How do you buy your first rig?

[BJMcDonnell SOC]

I worked my arse off for about two years to complete my setup. I bought most of my sled used. I would work and when I had the money to buy a certain piece for my rig then I would buy it. The cycle took a long time but I don't have any loan payments and I now have a pretty friggin nice rig. Of course I started out with older gear but upgraded later on. Make sure this is the career you want to do before you spend alot.....ALOT! of bling.

 

BJ McDonnell

[David George Ellis]

Hey Meg,

 

I had no idea how long my post was to turn out. I'm sorry for taking so much space. It's funny how things happen to fall into place. Every specialized department in filmmaking has its price to pay for equipment. it just so happens ours is one that gets some of the most fascinating looks. I've got a pretty up-to-date 3A. One of the cool aspects of my rig is its history. Although I don't have a complete family tree, I can honestly say all the components combined have been flown by at least 5-7 operators on both coasts of this nation. And everyone I have come into immediate contact with are nothing less than stand-up good guys. You don't get that from buying "spic and span" new gear. You get a "Thank you for your business" and "Good luck with that."

 

There will be some advancements tech support from new shite, but I believe I have been given an expertly generated core of advice and personal support. At this early stage of my operating career, a lot of the jobs I've been getting so far were from people I have worked with for little to nothing as a grip/electric. It has become an example of pyramid tactics. Work with 20, two of those refer you and you work with 40 more. four of those refer you and... I get calls with referrals by people I don't remember, but remembered me. :blink: Those guys remember my attitude and dedication to do a good job even though they knew it wasn't my aspiration to be an excellent Key Grip or Gaffer. That comes with being an operator. No slackers in this profession.

 

If you do go into the business as a Production Assistant and truly love Steadicam, get dirty. Get gully. Get into really liking being on set and like said before, the camera department. There You also get to interact with different Steadicam operators that come on. Oh yeah, don't forget G&E. Some of those guys are also working on other shows as Keys and Gaffers and even Directors of Photography. Let them know of your aspirations and that you are just starting out and if you play well together, you may get considered for future work, or at least they'll keep you in mind.

 

What? This thread was about getting your first rig? Not the journal I just wrote? MY BAD!! Or is it MY BAG, for those of you in the Boston area. Wierd story Mr. McDonnell and I heard once. So I digress again. I happened to be fortunate to have a savings and was planning to use it for film school and I happened to fall in love with a girl that invited me to Spain and she ended up working on movie there and I happened to be hired on as set photographer/videographer and started buggin' out with some of the crew. One of whom, happened to be the Steadicam operator. We have remained in contact ever since.

 

Well he was upgrading and was looking to sell his old gear. I believe I was one of the first he made the offer to. And he said the same thing I read here. You gotta make sure this is what you WANT TO DO. Take a WORKSHOP FIRST!!! If you feel afterwards you want this, then take your time and don't rush to buy any piece of crap. Ask me if you see something And I'll be as honest and straightforward with you. Check out sites like SteadicamForum.com and Landaucamera.com. I agreed to purchase his gear and like a few days later, I got a call that someone was selling his sled at an unbeliveable discount.

 

"Dude, If you wanna get into this, don't rush. But don't bullshit and pussyfoot either," was the roughly translated advice I got that day. So I drove from South Central (Long Island, that is), To LA and basically spent my first year in college education in about three days. Arm, sled, vest, gimbal, follow focus, gamlbing and strippers in Vegas came out to @ $24,100.00 USD, and only spent $200.00 USD of that in Vegas. And I never looked back. Got a practice cage, went to the workshop fully geared to at least practice and then got some of the other necessary accessories days before my first gig. So far, it has cost me around $40,000.00 USD including travelling b/t coasts, gear, workshop and hotels, but I didn't have to take a loan. God Bless those who have.

 

Sorry for being long-winded again. I just wanted to give you my naive wisdom about this topic and while being a "Newbie" is still fresh in my mind, it may or may not serve of some usable resouce to you and others in my station. One more thing for those who read this and say, "Ah he's just another jackass who threw his money in to this and went balls-deep without the struggle of working in the business and figuring out what he wanted." I say you're right, with the exception of the fact I was ready to throw my mone into a 2-3 year fundamentalist training camp called school and decided instead to act on the impulse of an opportunity that comes with just as many rewards as it does challenges. I witnessed that the first day I saw a Steadicam and have gravitated toward it since. Again, sorry for being long about this post. I love this tool as much as everyone else on the board and I thank you all for taking the time and patience to read my side of the coin.

[MegSchrock]

Stephen, Hey, I actually have been an assistant in the camera dept. My first job ever was in the camera spet on a film directed by steve buscemi earlier this year, that was pretty cool. But then I got into grip an electric because it pays well and is easy to move up in. I actually know quite a bit about set politics, and sets certainly don't scare me. The next time I walk onto a set, it certainly won't be the first. It's fun being a girl juicer, but honestly, I don't want to be shouldering 4ks for the rest of my life. Plus there isn't nearly as much creativity in g&e as in camera, even if you are the gaffer key grip.

 

Rob, I certainly don't want to jump in blind folded, that's why I'm posting. I just don't want all you guys to hate me for my posts (jkilroy) before I ever even get to the workshop.

 

David G, thanks for the website.

 

Sebastian, I've gathered that being a steadicam op with out the workshop is like going sky diving with out getting into an airplane. the workshop is my fiance, we just haven't set the date yet.

 

Dave Ellis, hey, how's it going. I totally met you an that movie that Jamison was the DP for, the Manderin one. Remember me. The girl: the third electric? that godforsaken field in maryland. Thanks for the post. It took a while to read. I'll consider it. Ok, I have to go. Thanks all!

[Clayton J. McCallum-DuBois]

Hi Meg, Start small and work your way up I started with an SK. Still have it and still rents out. Big bucks spent will not guarantee big bucks made. I will sell my SK for $5550.00 US shipping include has a new monitor and the vest is clean

[jay kilroy]

Shameless Clayton, just shameless!

[AndySchwartz]

hey hey

 

for what it is worth from someone lso starting out.

 

i am just getting in the business of operating and i agree with all the above. i have been in the business for the past 5 years starting as a PA and I saw my friend Bob Poole running a steadicam in Yellowstone on a doc I was working on. I was doing some second camera and editing on documentaries for the past 4 years and then last year I got my first gig as a full on B camera on a series. I had done some steadicam and saved enough cash to buy a, don't laugh, steadicam mini a year and a half ago. I worked my ass off for three months learning how to use it and set it up quick and I ended up shooting 5 shows with it because they ended up going with minidv. I made enough cash to sell that one off and I just upgraded to an sk-2. And if all goes well and I can keep working with that I will upgrade again in the next 2 years hopefully, who knows. I can say though, that patience and persistence will pay off. I am still starting out and practicing so I do not consider myself an operator but I feel comfortable with mine at least and so far everyone has been happy with my work. Workshop in the spring for me next.

 

thanks

andy

washington dc

[Leon]

Hey David Allen Grove

 

After reading your post about the SBA I went and did the workshop only problem is they don't know which bank would finance this kind of gear. Do you remember what Bank actually gave you the loan and who the person that you had to deal with was and their phone number. Your help would be highly appreciated. Thanks

 

Leoncio Provoste Tagle

 

 

:lol: I took out an SBA loan back in 94' for my steadicam.

I was completely debt free when I did it though and had a fairly good paying job at a PBS station...

 

You might want to check this out...

 

http://www.sba.gov/financing/

 

Edit: I forgot to add that I didn't need a co-signer on the SBA loan. Cinema Products had a "Buy Back" program in case of default. 

 

I bought my system brand spankin' new and it only took me 7 years to pay it off. GUUUUULP.

 

On a side note: I used my new WK Traditional Deluxe Vest for the first time on a job today. That thing is like a lazy boy recliner!!!  One of my spotters kept asking.. "Do you want to dock?" I said "No.. I don't think I need to but thanks for asking"  It's like Viagra for Steadicam operators!!! (Not that I need or have ever used viagra you understand.. :lol: )

<{POST_SNAPBACK}>

[David Allen Grove]

Well, look what I found on the internet!

It's the Small Business Loan for my Steadicam back in 95'

(I took the workshop back in 94.. I noticed in an earlier post I said the

loan was in 94..oops)

 

I'm listed about 1/4 of the page down.

The cost of the actual rig from CP was $49,500.

 

When applying for a SBA loan, you have to contribute 1/3 of your own $$ towards

your business. I also purchased extras like, brackets, cables, video transmitter..etc..

Workshop cost also goes toward that 1/3!

 

I was lucky in that my loan officer used to work at a rental house in Des Moines and

actually knew what a Steadicam was! Lucky lucky lucky..

 

Kind of scary that this is online but there you have it.

 

http://www.loansenseplus.com/industries/se...on_pictures.asp

Edited May 25, 2007 by David Allen Grove SOC

[Daniel Abboud]

Hey Meg,

 

I worked as a camera assistant long enough to acquire a credit rating that's strong enough to allow a bank to lend me the cash (actually, it's a line of credit). For me, it's a long term plan. Just be patient. Your drive and talent will get you there.

 

Good Luck.

-Daniel Abboud.

 

OK, I'm still confused. After talking to several steadicam operators on various films sets. I've gathered that it's important to go to the workshop. The workshop is, like, $2,200, I can conceivably come up with that amount... but how do I come up with the $66,000 it takes to buy a rig? I'm already super in debt with college loans... I just don't get how it's possible to buy your first rig. If someone could give me their history on how they financially became a steadicam operator I'd be really happy. Thanks guys!

 

-Meg

[Kris Torch Wilson]

I have to chuckle that Daniel is giving Meg advice on a question she asked 2 1/2 years ago. No offense intended I just found it amusing. What is of interest is, Did Meg make it? Are you out there Meg? I find it inconcievable that someone would be able to move from grip/electric, pa or whatever, out of the camera department and into operating on a professional level that quickly. Opps the wine is talking again. Or is it the ass that was busted for 25 years. Sorry for the rant...or not.

 

Kris

[Alec Jarnagin SOC]

"Did she make it?"

 

Well, funny thing.... because I only vaguely remember this topic from '04 and I certainly had no idea who Meg was then. Meg now lives in NYC and is working as a Gaffer and an electrician on a large variety of projects. She has Gaffed a short film for my wife, Jendra, and just Gaffed a short film that I DPed a few weeks ago (our own David Ellis did the Steadicam). She is coming along fine and is a wonderful person both on and off the set. I was not aware that her desire was to become a Steadicam Op until it came up during preproduction of our shoot. Suffice to say, she will be getting the opportunity to spend a little time in my rig when we have a chance.

[Daniel Abboud]

I have to chuckle that Daniel is giving Meg advice on a question she asked 2 1/2 years ago. No offense intended I just found it amusing. What is of interest is, Did Meg make it? Are you out there Meg? I find it inconcievable that someone would be able to move from grip/electric, pa or whatever, out of the camera department and into operating on a professional level that quickly. Opps the wine is talking again. Or is it the ass that was busted for 25 years. Sorry for the rant...or not.

 

Kris

Ok, ok...so I didn't check the date of this listing before responding to it. Hell, it was at the top of the list of topics so I answered.

 

Eitherway...MEG, how'd it go?? r u out there???

 

-Dan.

[Brian Dzyak]

I've been interested in owning a rig for a long long time. Never really had the money to do it though, so I had many years as a Videographer and a Camera Assistant to fill the time. Recently, the opportunity arose where I could either rent a rig for 70-ish days or buy a used ProVid. It seemed prudent to purchase instead of handing the money to a rental house, so I now have a paid-off Steadicam without the pressure of having to work for it. For what I do, it's a useful tool when I need it, but I'm not a slave to making it work just to pay off a loan. Of course the vest/arm/rig has a weight limit, but it can carry an F900R which is pretty much all I'd use it for anyway doing what I do now. Naturally I'd love to have the flexibility of a PRO or similar, but for the moment, the ProVid suits my needs and it made sense financially at this time in my life. I'll upgrade if and when the necessity arises, but until then, I'm very happy with what I have. :)

[Jessica Lopez]

Alec and others still reading this topic,

 

Did Meg ever end up trying the rig? Did she have a chance to take a workshop? Just curious to see how far she got in the quest of Steadicam Operation in the past two years. It's actually pretty funny, I started reading the posts under newbies last week and today I noticed the two year time span on the posts. Ha!

 

I find myself in the same position as Meg two years ago. I am currently going through all options possible to buy my first Steadicam/Pro rig. I have been patiently waiting for almost 2 years now. I took a workshop with Peter Abraham 3 years ago back home in Ohio. I fell in LOVE with the craft, style, technique and determination it takes to be a serious operator. Yeah I learned on Flyers and it's nothing compared to the big rigs.

 

Last year I graduated from college and moved to LA to pursue editing and Steadicam. Well a year later, I completely lost all passion for editing and became even more determined to operate. I think I fell in love all over again with Steadicam when I tried on an EFP rig and the Ultra 2. I used to work at Tiffen for the first 8 months living in LA, now I am working at Panavision Hollywood which is such a great place to be.

 

So here I am working 9-5 and steadily surviving in this crazy expensive city. I have no rig but I constantly try to absorb anything Steadicam around me. I want a rig (mostly a pro now that I was heavily advised to stay away from a masters). I have a little more debt to pay off and hopefully my credit will be good enough to finance a rig. If not my only other option is to get a co-signer but that is too much to ask of someone. So until I get my rig I will continue to prepare my mind and body and wait patiently for the next step of my life to begin.

 

Some opportunities I have had:

I have been so fortunate and greatful to have worked with a bunch of great guys in the business. I have assembled ultra 2 and flyers while working at Tiffen. I love assisting Peter Abraham with his workshops. I also helped with a workshop at AFI with Paul T., Erwin L., Dan S. and Jeff M. Did Steadicam demos last week with Peter, Chris and the guys at Tiffen. I have also been jumping into Kenji's Pro rig while he preps. Tomorrow I will assist the wonderful Robert Starling. I am a member of the Steadicam Guild and have met some amazing operators. I try to learn as much as possible from my place of employment.

 

I just purchased a book on small business plans and hopefully that will shed some light as to how much I am in for. Only if I could get a loan for 80,000 USD. Then I would have a new Ultra or Pro, follow focus, transmitter, batteries and cables to start off with, but this is the real world and money doesn't grow on trees. Thanks to mom who has told me that all my life :)

[Matt Mouraud]

Hey Jennifer,

 

Nice post there. How about you start with a used rig ? A used Ultra, Erwin's Pro2 and so forth. These are fantastic rigs that can be had at around $40k which leaves some space for FF and Video HF. They most of the time have all those little extras that would run you a lot higher, and maybe leave you enough cash to buy a used old Betacam to practice, which is so much better than a weight cage for you get used to work with a full size camera, not a heavy Z1 or whatever. I bought an old BVW300 for $800 with a standard lens and a busted VCR. The camera section works fine, it's a great practicing toy. Slap a Pag Ni-Cd chocolate bar on that bad boy and you are pretty close, weight and size wise to an F900.

So, a quick glance on the For Sale section here gives you about $40k for a used "big rig", another $5k will get you a used Bartech and a some VideoHF and you are set... to start practicing !

When I don't work I'm in the rig at least 2 hours a day, line dancing, chasing some imaginary character in my appartment or in the street. Plus you work on the physical aspect which is great. First time I spent the day with a fully loaded Moviecam Compact on the sled I was happy that I trained hard.

Go to Afton's great website (www.steadishots.org) and watch those clips. Break them down, understand and practice, it will work out eventually. Great reward when your DP comes and tell you that you pulled a great shot...

I always remember Ted Churchill's words "as a steadicam operator you can be a complete star, or a total moron if you fuck up a shot".

You seem motivated, just make the right choice. When you got your driver's license you didn't rush to get an Aston Martin did you ? :lol: