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Anyone familiar with Steadicam knows what I mean when I say “Walk The Line.” We’ve all danced back and forth along that 1″ strip of gaffers tape too many times to count. There are some basic rules to walking the line that we’ve probably all been taught. Keep the post over the line! Hit your marks! The operator starts the Steadicam in motion before he takes his first step!

Well, in an attempt to take my operating to the next level, I decided to revisit all of those things we were taught, but just accepted at face value. Step one… find a nice open space to drop a gaff tape line and some marks. Step two… get in the rig and place the post over the line at your number 1. Step three… the operator starts the Steadicam in motion before he takes his first step.

Wait… that doesn’t feel right. OK, maybe I’m over thinking this… try again. Weight’s on one foot to start… now push the rig forward before you take your first step! Nope, not right at all.

I’m breaking it down into its elements and it just isn’t working for me. When I push the rig forward, it doesn’t move straight away from me, but rather in an arc due to the geometry of the arm. Then my left hand (I operate regular) is forced to counter the lateral movement of the rig and I get a wonky start. What’s going on?

I know I’m not crazy… I’ve never seen this issue in my operating. So what am I doing differently in the lab, that I don’t do in the field? Perhaps when I push the rig forward I correct by swiveling the Gimbal on the arm post… lets try that… NOPE, that’s even worse. Ok, Ok, Ok. Lets just try this without thinking about it.

Sure enough, when I don’t think about it… the camera moves forward along the line exactly as expected. So what am I doing differently. Turns out, that I shift my weight forward at the moment I start the sled moving. In fact, the sled, arm & I all shift forward before I take my first step. When I do this, the arms orientation doesn’t change! The rig moves forward perfectly along the line and I don’t have to correct at all.

So, new rule:

“The operator & rig move forward before the operator takes his first step.”

Filed under: Operating by Benjamin Semanoff
Tags: « steadicam - steadicam advice - steadicam techniques - steady cam - steadycam - steadycam advice - steadycam techniques »
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In lieu of a traditional blog entry I wanted to announce that I’m selling my Ultra Cine Package and upgrading to an Ultra2. For anyone interested, here are the details:

Ultra (1) Cine Sled (great condition – recently serviced):
- motorized stage
- 2x remotes for stage (one for gimbal / one for grip or assistant)
- UPGRADED tilt head (modified with kipp adjustable handles instead of original clamps – works much better)
- UPGRADED gimbal clamp (upgraded with Ultra2 clamp – much better, especially for whip pans, etc)
- UPGRADED voltmeter
- 24-12v DC-DC converter
- Widdoes Monitor (has some damage to chassis, but screen is pristine and working)
- UPGRADED custom IDX mount
- 72″ telescoping post
- Anvil style hard case

Ultra Arm:
- Ultra Arm (great condition, regularly lubricated with ACF-50)
- 3x Arm posts (4″, 12″, 18″)
- Arm Bag

Batteries: Not included, but am willing to discuss.

Cables: Tell me what you need and we can discuss and negotiate included cables. I also make cables, so I can make you whatever you need.

Vest: Not included, but am willing to discuss. I don’t have a vest currently to sell with the sled (I use a Klassen harness), but might be buying a vest with my new sled and can negotiate a price for a vest contingent on my purchase of one.

I’m located outside Philadelphia, PA and can ship anywhere. Pictures coming soon!

Payment can be made in the form of check or credit card (3% service fee for Visa, MC, or Amex – through my site SteadicamParts.com)

Asking price $30,000 OBO – please contact me with questions.

Filed under: Equipment by Benjamin Semanoff
Tags: « steadicam - steadicam equipment - steady cam - steadycam - steadycam equipment - tiffen ultra - ultra arm - ultra cine - ultracine - used steadicam - used steadycam »
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Spend a little time online and you can find hundreds of Steadicam Operator reels. Regardless of the quality of the work there are a few tips for a great reel. The hardest part for most Steadicam Operators is to disconnect themselves from their work in order to make logical, objective decisions on what to include in a reel.

The first consideration is to decide who will edit the reel. In many cases your first instinct will be to cut the reel yourself. However, you need to remember that you are a Steadicam Operator, not an editor… And although you might know how to use final cut… you might not be the best editor (consider an editor coming on set to operate Steadicam). There is, however, still a good bit of work that you’ll need to do yourself. Handing over 20hrs of Steadicam footage to an editor is not a great idea. So you’ll need to take some time to pick out the shots that you want representing your work as a Steadicam Operator.

Next, you need to know what the different types of reels are. The sizzler reel is quite brief, and should be jam packed with your work. Its not great for showing off your operating, but great at showing the viewer the range of work you’ve been involved with. Typical runtime of a sizzler reel is between 30s and 1min.

The highlight reel is a little bit longer. It allows for you to show off your operating a little more, but you’ll still want to keep shots brief. Remember, start the shot late and end early. This reel might run between 1-2mins.

Finally, you have the long form reel. This is more of a compilation of scenes that demonstrator how your Steadicam Operating plays in a finished scene. You still want to keep things tight. Scenes don’t have to play from beginning to end. Find a good point to get into the scene and a good point to exit, and save your audiences attention for what’s important.

Now lets talk about your target audience. Its important to know who they are and what they are looking for in a Steadicam Operator. For the most part you will be targeting DP’s (Directors of Photography). In almost all cases people have very little attention spans when it comes to watching reels. If your viewer isn’t hooked or impressed in the first 20 – 30 seconds they probably won’t last until the end. So knowing what they are looking for and giving it to they quickly is important. This isn’t to say that you should use your most impressive material first up (that might work better at the climax of your reel), but you don’t want to hold back. So, what are DPs looking for? Composition, horizon, production value, and star power. If you have to ask what any one of these items are…you might want to hold off on cutting that reel for a bit!

Finally, test your reel! This is an important part of the process. Remember, you’re emotionally connected to the footage in the reel…you need objective opinions. And stay away from getting feedback from parents, family in general, or your girlfriend/boyfriend. All you will get will be positive reinforcement (which will encourage you, but not help your reel). Instead, show it to DPs. They are your target so why not get some feedback from your audience. They know what they are looking for in a Steadicam Operator, and their critique will reflect it. Show it to DPs you’ve worked with, but remember that if the work you’ve done for them ISN’T in the reel they might be insulted… and if the work you’ve done for them IS in the reel then you probably won’t get an entirely objective critique. You might even consider showing it to DPs you haven’t worked with as a way to introduce yourself. Let them know you respect their work and would value their opinion.

My reel begins with a tight, 30s sizzler, followed up by a brief highlight reel, and ends with three excerpts from scenes that include my work as a Steadicam Operator. I don’t know if its “great,” but I think it can help you make your reel even better! Good luck.

Filed under: General by BenSemanoff
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I’ve always taken the approach with Steadicam that the best work is achieved when you (as an operator) are doing as little as possible. For instance, when you are in the zone… flying the rig with your body and not manhandling it with your hands… that’s where your best work comes from! In this particular example you did as little as possible… you primarily used your body to position the camera, and used your hands ever so slightly to finesse the frame. In the contrary example (manhandling the rig) you were using your body to position the rig AND over-using your hands to force the frame.

This same rule applies across the board… especially as shots become more and more complex. The perfect example is when our talent is running. Producers, Directors and even DP’s make the assumption that running with the Steadicam is a good application of the tool. Not really! There certainly are times when running is the ONLY way to approach a shot. For instance, running down a flight of stairs. There’s aren’t many other ways to approach that than on foot (although the approach might be to suggest they cut and avoid killing the operator). However, when possible avoid running with the Steadicam at all costs. There are better ways to approach to problem.

Again, the best work comes from doing as little as possible. There are a myriad of alternatives to running with the Steadicam. Steadicam works well when combined with an ATV, Insert Car, Rickshaws, and most recently the hands free Segway. I’ve had an opportunity to work with the Segway and I think its by far the best, simplest, most versatile choice for chasing after or preceding talent that is running. Its compact nature allows it to go most places that an ATV or Insert Truck can’t go, it only really takes one person to operate (although you still need quite a few people to make it safe), and it has a top speed of about 12mph (men at gyms typically set the treadmill to 7-9 miles per hour).

There are two options for combining Steadicam with the Segway. The first is to wear the rig, and the second is to hard mount it. Again… the best work comes from doing as little as possible. So I’d suggest hard mounting it when possible. I did find that hard mounting wasn’t always an option based on geography. This might have been a limitation of the Segway I was using since I only had the option to hard mount on one side. So if you are buying or renting, look for units that are setup for hard mounting on either side of the Segway.

Soft mounting isn’t terrible. Its still better than running with the rig. It also affords you the opportunity to dismount (as seen in some spectacular YouTube examples). I personally haven’t tried this trick in any practical application but have tried it on the practice field and its a bit hairy. On the flip side, soft mounting adds a variable that you probably haven’t considered… standing in one place (flat footed) for an extended period of time with the rig on. Blood does start to pool in your feet and its not very comfortable.

All in all, the hands free Segway opens up lots of new opportunities with the Steadicam. Be sure to stay safe and protect yourself. A helmet is a good idea to start, but you might also consider elbow pads & knee pads. It’s a lot of fun to rid and you’ll be surprised at how much control you have… even for slow, dramatic moves!

Filed under: Operating by BenSemanoff
Tags: « hands free segway - handsfree segway - steadicam advice - steadicam equipment - steadicam segway - steadicam techniques - steadycam advice - steadycam equipment - steadycam segway - steadycam techniques »
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The AR from MK-V (AKA the Alien Revolution or the Auto-Leveling Revolution) has now been on the market for several years. Has it set fire to the industry? Unfortunately no.

The AR is an accessory designed primarily for MK-Vs sled that actively maintains the camera’s horizon (roll axis) AND it also allows the sled to be flipped upside down mid shot while keeping the camera upright and level. Basically you get low mode and high mode (and evening in between) in one setup.

There are some negatives though. First is that you flip the rig along the roll axis instead of the tilt axis. This ends up consuming a lot of real estate… So don’t expect to flip while moving down a hallway or in a stairwell. You need some space! Next, because of the way you have to flip the rig… You end up flying the rig much further away from your body than you normally operate. So it takes a lot more out of you.

Once you get past those two factors… It really is a cool rig! But why am I bringing this up now? Two reasons…

First would be to look at the success of the technology over the last few years. Although I don’t own an AR, I did train quite extensively with the system when it first came out. It really seemed like it was a game changer. But over time I found that it was a bit novel and most shots really didn’t call for the increased boom range. Then when you asked for additional rental for the extra gear… Producers just usually balked.

The second reason to bring this up for discussion is that Garrett Brown and Tiffen have a new product about to be released that offers similar functionality, but with a completely different approach. It’s called the Tango. Although I’m not a huge fan of the name… I am becoming more and more intrigued by the concept.

Instead of increasing the boom range of the Steadicam by flipping the entire rig upside down, Garrett has achieved this by combining a Steadicam with a Jib. It doesn’t actively maintain your horizon like the AR, but it does offer a huge boom range (which is even more than the AR offers).

At first I was turned off a bit by the weight limitation of the Tango which is only a 6 lb. camera payload. My first thought was that it was a toy designed for the prosumer world. However, I recently worked on a feature where the 5D and 7D played a large roll. And companies like RED are coming out with image sensor blocks like the Epic that will certainly meet the weight limits of the Tango.

Whats amazing about the Tango is that the trick is executed entirely mechanically. No electronics are required. Tilt, pan and boom the camera the same way you always have. Its really amazing to watch. And without all those motors and electronics you eliminate the noise factor of servos and the crash factor of processors.

But once again I return to the case study of the AR… Will the Tango be different or will producers avoid the extra expense. I think it will come down to pricing. The Tango doesn’t have a release date or a price tag yet… But Tiffen isn’t know for being the economy solution. The AR cost over $60K and due to the limited supply, operators were encouraged to charge $1000 extra per day plus a premium rate for labor. I think that’s a recipe for disaster. Even Garrett notes that the current range of the Steadicam is good for 80% of shots. So if pricing is prohibitive it will take a lot of convincing for production to justify the expense for 20% of the days Steadicam shots that, on the majority of productions, will amount to 1% of the total shots. Plus in addition to the expense of the rental is the time to configure the rig… Especially if production plans on using a 5D or similar camera with the Tango… It might mean having to rip of an A or B body camera from the Steadicam rig in order to build the Tango with a C body camera.

So I think the key factors will be affordability and compatibility. Keep the Tango affordable so I don’t have to increase my package rental rate. Then make it easy to use with as many rigs as possible. Garrett already used the term “Tango Compatible Rig” in one video I saw which most likely means it won’t work with my $66k Ultra 1 rig. Bummer!

Regardless I have high hopes for the Tango and can’t wait to see were it goes. Hopefully this rig isn’t too “alien!”

Filed under: Equipment by BenSemanoff
Tags: « alien revolution - auto-leveling revolution - Garrett brown - mk-v ar - steadicam equipment - Steadicam jib - Steadicam tango - steady jib - Tiffen - Tiffen tango »
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I often find myself on set with my $120,000 Steadicam package when a PA, Camera Intern or Extra asks me how much it all costs. After telling them, like clockwork, they usually tell me how they or a friend of theirs is building their own steadicam. I try to explain that there is a world of difference from a DIY steadicam and a pro rig, but most of the time it’s like talking to the wall. It’s a bit insulting… You share with someone the cost of an investment and they basically imply that you could have saved all of that money if you had just been as smart as them or their friend. It would be like asking someone how much their Ferrari was, only to tell them that you built one for $9.99 at home. Not cool.

So how do you avoid this experience? One approach might be to ignore these questions. But thats rude.

You could offer vague responses such as “it costs a lot!” However, that can come across as snide.

I don’t like giving anyone attitude or ignoring questions. So I suggest that you share the information. There are people out there that will appreciate your candor. If you run into the kind of person described above I suggest you simply wish them or their friend the best of luck and end the conversation! Never be rude… One story about a rude Steadicam Op gives us all a bad name.

Filed under: Equipment by Benjamin Semanoff
Tags: « steadicam advice - steadicam diy - steadicam equipment - steadicam fabrication - steadycam advice - steadycam diy - steadycam equipment - steadycam fabrication - steadycam operator »
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That is the question! It’s very easy to get yourself in way over your head with loans. Salesmen will tell you “all you need to get is one job a month to pay for the rig.” Of course this isn’t exactly true. They aren’t taking into account the additional cost for accessories, maintenance, and of course the fact that you (as a new or upcoming operator) aren’t getting full rate on your rentals yet.

The problem is if you don’t have access to a rig you can’t practice. No practice, and you don’t improve. No improvement means you can’t raise rates. If you can’t raise rates you cant afford to buy a that top-of-the-line rig.

So what do you do?

The way I started was by purchasing a $4000 rig to start (a CP Steadicam SK). As I improved, I invested in upgrades that would allow me to do more and more with this rig (second articulating section, stiffened the arm, LCD monitor, etc). I of course practiced like crazy with this rig. By the time I was done I had probably invested another $6000 into the rig. Fortunately, when I was ready to upgrade (or at least when I thought I was ready) I found a buyer for the rig and actualy made a profit.

My next rig was a Tiffen Steadicam Ultra… And the price tag was big. Fortunately I bought it used, in great shape, for a great price (which took some of the sting out of the purchase). However, in retrospect, I don’t think i was quite ready for it. Today I certainly operate at a level justifying the rig and the rental rates I get are consistent with the value of my package, but when I bought the rig this wasn’t the case.

So when should you buy?

I think it’s important to have something to practice with… Anything! But it doesn’t require a small fortune. Perhaps a used flyer or similar. It should be something you think you can actually get a reasonable rate with. More importantly, find local, established operators and get to know them. You might click with one that is willing to mentor you, and perhaps even lend you his rig from time-to-time.

Filed under: Equipment by BenSemanoff
Tags: « steadicam advice - steadicam equipment - steadycam advice - steadycam equipment »
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One of my earliest experiences as an young aspiring operator came when I was asked to operate steadicam on an NYU thesis film. They were shooting on 35mm, and that really excited me. Up to this point I had only operated with video cameras, and outside of the Steadicam Operators Association Workshop, I had never professionally operated any other rig than my Cinema Products Steadicam SK. For this job I would need more power! Fortunately I knew of a young Steadi Op that had taken the plunge and bought a Master Series rig. Since we had trained together at the SOA workshop he was kind enough to lend me the rig.

I picked the rig up on the way to my gig. That was my first mistake. When I got to the location I laid out the gear and began setting up. Aside from a quick once over I had no experience with this piece of equipment. So here I am, rig built, camera mounted, and no power. The batteries were charged… Why no power. Well it turns out that my personal Steadicam did NOT have a power switch… And guess what… This one did. I had no experience with the rig and more importantly did not Pre-Produce. After a quick, embarrassing call to the owner I was able to power on the rig.

Pre-Producing is the process of setting up and testing your equipment ahead of time… And most importantly producing the result you’d like to achieve in a controlled environment. And when it comes to Steadicam there’s nothing too small or too simple to test ahead of time. Those often are the very things that bite you in the ass on the day. More importantly… Pre-produce everything at once. This means if you plan on using a wireless video transmitter and wireless follow focus systems… You should set them up along with a camera and lens all at then same time. The best scenario (If you have the luxury) is to attend the camera checkout with the rig and build there. In the field, on the day, you will be under too much pressure.

So why am I sharing this embarrassing story? (which occurred 10 years ago I might add) Because its an awfully common mistake of young operators. The assumption is that it all just works… And it doesn’t. Too often I hear stories or get calls from operators in the field that just realized they didn’t have the correct part or cable on hand. Its embarrassing and can easily be avoided. Furthermore if you get a call for a job that would require that you put yourself in the uncomfortable position of arriving on set without pre-producing… I would suggest turning it down. It’s akin to shooting yourself in the foot.

So remember… Pre-Produce, Pre-Produce, Pre-Produce!

Filed under: General by BenSemanoff
Tags: « steadicam advice - steadicam op - steadicam operator - steadycam advice - steadycam op - steadycam operator »
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The question is inevitable. And the fact is that most of us are not qualified to negotiate our rate. This is why there are agents. But for the majority of steadicam ops…representation is not in the cards. So what is your rate?

I can’t claim to be an expert on this subject, but I have learned a few things along the way. Here are some tips for broaching this subject:

1) Confidence is key! If you don’t really beleive you are worth what you are asking for or you are desperate for work… It will come through in a quiver in your voice or other tell tale sign. So Be Decisive. When asked, you should answer immediately without hesitation. This tells the other party that you are 100% certain of what you are worth.

2) Know your ABC’s… By that I mean you need to know your A-rate, B-rate and C-rate. I define them as such. Your A-rate is what you can make a comfortable living earning. It’s what your peers are charging, not what your mentors are charging. Your B-rate is what you can discount your rate to and STILL make money, It might not be a ton but its positive cash flow. And finally your C-rate is your break even rate. This is bottom floor and only acceptable if you get an offer to shoot an indie starring Al Pacino or some other A-lister that will look great on your reel. Or perhaps there’s a DP you really want to form a relationship with… That’s where your C rate comes into play,

3) Don’t give it away until they ask! So often I hear people say “my rate is X, but I’m flexible.” I suggest never saying such a thing until they’ve expressed that they don’t have the budget for you…and even then there needs to be an incentive for you to negotiate. Is this a great job? Will it provide good reel footage? The best position to negotiate from is one where you can just walk away from the table… So if you are desperate for work you are going to be at a major disadvantage.

4) Or course if a production is asking for a significant discount then you should know what they are spending before accepting a discount rate. If they are offering you $500/day and spending $5mil on the movie, something tells me you aren’t being valued.

5) Finally, learn the common objections that Producers and PMs will have for your rate and have techniques for addressing them. My favorite is when they tell me that there are other operators out there asking for “a lot less” then my quote. I kindly inform them that there is most likely a good reason for the economy rates and explain what their ROI will be with me. I could also point them in the direction of my blog entry entitled “Apples & Oranges: Insights on Steadicam Produce.”

Filed under: Hiring by BenSemanoff
Tags: « hiring steadicam - hiring steadycam - steadicam advice - steadicam rates - steadycam advice - steadycam rates »
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Health and physical conditioning is a critical part of our job, but frequently taken for granted. I minimized it’s value for years. I made excuses like “I’m a Steadicam op… I get my exercise at work,” or (as I visited craft services) “I burn so many calories working… I need the extra energy.”

Well guess what… That’s just not true!

Fact is, if you are staying trim without the gym it’s most likely a combination of healthy diet and high metabolism. If you’re not staying trim there are a bunch of reasons to make a change.

First up is common sense… You lift every pound you carry with every step you take. So simple math says that if you are 20lbs overweight (doesn’t seem like much) and you are executing a shot that involves climbing stairs (let’s say 10 steps for ease of calculation) then you lift an extra 200 pounds per take that you otherwise could have avoided. Now multiply that by 10 takes… And you’ve literally just lifted an extra ton of weight to get that shot… And your day is just starting! So every pound you loose means less energy expended with every step and will instantly boost your endurance… Period.

So if we agree on the logic above them we can agree that the more unnecessary weight you carry the more likely you are to be injured working. That’s not to say you are more clumsy… It’s just simple logic. Less endurance means more fatigue (relatively speaking), and more fatigue means you are more likely to stumble. Since we earn our livings on our feet its important not to get hurt.

Now let’s look at stress on the body. Let’s face it… Most of us aren’t doing any kind of warm up before we start shooting. And we are most likely not stretching properly on the job. So we are already making it hard on ourselves, but being in good physical condition will give you more limber muscles, more strength and make you less prone to injury. It will also prepare our heart better for those brief but intense demands we place on it. Being overweight just adds stress to an already stressed muscle.

Finally, last but definitely not least is how we look doing our job. Fact is when we operate Steadicam there are a lot of eyes on us. It’s one of those professions that just draws attention. Even today after 30+ years people are fascinated by Garrett Browns invention. So with all those eyes on you the last thing you want is those extra 20 pounds hanging over your straps on your vest or harness… Especially if you make it to the behind the scenes video.

So how do you go about this revolution? My best suggestion is to reinvest some of your earnings into professional help. Hire a trainer and/or nutritionist. This introduces accountability into the equation which is as valuable as the professional guidance itself. I can tell you first hand that there’s no magic bullet. I tried portion control only, diet only and exercise only… Nothing works by itself. You have to do it all. In general I recommend:

Three square meals… No snacking!
Reduce or Eliminate Wheat & Dairy intake.
Eat small, early dinners.
Exercise at least three days a week.

Let me know what worked for you. Leave your comments here! Steadicam

Filed under: General by BenSemanoff
Tags: « steadicam advice - steadicam diet - steadicam exercise - steadicam nutrition - steadicam stretch - steadicam tips - steadycam advice - steadycam diet - steadycam exercise - steadycam nutrition - steadycam stretch - steadycam tips »
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