Hi Charles,
When you say Monochrome, do you mean B/W? That's odd because every ad I've seen for it has it in color.

Anyways, thanks for your tip.

Btw, I've been lurking here for a while and I see that you are a popular steadicam operator <g>. I had the opportunity to work on The Alamo feature film with Dean Semler and the steadicam operator was one kick ass fella (I forgot his name, it's been a while). I tell ya, when he put on his rig, no one, not even the director, wanted to get in his way. He was king of the hill and no one could stop him! I never imagined that the steadicam for those Panavision cameras could be so heavy. He made it look all too easy.

Keep up the great work and thanks for sharing your tips with us all in the forum. Much appreciated.

I'm sorry Charles but the LCD on my JR is in color BUT (a big BUT) it doesn't have that anti-reflective. Did a wedding a couple of weeks back and believe me i would've loved if he had one ;)

Guess we don't have the same model ;)


Saw your movie on instantfilms.com and it is pretty good , even better when you consider the restrictions , i guess one-take only applies if you don't want to spend precious time in the editing room .


Keep it up


See ya

Thanks guys, I forgot that they changed over to color LCD's a while back. Mine is one of the older B&W's. Must have been dreaming when I wrote that.

I don't know which of my brethren did "The Alamo" but I can make a few guesses from your description, Nick! Although many of the best Steadicam operators out there are not intimidating types--you'd be really surprised looking at them. I'm a pretty diminuitive guy, myself ("stocky" may be the appropriate word).

Thanks on the Instant Films, Phillippe. I don't know which film in particular you saw, there are a few of mine on the site at the moment (when our entire catalog of 76 films comes online in a few weeks, I'll have 8 of mine on there...!). The time restrictions do require cutting some serious corners, but I usually still do multiple takes otherwise it burns me in the edit. My editor starts cutting after the first tape comes out of the camera and works through the night, then we do the fine cut, music, color correction etc. the next day up until the screening.

<<<-- Originally posted by Charles Papert : Nick:

The JR monitor has anti-reflective coatings that allow one to see an image in daylight better than the LCD on the camera. Additionally, being center-mounted you can see it from more angles. Performing a sharp pan right with a flip-out screen means you may lose sight of the screen.

Also, having the screen flipped out is not an ideal situation as far as balance, wind resistance and distribution of mass. Without going into too much detail on this, it's just better to have the monitor down on the spar than protruding from the side of the camera.

Be aware that the monitor is monochrome, which may be disconcerting at first. You get used to it, though. -->>>

Charles,

I find using the flip out screen has the advantage when walking forward whilst the cam is facing aft at angle (arm out of shot), that when flipped over and folded slighly back on itself the flip out screen provides a safer way of operation since you can see where you are going and also monitor the action at the same time

the disadvantage is the peculiar dutch roll effect that the flip out has on dynamic stability - this can be minimised by adding an offset weight to the bottom on the opposite side to the flip out screen - I use a mending plate for this - works fine!

John,

Interesting concept, counterweighting the flip-out screen. Good stuff.

Incidentally, the shooting backwards/walking forwards bit is known as "Don Juan" whereas standard shooting forwards/walking forwards is called "Missionary". The origin of these terms is part of the classic Steadicam lore and I mustn't reveal all secrets, but put it this way, it's not "family" material...!

Don Juan is a bit of a bear. If the monitor doesn't face the action, you have to get used to the somewhat disassociated effects of being off axis as you described. The other issue is if you must "come about" during the shot, returning to Missionary position, and now the monitor is pointed away from you. Works great if you have BOTH the JR monitor and the flip screen, you just switch your gaze to whichever monitor suits you.

Charles,

Don Juan huh? I must be Don Juan's Reckless Son %^)

(thats a Picasso smilie BTW)


I have another tip for those small handhelds - if you fly a Sony cam or at least one that has the three position rack on the viewfinder try this

Balance/trim the rig for straight and level flight with the viewfinder in the centre position

then for toe-down trim (about 20 deg) push the viewfinder forward

and for toe-up trim pull the viewfinder well aft to its third position

back to straight and level with the center position

neat eh?