Dynamic Balance

[Brant S. Fagan SOC]

Peter--

 

Once you have taken a Workshop, the concept and application of getting your rig into dynamic balance will become almost painfully clear. Complicated and sometimes confusing, but in the end you will see the need for it.

 

In short, by getting your rig into dynamic balance, this allows the operation and transportation of the camera to become more transparent while leaving more brain power available for other important jobs like framing, navigating, listening to the dialog or copy or music for cues, and watching out for dangerous developments around you.

 

The less you need to concentrate on the hardware the better to allow you more brain space for creative aspects of the job.

 

Good luck at the Workshop!

 

Best,

 

Brant S. Fagan, SOC

[Ed Moore]

I tried lots of times to try and power the camera from the sled. I phoned Red and the hire companies and the owner of that camera, but it sounds pretty much impossible.

 

The power input on the back of the RedOne is an 8pin lemo connector, and it deliveres more than just power from the battery, it takes information about the status to and from the camera, so the camera can tell you when the battery is running out etc etc etc. If you plug a non redbrick battery in, it still half works but if you try and power it off the sled which only carries power Ruby throws a complete wobbly and wont turn on.

 

Hanging the brick off the back in that way was the only way to power the camera. Jeff did suggest mounting the brick on my vest but the cable wasn't long enough.

 

Hi Peter,

 

Re powering the camera from the sled, Tiffen make a power lead for this, part number 800-0106. Is that what you used? Won't give you the remaining power indicator on the Red as you indicated (although you can still use the status LEDs on your battery) but should power the camera fine.

[Kris Torch Wilson]

.

 

Hanging the brick off the back in that way was the only way to power the camera. Jeff did suggest mounting the brick on my vest but the cable wasn't long enough.

 

 

Peter.

 

I don't know who Jeff is , but his idea to hang a battery on your vest and cable to it tells me he has probably never flown a rig before.

The influence of a power cable hanging off a light weight set up like that would be severe. Those of us that must have cables hate them and would never add another if it could be avoided.

 

Also you mentioned using a 4 second drop time and maybe going longer next time. Practice and let us know how your horizon is.

 

I couldn't tell from the picture, is your monitor hanging off to the right side. If so, how did you counter balance?

 

All the best,

Torch

[James Elias]

Peter:

 

Feel free to give Robin and/or myself a call when you need help - thats what we're here for! As Ed said, we make a 12v power cable for the Red... drop me a line if you need one.

 

And for those who love to watch rigs in DB... here is a new Flyer LE at full extension and in DB.

 

http://www.blackberrystudios.co.uk/steadic...0Perfection.mov

 

- James

[Jay Ryde]

Hi, im a total newbie, don?t even own a Steadicam at the moment but will do in a few weeks. Hmmm, when I first started to look into the various Steadicam units I learnt pretty quickly that DB was an essential part to achieving a perfect balance for your rig. Garret Brown makes a point on this in his tutorials that seem to be everywhere on the net. It seems to be the fine tuning of the rig that gives that perfect glide look. So I'm wondering why some operators are overlooking this or worse still.. not even aware of it?

Sorry, don?t mean to be pointing the finger here, just an observation.

Edited April 25, 2008 by Jay Ryde

[Charles Papert]

I know several fantastic, well-established operators who are all but indifferent to the subtleties of dynamic balance. "The Shining" was shot with a rig that was tragically out of dynamic balance (as the concept had not been "invented" yet). The "perfect glide" look is a function of how the operator manages the various forces of nature and performance of a given rig and is able to conquer same Having a rig in good DB makes it easier and reduces the variables, but that alone is not the make-or-break.

 

My observation of the small-format market is that since most people are getting their information via message boards, certain concepts become hot and it's all anyone can talk about for a period of time. The 35mm adaptor craze convinced thousands of folks that their work would be ignored if it didn't have massively soft backgrounds. In the stabilizer world, the flavor of the month seems to be dynamic balance. 30 second videos are popping up on Youtube showing off perfectly flat spinning rigs, message board posts proudly announcing this achievement while others gnash their teeth and keep adjusting washers and inching components around for days at a time. Don't get me wrong, it's a noble cause and its good concept to understand and I personally practice it, uh, most of the time, but it's becoming mythical and obsessive for some who should really be focusing on things like their foot and finger work.

[Jay Ryde]

I know several fantastic, well-established operators who are all but indifferent to the subtleties of dynamic balance. "The Shining" was shot with a rig that was tragically out of dynamic balance (as the concept had not been "invented" yet). The "perfect glide" look is a function of how the operator manages the various forces of nature and performance of a given rig and is able to conquer same Having a rig in good DB makes it easier and reduces the variables, but that alone is not the make-or-break.

 

My observation of the small-format market is that since most people are getting their information via message boards, certain concepts become hot and it's all anyone can talk about for a period of time. The 35mm adaptor craze convinced thousands of folks that their work would be ignored if it didn't have massively soft backgrounds. In the stabilizer world, the flavor of the month seems to be dynamic balance. 30 second videos are popping up on Youtube showing off perfectly flat spinning rigs, message board posts proudly announcing this achievement while others gnash their teeth and keep adjusting washers and inching components around for days at a time. Don't get me wrong, it's a noble cause and its good concept to understand and I personally practice it, uh, most of the time, but it's becoming mythical and obsessive for some who should really be focusing on things like their foot and finger work.

 

well that sounds encouraging advice Charles, thanks for the feedback. I'm probably like the many out there and have become a bit of an information junkie in that I'm constantly believing there are bigger and better ways. There?s usually no smoke without fire as they say, it all depends on whether you want to listen and act on this advice or just listen and decide!

 

Im a photographer by trade and though I?ve been doing photography for many years things do appear from time to time that make me jump and rethink ideas and techniques ive used for a long time. I know my learning curve will never stop.

Edited April 25, 2008 by Jay Ryde

[Lukas Franz]

I agree with Charles here.

 

For myself, I try to get a DB as good my prep time allows me. I don't push batteries and camera around till the PM gets crazy. And I mainly work with the same rig, so my adjustments are almost the same everytime. An experienced and good operator (like many here, including Charles) are able to fly absolutely stable without anything like dynamic balance.

 

And I think, DB is more important when flying a light setup. With heavy cameras you have more inertia and therefore more a feeling of control. Also, when you're doing just a walk n' talk walking one way without much panning, there is almost no need for perfect DB. If you're going fast, panning fast (whips) and do that with a flyer...definitely take time to get your rig into a good dynamic balance.

 

Cheers.

Lukas

[Jerry Holway]

Jay et al-

 

One of the key things you can do to take the pain (is there pain?) out of dynamic balance is to work on it at home with a practice camera and the monitor, batteries and accessories you carry low on your sled. Make note of the positions of the components when you are in dynamic balance, both vertically and horizontally. (scratch that anodizing, whatever). If you have a rig with a lot of choices, make a few sets of marks.

 

Then set your rig up according to these marks on set. Static balance with the camera of the day, and you should be in dynamic balance again - really! The math says (and we've proved it 1,000 times in workshops), the camera weight (and anything attached to it) does not matter, especially at the speeds we tend to pan at.

 

The other critical thing is if you trim for headroom by taking the rig by moving the camera or other component (tilting the whole rig), you are going to be out of dynamic balance. There's no point getting your knickers in a knot spinning the life out of the rig if you're going to set headroom by tilting the whole rig.

 

So get sorta close and, as Charles says, get on with all the other skills, like say, learning to start and stop cleanly. We can get away with visual murder flying around the set (where dynamic balance might reduce it to 3rd degree manslaughter), but stops and starts, oh my, there's no mercy.

 

Jerry

[John Morrison]

Hello chaps,

 

While I would agree that it is possible to achieve great shots without good DB I would say that operating the rig with DB is more of a pleasure,

 

I just finished 7 days on a feature (pana xl/xcs ultimate) and for the first 3 days I did not get the time to DB, the 4th day was a 'lazy day', just did a bit of 2nd unit work and sat around looking at extras. Because I had the time I played with my rig and the panaflex and got it into perfect dynamic balance. Although this did take a little time, and was a little bit of a pain in the arse, the difference in feel was quite noticeable, the rig just feels really sweet with good DB.

 

I think it is worth thinking about dynamic balance to a certain degree, if you can get the rig to pan 'flatish' then it will be better than a rig that is panning all to shit. Don't get obsessed with it but bear it in mind, because it WILL improve the way the Steadicam feels.

 

It's all about time, if you have time to get the rig spinning flat great, if you are under pressure get it as close as you can. Remember that it helps the way the rig feels which in turn helps you get the shot.

I think it's all about getting the rig to feel nice in your hand, with a little bit of dynamic balance (does not have to be perfect) the Steadicam just feels, I dont know....nice I suppose.

 

Anyway, back to looking at extras......

 

John Morrison

[Charles Papert]

I might clarify in case I didn't the first time that I think that DB is more important once you get skilled at general operating--it's good for everyone to get their rigs properly balanced but the difference may be more noticeable once you have reached a certain level of connection to the rig.

 

I am suddenly reminded of the guitar solo from "Spinal Tap" where Nigel is dragging the violin across his guitar strings, then stops to tune the violin (and of course like everything else ever made, here it is on Youtube: http://youtube.com/watch?v=nWJT-SZRH8Y). It's all about the nuances!

[Will Eichler]

When you mark you system up as Jerry recommends, if you don't want to scratch the annodizing - I've had great luck marking with a paint pen. It lasts better than sharpie for me.

 

Best,

 

Will