After I paid him via bank transfer, he shipped it with DHL on February 11th.

Weeks went by and the monitor never arrived. I contacted DHL Spain and they informed me that the package had been lost and that ONLY THE SENDER could file a claim

I HAVE AN EMAIL FROM DHL CONFIRMING THIS INFORMATION

Given this situation, I asked Olli Schumann for a refund, and he replied ACCUSING ME that I had received the monitor and that he could prove it. Obviously he can't prove it because it's not true.

From my point of view,  he should refund my money and deal with DHL himself (especially since I am unable to do anything on my side).

THIS IS EXACTLY HOW I WOULD HAVE ACTED IF I WERE THE SELLER. 

HE RECEIVED MONEY FOR A MONITOR THAT I NEVER RECEIVED

IT'S BEEN 4 MONTHS AND I STILL HAVEN'T BEEN REFUNDED

He didn't even give me his email address,  he  insulted me and blocked me on WhatsApp

Do you think this is fair behavior? In my opinion, it's Illegal and unacceptable

HE SHOULD BE EXPELLED FROM THE GROUP

what is your point of view?

I'm being asked to fly the ARRI 435 on my sled (Betz Rig HD+Volt) which it was okay until they told me about the lenses.....They want to pair it with the Panavision Primo Anamorphic. Only the camera set up will be around 21 kg+ sled, batteries, monitor......I'm reaching 33kg probably so the arm (and my back too) will be maxed up. To me it's not only crazy but also non doable. I'm checking with you guys to see if wrong. Any comment will be welcome.

Thanks

Right now, I am trying to get my footage to look more like a dolly. I really want my footsteps out of the footage, but everything I try seems to be in vain. Holding the arm high, letting it float, ninja walking, heel to toe, etc. Is there any trick to this? And what could I be doing wrong? The video I uploaded is actually one of the better clips from my day out with my setup.

I am flying a Sony FS7M2 with a MK18-55 Cine Zoom and a VMount, so the setup isn't light by any means, does it have to be heavier?

https://drive.google.com/file/d/1pQxiN0JnU1OWQJT-1VhHomRYtb_skFmY/view?usp=sharing

There’s this sorta float I see some of you achieve that I can’t put my finger on why or how it makes it more attractive and pleasurable to watch. It’s a touch and feel I can’t explain. Talking to some directors they’ve told my stories of going with operators that make the camera have an elegance. I wanted to see if anyone could touch on this and ways they’ve trained that part of their operating. Timing? Feel? Experience? Just looking for discussion. 🙂

Also, any words of advice for conventional operating. I struggle with feeling like I want to give life to the frame, micro pans for eye line shifts, floating on sticks, etc. Is this normal or doing too much and if so where is the line drawn. If anyone would like to touch on that it would be great. 
 

Thank you for your time reading this. Happy flying. 

After years of being a gimbal op and hating how the ArmorMan 2 was on my body, as well as just the restriction of doorways and the absence of a good low-mode option, I finally pulled the trigger and got the SmartSystems Matrix sled with X1 arm….

And boy do I LOVE IT!  

I get the ergonomics and operability of a Steadicam with the roll control and smooth action of a gimbal. As well as being able to do some pretty crazy moves (with the execption of the trinity low to high jib mode in 1 shot - the tail gets in the way) + being able to switch to low mode in 15 seconds. :)  

Feel free to use this post to ask any questions of the setup or operation of it. 

I’m currently on a show that we are rocking the Venice + recorder + k35s + Preston … a 29lb camera package. With counter weights, the total sled comes in at 73lbs   

It’s a beast but with some workouts, smart operation, and taking care of my body, I’ve gotten exceptionally comfortable with it.

We’re regularly doing 15-20 mins walk and talks + 100meter+ moves. It’s not for the faint of heart (or back) but neither is the Trinity or Omega. 
 

Happy operating and shooting! 

clean from cleanscamerasupport.com here. its come to my attention that there has been some discussion on the forum about the safety of aluminum gimbal posts. as y’all may know, we make posts in 1/2”, 5/8” & 3/4” as well as reducer posts for all of the above combos. the posts are $10/inch & the reducer posts are $20/inch. we can start making them in stainless steel if the community so desires but at a 25% cost increase. as a camera assistant, i have no idea what y’all think is the best but am prepared to satisfy my customers. i’d really appreciate some feedback here. is the cost worth it?  is the additional weight worth it?   please discuss! thanks. 

cheers,

clean

- Tiffen Steadicam Archer2 Sled + monitor

- Volt 1

- Tiffen G50x Arm ( It was upgraded G50x a few years ago)

- Tiffen Steadicam LX vest (The vest shows the most signs of use, but it remains fully functional.)

- 4x Steadicam IDX v-mount batteries + charger

- low mode bracket

- high mode stud

- 3pin lemo to 4pin XLR cable for the monitor

- Docking bracket for volt

- Arm and sled adjusting tool

- Rt M1 volt cable

- M1 volt cable

- Extra replacement belt volt

- 3 BNC cables

- dove plate

- SOS plate

- 1 set of weight

- Camera bags for accessories

- Steadicam case for Sled + arm + vest

- 1 lowboy stand

-Steadicam rain cover kit

-Volt rain cover kit

-Low Mode Monitor bracket

-Bearing Oil

-Steadicam Volt Blue whale tool

-ARRI Alexa 35/LF power cable

The sled was sent to Tiffen for maintenance and check up in 2023.

Located in London Ontario

Asking for $22,000USD

(Shipping and taxes not included)

any ideas on what size or where to source?  I don't necessarily need to send this into Tiffen to get it repaired. Something I can handle; I just need to know the right size.

Would love to learn what you’ve added onto your rigs to fly broadcast cameras!

Unfortunately, one of our customers suffered a theft of an ArmX1 and a Matrix Sled Extreme.

The serial numbers are

• ArmX1:  SCM.094AEA.1D1579.26
• Matrix Sled Extreme :  SCM.033EF.1BA62D.27

We encourage all the users that will buy used equipment, to send to us an email before purchasing, in order to check the legitimate sale.

Happy flying to all!

If so, I'm curious to hear from you. Please chime in...

I've been flying the Pro arm for close to 15 years. The setup, tune-up, and maintenance are straightforward. It's a solid, reliable workhorse that has never failed me. But it's heavy and has a smaller boom range than this competitor. So is it worth the change?

- Is it easy to tune up between shots? Whether adjusting the springs or switching them out.

- Is the boon range smooth all the way through?

- Does it require regular servicing?

-How does it do over time?

- Has it failed you?

Thank you

I'm curious what types of plates you carry in your kit?  I ran into a shoot recently where I ended up having to leave the shoulder rig on an Alexa 35 because I didn't have the right adapter plate.  Love Arri, but it made me wanna throw the camera.

I have an SOS already, as well as a small Wooden Camera unified baseplate system with mounts for FX6/9 and just ordered one for the Mini/MiniLF.

Are there any other plates you all like to keep in your kit?

Thanks!

Interested to hear how they’ve been handling it and strategies. How they’re handling ticcing during shots etc.