer having propper flight standard cases for everything. Was looking at going down the pelican path, but the way I wanted to setup our Pro 2 sled in the cases it was much easier to get a custom made one. The only pelicon case I have is for my Pro arm which came with it when I bought it (2nd hand = lucky me !!) I carry about 12 cases which can be condensed to about 6 for local shoots. 1 - Sled, Monitor, Docking Bracket (Gorelock) 2 - Batteries, Chargers 3 - Arm 4 - Video Split Gear (clam shell monitor, transmitters, recievers etc) 5 - Soft bag for vest, hard mounts and limited other brackets 6 - Follow Focus Kit - Bartech or Preston (depending on job) The extended list goes on including Wind Breaks, Tube for docking stand, other accessories box (tools, video tap etc), on set bag (Lowepro Commercial AW), vehicle mount tube, hard case for vest and other brackets, 10inch video combo, plus my newest purchase my trusty Magliner trolley with full Steadicam upgrades. I also must say that I travel locally in a Station wagen and can fit pretty much all of this gear in it. All cases also weigh less then 32kg's because thats the Australian limit for luggage on air travel, as I mostly take gear as excess baggage rather then shipping seporatly from me. Hope this helps, as you can see, you can pretty much case up everything. The other reason I prep my kit like this is so that I can hire out complete kits of gear to other operators and a few AC's that need or ask for gear. Theres pleanty of times I just take my Preston and Video Split gear (clamshell etc) on shooting, operating or assisting jobs.

The 5th Annual Film Making Summer School Steadicam Workshop 23rd - 27th January 2006 This intensive theoretical and practical course will provide training to a high professional level in the use of steadicam operation for use in feature film, documentary and television production. By the end of the workshop participants should be able to confidently assemble, balance and operate steadicam in various modes and configurations. Each day will consist of lectures, demonstrations and intensive practical exercises with various steadicam rigs. The ONLY Steadicam course in the Southern Hemisphere, Melbournes beautiful Summer conditions (in Janurary) make for a fantastic week. The Couse is lead by some of Australias finest and most experienced Steadicam Operators including Louis Puli (Irresistible, Romper Stomper, Crackerjack, Metal Skin, The Interview), Phil Balsdon (Peter Pan, The Quiet American, Two Hands) and American ex pat veteran Rusty Geller (Bird Cage, Die Hard 2, CSI, Startrek Voyager). With special guests each day as well. For more info check out www.summerfilmschool.com or Phil Balsdons website www.steadi-onfilms.com.au/steadicam_workshop2005.html Or contact Louis Puli lpulicam@tpg.com.au

Hi Guys I am a 1st and 2nd AC based in Melbourne Australia, but I often put on another hat as the ONLY SPECIALIST Steadicam Assistant in Australia. Depending on the production will depend on wether or not they hire a specialist Assistant for the Steadicam operator. I work pretty much in film 90% of the time and am slowly making my way into TV at the moment, which in honesty needs more Camera Assistants generally. 1 out of every 10 jobs for me is as Steadicam Assistant. I find I work mostly as a Steadicam Assistant when the Steadicam Operator is day playing on features or TV Dramas where time is of the upmost importance and the AC's generally wont know or care about how the Steadicam is being built. What generally happens is I will be building the Steadicam with a 2nd Camera body, and use the lenses that are on set, while the Steadicam Operator is operating main camera, giving the DOP a break from Operating. (Not all productions here have operators, its just as much a luxary as a Steadicam) Like Matt said before, either myself or the grips will be responsible for spotting the Steadicam Operator through a complex movement / shot. I tend to leave it to the grips simply because when any thing goes wrong (I dont want to be in the way lol) and they can just take the rig off the operator give it to me and its all good, while the operator is talking with the DP and Director, and often rehursing or watching block throughs while I deal with any problems that may occur. These can range from dead batteries through to arms going down and a quick dash to the grip truck to rig something out to get the shot done before we get the arm properly repaired. We all work together. A specialist Steadicam Assistant is an extreme luxary. I know of only a hand full of productions in the past couple of years that have hired them, and they have all been American films shooting in Australia. Matt - 1st AC works in a darkroom loading film into the cameras magazines, controls film inventory and camera reports. This is a good description of that the 2nd AC actually spends their time doing (when there is a 2nd ac on a job of course). Generally the 1st AC will simply set up the camera, make sure its working properly and then pull focus during the shots. Spotters are nearly always Grips. And if they are not, they will be a spare AC or a Safety Supervisor. The Grips and Safety people are the only other people on a film set that I would trust any where near my Steadicam when operating. The Grips are the Steadicam Operators best friend. No PA would ever get that job. JP Melbourne Australia

Hey Guys I was lucky enough to be at an Australian Cinematographers Society tech night last month, where the inventor / founder of Aaton Jean Pierre Beauviala, came and gave us all a fantastic and fasinating talk on the current and future of Aaton. He showed us computer drawings of the new camera and to answer a few questions Yes the mag design is going to change to make it easier for us 2nd AC's and loaders out there. And its also going to be lighter and quieter then the previous model. They are also doing a new version of the XTR Prod at some point soon as well. Jean Pierre is an absolute genious. He, like Garrett is always thinking, looking at ways to make his products better, more user freindly and generally improve dramatically on the previous product. The other cool thing with Jean Pierre was that we had basically an open question and answer session and was listening to all of our suggestions and giving us a fantastic insight into the reasonings as to why he designed the cameras in the way that he did. With some of his other inventions being Crystal Sync, in camera time code, the world FIRST integrated video assist, and everything he has done with Aaton, Aaton Cantar, Eclair and the other camera manufacturers he has worked with over the years, I can only imagine what he will come up with next. ....... And YES - he is looking at Aaton Digital. JP Melbourne Australia

Hey Steven and everyone. Any thoughts on shooting with the Milleniun on 2 or 3 perf? I know it can go 3 perf but not sure about 2 perf. You will get a 25% stock saving on 3 perf and a 50% saving on 2 perf. You may find that depending on the shot and the length you may get it on a standard 400 or 500 ft load. Even if you could find an old 2 or 3 perf Arri 3 or 435 that would help you out a heep, again depending on the length of the shot and the ramp. With the right planning your AC should be able to tell you exactly how much film you need and simply use what you need. Just my two cents. And its something that alot of people may not think of let alone consider for a shot like this. The only thing that I can think of as a negative to this method of lengthening a roll, is that not all post centers can handle it, but if you find somewhere that does, BINGO. JP Melbourne Australia

Hi Jay Other then the phone numbers Hugo posted Brad's Australian Agent is AusCrew www.auscrew.com.au where he is listed as DOP. Im not sure if he is still doing any Steadicam. I know for a fact that he sold his rig a few years ago. His US Agent is The Mack Agency - 818-753-6300 Hope it helps. JP Melbourne Australia

Hey All At the last Melbourne workshop (in Jan this year) we had 9 students. With 3 rigs, and 3 instructors, and myself as an Instructors Assistant / Support Person. We had a Master Series Film, Masters Elite and a Pro 2 with the lot. Every year we have had extremly different rigs. Year 1 we had 2 x 3a's a Provid, and a Pro 2. And another year we had a Masters Film, Pro 2 and a Glidecam Gold. And we have always kept the 1-3 ratio of rigs and instructors, because as we all know we learn almost as much from operating rigs as from watching how others operate and hearing their feedback from instructors as well. We found that the students came out of the workshop with a great knowolodge of pretty much all the sorts of rigs that are available out there. Because we are so far away from the USA, and with the limited amount of gear available here (getting better now) we wanted to expose students to all sorts of different equipment and as was said in a previous post a large support group within and outside Australia. Alot of the time we cant afford to fly 12000 miles to LA to check out the new rigs etc. So we try to bring them to the workshop. Every year we have run the course at least 2 people have gone out and actually purchased rigs. One year we had I think 5 people get rigs. Which have ranged from Masters, Ultras, to Glidecam Golds and others. Hope this gives you an idea about where we are coming from. JP Melbourne Australia

Hi Guys For those operators in Australia and some in New Zealand, Australia's main Video / HD rental company Lemac (also Steadicam agent) has put SIMILAR handels to these on all their HD cameras (both the Sony and Panasonic). And having used them on numerous occasions I can say that they work a treat. I am not sure if they are these exact ones, I will pop in and check them out and post a photo if I can. I can definantly say that they s#*t all over the standard ones as far as rigidity, strength, accessory mounting and steadicam friendliness goes. I know the ones that Lemac has, on the top the holes are properly threaded, but I couldnt tell about the ones in the photo. JP Melbourne Australia

Hey It does depend on which camera you are using and its a matter of speeking to the rental company and working out the best solution for you. I know that the new HDV cameras have standard def out puts and for "real" full sized HD cameras I tend to ask for the Mirander down converter. Its small and does the trick pretty well. Hope this helps JP

Hi Guys We just bought an older Transvideo Pegasus Reciever and have found it to be pretty good. Havent had any problems at all with it. Until now we have used an old school Sony tuner which has been fantastic. Are there many people using the new Diversity recievers? I know the DX4000? (is it) was fantastic, but have herd some negative things about the new one they brought out. Any more info on this front? JP

Hi Guys I have herd a different story about the Genesis camera systems. I know that the Steadicam Operator on Superman (currently shooting in Sydney) had big problems with the weight of the system he was expected to fly. And I know that his brand new Ultra arm didnt like it at all. From what I herd the weight damaged the arm servearly. With the Panavision Video Mag and then all the lens's Panatape, Preston, down converter etc it turned a light camera body into a PIG very quickly. The other non steadicam friendly aspect of the camera is the power required to drive the camera. And again from what I herd it required more voltage then an Arri 435 to power and run. My advice, do your homework. Speek to the DOP and the Technical Director / HD person (if there is one) and find out exactly what you are expected to fly well before the job then head into Panavision and see if you are able to do it. Hope it goes well for you. James "JP" Puli Melbourne Australia

The Scanner is made by E Grip Ment (www.egripment.com) and I believe is alot better then a Jimmy Jib but pretty much the same idea. It is made for TV sort of uses but we have used it with 16mm Aatons heeps of times The remote head which I have used with the Scanner was heeps better then any of the Jimmy Jib heads I have seen or used. You have the choice of either wheels or a joy stick to control the head. People who read Americam Cinematographer will have seen E Grip Ments add for their new telescopic crane (The Extreme T12) (similar to SuperTechno Crane) Has anyone seen this one? I for one am really looking forward to seeing one. Reading about it on the web is only teasing me. JP Melbourne Australia

G'day from Australia Down Under we run a standard 10 hr day (on everything except commercials which is 8 hours), but everything MUST have a 10 hour turn around. (Working a standard 50 hour week on Drama etc unless otherwise agreed). Depending on where in the world the production is from they will try and change this to get the most for their money. I know that on Charlotes Web (shooting at the moment) the production was trying to negotiate a standard 12 hour day with a 9 hour turn around. I'm not sure wether this was agreed to or not. The 10 hour turn around is pretty much the only thing the union (almost non existant) down here enforces. Its not so much the union enforcing it, but everyone knows the rules and doesnt mess with it. Unless you are working on a Chinease or Korean TVC which you do pretty much what ever to get the job done, often including piles of overtime ( $$ ). But its generally enforced pretty well. The 10 hours here is before over time. Generally, gaffers and grips especially, will only work a 14 hour day, and I have seen many a gaffer turning lights off because of this (often during shots - it gives a nice fading effect done in camera lol). Obviousley if crew are driving trucks, generators etc home (as we generally dont have drivers, and often very different locations each day) it is unsafe to work any more. And this depends on where the location is in relation to the city as well. Any thing over 30km from the city attracts additional penalties. The list of variables on this one goes on and on. At the end of it and because of the lack of union activity (at least on the shoots which I tend to work on) it is what ever the crew will do for the money. But the 10/10 I would say is the standard. JP Melbourne Australia