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There’s no doubt that Steadicam was the driving force for the development of wireless lens and camera control systems. At that time there were no remote heads. Operators and assistants rode giant cranes… So there was no need for remote follow focus in that application. Handheld focus pulling could be done with a whip. So it was primarily the Steadicam operator that needed the wireless control. For this reason, Steadicam Ops became the responsible party in providing productions with remote focus systems. Nowadays, these systems are so prevelant (Preston, Scorpio, Bartech, C-Motion just to name a few) that it bears the question… Should Steadicam operators still shoulder the burden of providing a system?

With rental rates as competitive as they are, you surely won’t see the payoff of owning a system if production already has several units rented for other applications. It’s almost assumed you will have it in your kit, and you’ll get the same package rate if you have two or three Bartech Systems (approx 8-10k investment) as if you have a full Preston system (25-30k investment).

Now that these devices are used in many different facets of production (handheld, remote head, Steadicam, vehicle mounts), perhaps the burden of ownership should be with the camera house. These systems are of course available at the rental house, and camera manufacturers even offer their own proprietary systems (e.g. Arri). So why do Steadicam Ops still insist in owning the equipment themselves?

There is the convenience of having your system wired and mounted to the sled. But then if camera is pulled off for other shots, it’s typically a big hassle to remove your focus system so it can travel with camera.

So what I do is the following… I provide my system (Preston FI+Z H2) with my rig at industry standard rates, I’ve modified my receiver mount do it can come off the rug quickly, and I charge a rental on my system if it’s used on anything other than my Steadicam.

What do you do? Share your comments here!

Filed under: Equipment by BenSemanoff
Tags: « bartech - bfd - c-motion - FI+Z - lens control system - preston cinema - scorpio - steadicam rates - steadycam rates - wireless lens system »
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Let me count the ways!

First, I’d have to go back to my initial experience with the rear mounted or back mounted harness. I was a young operator… Maybe 2 or 3 years in, and I was hired for a feature film. Like most low budget features, they opted to save money by using ancient equipment. Save money…not your operators back. So I was charged with flying a BL4… A very heavy camera. In preparation for this I weighted my sled up to the 75lbs I expected to be carrying, and began to build endurance. My goal was to be able to roll out a 400′ mag from head to tail in one take. But I was barely making it to 4mins. In a panic I called Walter Klassen, who I had met a few times before, and asked if I could demo a harness. It arrived the next day and my endurance instantly went from 4 mins to 14 mins. This sealed the deal. I called Walter up and gave them my credit card info. As for the job, I rolled out several mags head to tail without a second thought!

Second, Let’s now jump forward to August 2009. I had just lost a ton of weight… Probably about 30lbs over 6 weeks. I’m now on a feature and the harness is not fitting me at all. I was in pain. Since I was in LA and had heard that Jerry Holway had made huge improvements to the traditional front-mount vest, I called up for a demo. Let me first say that YES, the vest was a huge improvement over earlier models. However, even with the discomfort I was experiencing with my harness… my endurance and operating were still better than when I suited up in the front mount vest. Perhaps a few weeks with the front mount vest would have allowed me to build up some endurance… But I’ve never had to really “build” my endurance with the rear-mount harness!

Now let’s jump to the last and perhaps most important reason I love my Walter Klassen Harness! After wrapping the feature with the oversize harness I drove up to Toronto to visit Walter and get the harness resized. He offered to do this for a small sum of money. When I arrived he measured me and the harness and said there was no way to make it fit. My heart sank… Here I am with an $8500 paper weight!

Then Walter shocked me… He pulled out a new harness whose measurements matched mine exactly. Then custom cut foam so the harness hugged my body (something I would highly recommend to any backmount harness owner.)  Finally he traded my harness for this new custom fit rearmount harness for the same amount of money he was going to charge me to mod my 5 yr old harness. That’s customer service!

So if you haven’t already… I suggest you give Walter Klassen a call and test drive a harness… You won’t be disapointed!

Filed under: Equipment by BenSemanoff
Tags: « back mount harness - klassen fx - rear mount harness - steadicam equipment - steadicam harness - steadicam vest - steadycam equipment - steadycam harness - steadycam vest - walter klassen »
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When it comes to dress code, the film industry is one of the most lenient. On set you’ll see a huge range of clothing styles. This can be very liberating. Steadicam operators have a uniform of sorts… One that I used to subscribe to but have since deviated from. It basically includes cargo style shorts / pants and a t-shirt. But how does this uniform function both practically and aesthetically?

From the practical standpoint I find Cargo style pants to be the exact opposite of what a Steadicam Op would want. In fact, the best style pants would be tights… But I don’t think your gonna find many ops coming to work in tights. So I would suggest something in between. Straight cut pants allow for enough freedom of movement while keeping frabic from catching on your sled. Pants made from the new anti-wrinkle stretchy fabric are even better!

As for a shirt, breath ability is key! Cotton t-shirts aren’t great in that department. They tend to hold moisture too. Quick drying is an important factor… Especially if you plan on perspiring! Today we have a ton of companies making shirts out of breathable quick dry fabrics. The most popular is probably Under Armor… But there are a lot out there.

What about aesthetic choices in clothing? For me, the Steadicam uniform didn’t project the level of professionalism I was looking for. As an operator you need to interface with the DP and Director… And command the respect of the Assistants in the camera department. Perhaps cargos and t-shirt aren’t exactly the best choice for achieving this. Of course everyone has a style they are trying to make their own… But what works for me are Khaki flat-front, straight-cut pants and Under Armor style polo shirts. I also try to avoid wearing a hat… Although sometimes on exteriors in especially hot and/or sunny days I resort to the baseball cap. Dressing more professionally makes me feel like I’m going to work, and that I’m telling the people I work for that I’m serious about my job. Plus it keeps me cool and dry, and doesn’t get in the way of my operating.

Filed under: Equipment by BenSemanoff
Tags: « steadicam advice - steadicam apparel - steadicam clothes - steadicam equipment - steadicam uniform - steadycam advice - steadycam apparel - steadycam clothes - steadycam uniform »
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Back in the very early days of Steadicam, Garrett had conceived the device as a stunt rig to be used for fast paced action shots.  Early films like “The Shining” changed this forever.  The collaboration between Kubrick and Brown realized the potential of Steadicam as a precise tool, that could be use for even the most dramatic & deliberate movements.

The original operating form conceived by Garrett was a one-handed technique.  In this technique the left had (if wearing the rig in “regular mode”) would be used for panning, tilting, controlling roll & booming the camera.  As the equipment was pushed toward the other extreme – that of control & precision – the two handed form was adopted.  Here the left hand would not only be used for panning, tilting & controlling roll… and the right hand would be introduced on the gimbal to boom the camera.

But does “Two-Handed” form completely replace the old “One-Handed” form?

The “Zen” of Steadicam is one in which we (the operator) can fly the rig with No Hands!  This is a rather crude method of positioning the camera since it doesn’t allow us to pan, tilt, etc.  But ultimately, we should always be flying the right with our body.  The hands are there only to impart that subtle force required to position camera.  So what are the benefits of using one hand or two hands to achieve this?

I started to experiment with the one-handed form for running/action shots.  This indeed proves useful.  Here, your other arm can hang by your side, or even slightly behind you to counteract the significantly higher amounts of momentum you’ll be experiencing.  It’s also useful for moving extra’s out of your way in a pinch.

Next thing I knew, I found myself using this one-handed operating more & more.  It wasn’t only on running shots anymore… was I getting lazy?  When I look back at the operating its as good, if not better than it has ever been!

So when should I use two hands instead of one?

• Its always better to boom when operating with two hands.  Applying a large force to the post is not a great idea… its much better to do that at the gimbal.
• Slow and Dramatic really requires two hands.  Your operating hand (the hand on the post) should be applying as little force as possible to that post.  So you really need that booming hand to be on the gimbal controlling lens height.
• Stairs & Curbs are a must… anytime your height is changing (or your subjects height is changing) you need to have your hand on that gimbal to adjust your boom height.
• Lock-offs require two-handed form as well.

When can I try one-handed operating for myself?

• Running definitely works well one-handed.  Just try running a short distance full speed in both one-handed and two-handed form and see which is easier to stop in?
• Fast action, especially when walking backwards over large distances at a faster pace.  Just make sure you don’t have to boom and that you can maintain a complimentary lens height on the subject without applying significant forces on the post.

It takes a little practice… and certainly a full-grip on the post.  But once you get used to it (and the initial guilt of breaking the two-handed form) you’ll find it a useful technique to include in your bag of tricks.

Filed under: Operating by Benjamin Semanoff
Tags: « Garrett brown - steadicam advice - steadicam op - steadicam operator - steadicam techniques - steadycam advice - steadycam op - steadycam operator - steadycam techniques »
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I began my Steadicam career under the assumption that operating Steadicam was as easy as strapping on a Steadicam and shooting. That couldn’t have been further from the truth, and thank God I hadn’t obligated myself to any work using a Steadicam or I would have seriously embarrassed myself. I bought my first Steadicam years ago with the expectation of using it in the production of a corporate video. I was in the process of starting my own business and thought that a prosumer grade Steadicam was a sound investment. It was, but not without a significant commitment to learning how to operate it.

My assumption that Steadicam was “automatic” is not unique. In fact, it’s the assumption of most people both inside and outside of the industry that Steadicam just works. Today, with the increased availability of equipment and information more and more people claim themselves to be “Steadicam Operators.” However, this has resulted in more and more Directors, Producers and DP’s being left with a sour taste in their mouths after a self-proclaimed Steadicam Operator has provided them with a costly demonstration that Steadicam requires not only strength, but skill, endurance and a flare for the aesthetic.

Young Steadicam Operators are faced with the classic Catch 22. How do you get a job without experience, but how do you get experience without getting a job. First, it’s important to get proper training. It’s like learning to play golf… create good habits and techniques now. Take a good Steadicam Workshop such as the one offered by the Steadicam Operators Association. Then practice, practice, practice. Once you feel ready to take on your first job… start small. Know what you’re getting into ahead of time, and ask for advice from other Steadicam Ops. Don’t get in over your head… there’s nothing worse than holding up a production due to inexperience, or even worse, not delivering on your promise.

Those that are hiring Steadicam Ops need to realize that all operators and equipment are NOT created equal. So know who you are hiring and the equipment they are bringing to the table. Work with operators that have been recommended by people you trust. Look at their credits, and if theirs time take a look at their reel. As for equipment, it’s unrealistic to expect those hiring Steadicam Ops to keep up with the quickly advancing technology. So be clear with your expectations. Make sure the operator knows the camera you are working with, and the lenses you will be using for the shots you have planned. If possible, coordinate a conversation between the DP and Steadicam Operator as early as possible so that they can discuss your needs and how to best achieve them. And unless you’re feeling really generous, I’d avoid putting your faith into the camera operator that says “why don’t we rent a Steadicam, I can operate.’ This will seldom save you or the production time or money.

Filed under: General by BenSemanoff
Tags: « hiring steadicam - hiring steadycam - steadicam - steadicam op - steadicam operator - steadicam rates - steady cam - steadycam - steadycam rates »
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I received my first formal Steadicam instruction at a Steadicam Operators Association Workshop in 2002 lead by Garrett Brown, Steadicam Inventor. One of Garrett’s lectures focused on a discussion about “The Look.” The Look is the composure that a Steadicam Operator should maintain while working. Initially, I didn’t understand why this was so important… but I’ve come to learn that this is paramount to being a good operator.

I was finally able to understood the importance of this concept after an experience I had with someone in our office. I am one of the owners of a film & video production house in Philadelphia called Top Hat Productions LLC. One day I came across one of our employees struggling with a computer. It was misbehaving and causing him delays and occasional losses in work. These types of problems are understandable when it comes to computers… we’ve all had those days. However, this employee was getting visibly agitated. I honestly thought he was going to suffer a stroke right in front of me. This is when I finally understood why Garrett was so passionate about “The Look.” Watching this employee struggle made me feel bad for him. As his employer, it made me feel like I was torturing him by making him do his job. It didn’t really matter how good he was technically at doing his job. That went out the window. At that moment, his inability to keep his cool made me feel like a bad person.

After this experience, I understood that it was critical that I did my job while maintaining my composure. As a Steadicam Operator, our job is not only technical and creative… its physical. This is what we signed up for. So after a long take, when you’re hanging your rig back up… avoid making those grimacing faces. When they want to go for another take… never sigh. Instead, wear a smile on your face… and no matter how heavy that rig feels maintain “The Look.”

Filed under: Operating by BenSemanoff
Tags: « Garrett brown - steadicam advice - steadicam techniques - steadycam advice - steadycam techniques »
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What do you consider Steadicam equipment? Does Steadicam equipment end with the Vest/Harness… or do you consider the shirt you wear an essential part of your equipment package? If so, does it matter what shirt you choose to wear? How about pants… are jeans better than cargos? Should you wear a belt? Does it matter what socks or underwear you are wearing? How about a hat? And what about shoes…

What are the best shoes for Steadicam Operation?

Wardrobe is a regular topic at Steadicam Workshops. I’ve been on a never ending quest to find the best socks, underwear, pants, belts, hats, shirts, and yes… shoes for Steadicam operation. This BLOG will lead off a series of BLOGs intended to discuss the apparel that’s best suited for Steadicam operating… and how seriously operators take their wardrobe when going to work.

There are several factors to consider when choosing the right pair of shoes for Steadicam. When I pick shoes, the first consideration is safety. I want all the support I can get… especially on those days spent on stairs. Like a surgeon… our hands are critical to our profession, but perhaps even more important are our feet and ankles. One missed step could result in a twisted ankle. So I want as much support as I can get to prevent a sprain or strain from occurring. So when it comes to safety, I opt for some kind of high-top. And the extra support has certainly made a difference on several occasions.

Another important factor is breath ability of the shoe. I often see students at workshops wearing leather boots, and although that offers some support… I personally wouldn’t choose leather boots as my Steadicam footwear. Let’s face it… our job is strenuous. My feet sweat. So I want something that breathes… so that by the end of the day I’m not floating in my shoes. Again, our feet are important. So irritation, rash, etc. needs to be avoided. I typically opt for a sneaker or hiking shoe. I like something that’s either intended to absorb moisture, or allow your feet to breathe enough for that moisture to evaporate.

Comfort would be next on my list. You’re not only going to be on your feet all day, but you’re going to be carrying an extra 80 – 100lbs for most of the day. So comfort is key! This becomes a matter of personal preference. Some people need arch support, others don’t. Here I would encourage you to experiment. See what feels better after 12hrs or so. Don’t count on shoes that are usually comfortable on a weekend hike, to be comfortable after an intense day of Steadicam. So I encourage experimentation. Don’t just accept what you’ve already got in the closet. Trust me; a comfortable shoe will be worth every penny. After lots of experimentation, I found that hiking sneakers were the best for me… and I even found a brand I like the best. Salomon makes a large selection of hiking shoes from low cut to high top. I go for the high top. They lace up quick, are comfortable around the ankle, offer the support and breath ability I need, and after a long day’s work… my feet feel pretty good.

Finally, how are the shoes to operate in? This is a critical factor. However, I think the above three factors take precedence. It’s important that the shoe offers enough sensation to feel your surroundings… especially when you’re locked off and are trying make sure you know where that door frame or step is before you start moving again. Also, do you have enough control with the shoes to creep ever so delicately, and RUN ever so safely. Running with the Steadicam is dangerous enough… so its important that you have a shoe that’s light enough to run in, doesn’t trip you up, and offers the support you need to stop or when the ground is uneven.

The shoe you wear should be considered with the same amount of care as the sled you fly… but it comes down to personal preference. These are some of the factors I take into consideration when choosing my footwear. What’s your preference?

Filed under: Equipment by BenSemanoff
Tags: « steadicam advice - steadicam apparel - steadicam clothes - steadicam equipment - steadicam techniques - steadicam uniform - steadycam advice - steadycam clothes - steadycam equipment - steadycam techniques »
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