When you lock it down, it doesn't spring back. When you have it unlocked, it does. That's all I meant. I'm not used to the counterbalance, so I found it worth remarking on.

Well, that's what I'm saying, I don't use the lock and it stays put. I have it adjusted so it does not spring back. I don't have to fight the counter balance.

Jeff

On the DV8 and higher models there is a dial that allows you to adjust the counter balance. With heavy cameras you want this counter balance so when you tilt down or up the camera doesn't slam the pivoting weight to the maximum tilt range. Very important for camera moves. Since my camera weighs around 17 pounds I use the 3-5 setting.

I find the standard XL1 to be very light on the DV8 and I suspect it's the same with the DV4, even at the lightest counter balance setting.

Ken T:
I like the millers, but I LOVE the Sachtler because of the pan and tilt settings. Sometimes you want more drag and then other times you want to whip pan. I dial in different settings all the time. It's the best, especially if you've just had a huge cup of coffee.

Jeff, the head can be "locked" in the down (or up) position for situations like the one you mentioned. Too, (although I've not tried it) one might be able to adjust the the camera to the front or rear of center so that it doesn't (can't) "center" itself.

As one who has taught film production, all too often I have seen those less than conscientious students raise the legs high, tilt the camera forward (as far as it will go), let go and walk away to adjust a light or reflector or whatever. Then someone (usually me) had to make a suicide dive in order to save the camera from crashing to the ground. Invariably, they had broken two "prime directives:"

1. Always set the tripod with one of the legs under and forward of the lens.

2. Never let go of the camera or the pan/tilt handle until you are certain the camera is secure, i.e., it won't fall or tip over.

It would go in one ear and out the other.

This was back in the days of "film" when the camera was either a CP16 or an Arri BL, the latter being particularly heavy.

I did that with a SVHS camera in my first field camera class. Freaked my teacher out a good one. You can also adjust it while locked--the lock isn't strong enough to prevent movement if you apply a little force. As for counterbalance--correct me if I'm wrong Good Dog, but you can't adjust it at all on this particular system, can you?

You can "adjust" it only to a point. First, you can adjust the plate by moving the screws to the forward or rearward holes (this would "move" the center of gravity of the camera), depending on where they are originally. Second, once the plate is on the camera and both are mounted on the head, you can slide the camera so far forward or aft that the weight negates the self-center mechanism, causing the entire camera with head to lean forward or backward.

Is there a certain way you've found to work best?

I'm using the self-leveling option. At the risk of sounding critical, and alluding to an earlier post, I've decided to learn how to work with the equipment, rather than trying to make it do something it wasn't designed to do. More often than not, there is a learning curve on my part, but that should be expected.

By-the-way, I only have one pan arm. The only time I've ever used two was on pedestal mounted camera in the studio.

Okay. I've heard having two pan arms is a good thing. . .just wanted some other opinions.

I've only used them in the studio, also. I think they would be a little awkward in the field.

Jeff

Awkward how? I've heard they add stability. Right now I have to hunch over the camera and put my left hand on the lens, right hand on the pan arm.

I can't imagine how a second pan arm would make a camera more stable. The second arm on a pedestal mounted camera is a matter of function and control. All the camera/pedestal controls are on the two arms.

Cameras used in the field and cameras used in the studio are configured the way they are for a reason--the way they're used, where they're used and what they're shooting.

Elsewhere, you talked about problems with extreme pans--that second arm will make a difficult situation even more so!

I do a lot of follow shots in the field (hawks, eagles, ospreys in flight) and you think its tough to get a pan smooth because of the tripod legs, wait till you try it with 2 handles. Of course it's a personal thing, but I find it really awkward.

Jeff

Ok. . .I remember several other people saying how they'd definitely have more stability if they'd had another pan arm, but I'll take your word for it.

Ahh, there you have it. They "imagined" they would have more stability, but they have not experienced it! There's the catch.

Too, I would like to know how they think the second arm would make the camera more stable? What was their logic?

Jeff's example is a perfect one--follow shots. After the first attempt to follow something like a bird in flight, or even panning with a car or truck, I'd bet my head against a football you'd take off the second arm and chuck it.