After adding a new accessory to my camera i of course had to readjust my balance. When i was playing with the stage adjustment i heard what sounded ALOT like sand or dirt in a lens.. we all know the sound.

I thought at first that somehow i'd managed to get along the back and forward and side to side adjustment tracks on the stage.. upon taking the top plate off the stage i discovered it was actually the screw that was holding my Manfrotto QR plate that was the problem.

The bottom of it, where the slot for your flathead screwdriver goes into was rubbing against the where the top of the post meets the stage.. No real damage has been done apart from a couple scratches so all good.

I went back and found the screw that came with the pilot and noticed that the flat part is a lot thinner than the one that came with my QR plate.. i didnt use the pilot one because it was too short to screw all the way up into the manfrotto plate.

So time to find a replacement. Just thought i'd post this up incase anyone comes across this in the future..

So time to find a replacement. Just thought i'd post this up incase anyone comes across this in the future..

Joe, I went threw the same screwy situations...........wait............wait.....ok, I thought it was funny. You can actually get spare screws from Steadicam. I tried to file some down from the hardware store, but that didn't work so well.

The bottom of it, where the slot for your flathead screwdriver goes into was rubbing against the where the top of the post meets the stage.. No real damage has been done apart from a couple scratches so all good.

I went back and found the screw that came with the pilot and noticed that the flat part is a lot thinner than the one that came with my QR plate..
I had the exact same problem.

When I first got the Pilot I was using a smaller DV camera, so I added a weight plate under the camera to make it fly better. I used a longer 1/4-20 screw to go through the weight plate into the camera. The longer 1/4-20 screw had a round head, so it ended up scraping against the inner part of the stage.

I solved the problem by filing down the head, and then carefully removing all the metal filings with a shop-vac. No permanent damage, but you can still see some cosmetic scratches when the top plate of the Pilot is removed.

Now I have an HVX, but I still end up adding extra weights to the stage to make it fly better:
Steadicam | 801-7920-05 Middle Balance Weight (http://www.bhphotovideo.com/c/product/552728-REG/Steadicam_801_7920_05_801_7920_05_Middle_Balance_Weight.html)
(click on the attached photo below).

Speaking of camera tie-down screws, I found an excellent screwdriver for this at Home Depot for only $6:
Husky 5/16 In. x 1-3/4 In. Slotted Screwdriver (http://www.homedepot.com/webapp/wcs/stores/servlet/ProductDisplay?storeId=10051&langId=-1&catalogId=10053&productId=100039862)
Every camera operator should have at least one of these...

Speaking of camera tie-down screws, I found an excellent screwdriver for this at Home Depot for only $6:
Husky 5/16 In. x 1-3/4 In. Slotted Screwdriver (http://www.homedepot.com/webapp/wcs/stores/servlet/ProductDisplay?storeId=10051&langId=-1&catalogId=10053&productId=100039862)
Every camera operator should have at least one of these...

I carry pennies around, but a screw driver works well too. Good discussion.

Just took my screw and put it in a lathe.. now it works perfectly! cheers

Every camera operator should have at least one of these...

Yes indeed, but has your screwdriver been immortalized in TV history??!!!

The very first thing I bought for my own kit (was still using a rental rig) was a mega-screwdriver with a wide bit like the one Dave illustrates but about twice as long. Many cameras back then only had a single mounting point so you had to tighten the crap out of them to keep them from rotating on you. I went for the longest one I could find to maximize torque. This sucker was menacing.

On the pilot of "Scrubs", there was a scene where the Janitor threatens Zach Braff's character with a big screwdriver. The one that the prop department provided was not nearly as imposing so I offered mine up (see it in action here (http://www.youtube.com/watch?v=G0esPlONdk4&feature=related), about :30 into the clip).

Towards the end of the first season, that scene was called back with a new intern arriving at the hospital, and the screwdriver made its second appearance on network TV. Too bad it didn't get residuals.

The story has a tragic end; not long after this my old friend disappeared from my frontbox. Petty thievery brought an end to our long working relationship.

Craftsman Big-Ass Screwdriver: 1988-2002. RIP.

Yes indeed, but has your screwdriver been immortalized in TV history??!!!
...
On the pilot of "Scrubs", there was a scene where the Janitor threatens Zach Braff's character with a big screwdriver. The one that the prop department provided was not nearly as imposing so I offered mine up (see it in action here (http://www.youtube.com/watch?v=G0esPlONdk4&feature=related), about :30 into the clip).
Can't top that! Very cool...

bump..........

Dave, this thread is a nice resource that has received good responses so I have stickied it. Mazel tov.

Great thread! Answered a lot of my questions :).

I found something in my local hardware store to help stop the camera moving about on the stage.

In the UK in B&Q you can get Draper Slip Mat. Its like a thin, rubbery, foam like substance which feels tacky (sticky). A slice of this under your quickrelease plate (or camera) and it wont budge an inch.

I got a roll of it for about £5 although you only need a small ammount, used the rest on my dash board and rugs :)

How many mid weights should I buy if I'm flying a Xh-A1 and plan to later fly an EX-1? Would 2 be enough?

How many mid weights should I buy if I'm flying a Xh-A1 and plan to later fly an EX-1? Would 2 be enough?
I would buy 8. Unfortunately, Tiffen just raised the price on middle weights from $6 each to $25 each, but it looks like you can still get the $6 price here:
Steadicam 801-7920-05 Balance Weights, Steadicam (http://www.gomediamonkey.com/proddetail.php?prod=TIF801792005&c=21)

I would buy 8. Unfortunately, Tiffen just raised the price on middle weights from $6 each to $25 each, but it looks like you can still get the $6 price here:
Steadicam 801-7920-05 Balance Weights, Steadicam (http://www.gomediamonkey.com/proddetail.php?prod=TIF801792005&c=21)

Thanks for the heads up. Does the pilot come with 4 end weights already? If so, I need to call and get my order fixed to include 2 more end weights.

Does the pilot come with 4 end weights already?
The Pilot comes with 4 middle-weights and 4 end-weights. I've ordered an extra 8 middle-weights, for a total of 12. For lighter cameras like the XH-A1, I use all of my weights (12 middle weights, and 4 end weights).

The Pilot comes with 4 middle-weights and 4 end-weights. I've ordered an extra 8 middle-weights, for a total of 12. For lighter cameras like the XH-A1, I use all of my weights (12 middle weights, and 4 end weights).

Okay sweet. All set then :).

Has anyone tried using the Pilot with an XHA1 and Letus 35mm adapter? Can it still handle the weight when using a long lens, eg. 300mm f4, approx. 3lbs? Not sure what the entire rig would weigh as I don't currently have an adapter, both it and a stabilizer are on my shopping list, just trying to determine which stabilizer.
Thanks, Rich.
Montauk Rocks - Oscail Films (http://www.MontaukRocks.com)

Has anyone tried using the Pilot with an XHA1 and Letus 35mm adapter?
See here:
http://www.dvinfo.net/conf/stabilizers-steadicam-etc/140598-best-recommended-steadicam-xh-a1-letus35-elite-dof-adapter.html

What exactly were you thinking to shoot at 300mm on any type of Steadicam...?!!

What exactly were you thinking to shoot at 300mm on any type of Steadicam...?!!

Wow.. 300mm is pretty much for this. By the way, I can use the pilot with my A1 and Sgblade (with flip module) + rails + nikon 50mm without too much trouble. However, it's too heavy for the Pilot for sure.

I have a quick question here. I know that the Pilot comes with BNC to RCA adapter but the A1 use 3.5mm video input on its rear. So can I use RCA to 3.5mm adapter to connect A1 to the Pilot LCD? Something like Cables To GO 3.5MM Stereo Male To RCA Female Adptr: Compare Prices, View Price History and Read Reviews at NexTag (http://www.nextag.com/Cables-to-Go-3-530208823/prices-html)

The A1 also has a BNC output on the side.

I've never notice that before. Thank you so much Charles!

What inputs does the monitor on the Pilot use? I'd be using the Pilot with a Sony EX-1.

What inputs does the monitor on the Pilot use? I'd be using the Pilot with a Sony EX-1.
Composite. See here:
http://www.dvinfo.net/conf/stabilizers-steadicam-etc/137255-stedicam-pilot-ex1-monitor-signal.html

What inputs does the monitor on the Pilot use? I'd be using the Pilot with a Sony EX-1.

Composite. See here:
http://www.dvinfo.net/conf/stabilizers-steadicam-etc/137255-stedicam-pilot-ex1-monitor-signal.html
I'd prefer the component signal only 'cuz I'm already using that kind of monitor. Does Steadicam offer to substitute the monitor for one with different inputs? I guess I could always replace their monitor with mine (which uses component inputs) and replace the cabling. Not an option I'd like to do if I'm paying $3500+ for the unit.

Great thread, by the way. Thanks for all the info and "discoveries".

I'd prefer the component signal only 'cuz I'm already using that kind of monitor. Does Steadicam offer to substitute the monitor for one with different inputs?
No steadicam offers component video monitors - too many wires down the shaft. I'm almost certain Steadicam & all other brands use a single wire for video. So your choices are: 1) Analog composite, 2) Digital SDI, or 3) Digital HD-SDI. Note that options 2 & 3 are expensive.

For steadicam use, analog composite is generally good enough. The most important aspect of a steadicam monitor is how it performs in bright sunlight, so nits and anti-glare coatings are more important than the number of pixels or other specs.

Another issue is wireless video. You don't wan't other people crowding around you trying to see the monitor as you are operating the steadicam, so a wireless video transmitter is really good to have. Composite wireless systems start under $200. HD-SDI wireless systems costs many thousands of dollars.

As an example, the RED One camera only outputs high definition digital video (HD-SDI), and most professional steadicam operators still use composite video wireless & monitor, so a standard part of most professional operators kit is a downcoverter to work with the RED One.
AJA | HD10MD3 Miniture Digital Downconverter | HD10MD3 | B&H (http://www.bhphotovideo.com/c/product/335894-REG/AJA_HD10MD3_HD10MD3_Miniture_Digital_Downconverter.html#features)

A few thoughts:

There are actually component video monitors out there on Steadicams, specifically the Tiffen units (the Ultrabrite, and I'm not sure which other ones). They have been offering component since before HD-SDI became a common standard. Quite a number of their rigs are now HD-compatible with integrated HD monitors and wiring. A number of other manufacturers offer HD wiring in the sled and HD monitors (generally third party).

It's true that a lot of us still use our SD CRT's which are still the ones to beat outside, but the LCD panels are coming along. We are having a monitor shootout (tinyurl.com/monitorshootout) next weekend to evaluate these, as a matter of fact. With very few operators untouched by HD cameras these days, it's becoming more of a "thing" to be able to monitor a higher res and color image.

Few Steadicam operators have traditionally owned downconverters as a standard part of their package, but that is changing fast as the price drops and new models emerge. I am now repping the Redbyte Decimator (http://www.redbytedesign.com/products-thedecimator.html), which for $395 does as good a job as the $1000+ AJA, and is both smaller and lighter. The unfortunate irony of course is that as we move to HD monitors, there is less of a need for a downconverter--what are you going to do.

There are actually component video monitors out there on Steadicams, specifically the Tiffen units (the Ultrabrite, and I'm not sure which other ones). They have been offering component since before HD-SDI became a common standard.
Didn't know that. As always, you're a wealth of information.

It's true that a lot of us still use our SD CRTs which are still the ones to beat outside, but the LCD panels are coming along. We are having a monitor shootout (tinyurl.com/monitorshootout) next weekend to evaluate these, as a matter of fact.
Great! I'm hoping to read another one of your excellent reviews!

I am now repping the Redbyte Decimator (http://www.redbytedesign.com/products-thedecimator.html), which for $395 does as good a job as the $1000+ AJA, and is both smaller and lighter.
Wow! First you show us where to buy cheap wireless video (http://www.supercircuits.com/Wireless-Security-Devices/), then you review a good wireless follow-focus system (http://www.hocusproducts.com/hocusfocus) for way less, and now a better downconverter (http://www.redbytedesign.com/products-thedecimator.html) for way less. All the pieces are falling into place. You're making me want to buy a big rig.

BTW: How would you think the Hocus Focus unit would work with a RED One?

The unfortunate irony of course is that as we move to HD monitors, there is less of a need for a downconverter--what are you going to do.
Don't you still need a downconverter for SD wireless video? I've heard HD wireless is really pricey.

BTW: How would you think the Hocus Focus unit would work with a RED One?

Quite nicely for those who are using still camera lenses. It doesn't have enough throw to manage some of cine lenses that require more rotations of the barrel (or have more torque).


Don't you still need a downconverter for SD wireless video? I've heard HD wireless is really pricey.

Yes, good point. The IDX system is about $6K and the upcoming Boxx is about $1500 more than that. Great looking transmission though, super clean.

The poor Hocus Focus guys. Their site must be getting pummeled now, and still no update on their market launch date.

I'm in regular contact with Peter Hoare, the inventor of the HoFo. The latest upgrades are coming along nicely and it's a smart move that he hasn't announced a release date until he knows he can deliver (how many startups have you seen that have had to backpedal and continually push their dates). It will be worth the wait, it's looking solid.

(how many startups have you seen that have had to backpedal and continually push their dates). It will be worth the wait, it's looking solid.

Startups? He's showing more marketing savvy than Palm by hardening his 1.0 release and working on robust delivery. I'm pleased it's getting closer; a constant thread of good news helps keep us on the hook. I've not gotten any word from their mailing list since your post about them at NAB. That you're serving as that thread is, to quote an ex-felon, a good thing.

We are having a monitor shootout (tinyurl.com/monitorshootout) next weekend to evaluate these, as a matter of fact. With very few operators untouched by HD cameras these days, it's becoming more of a "thing" to be able to monitor a higher res and color image.
Who won? ......

The monitor should have a bubble level. The first thing I did when I got my Pilot is velcro one at the monitor base.

I am having a devil of a time trying to find a bubble level similar to yours... anyone seen a place online to buy one like Nicks?

Thanks,
Scott

Just google "bubble level" and you get plenty, btw I have now glued mine to the top of the lcd monitor, much better. You will also need to buy another one to cailbrate the one on the monitor. Ever since the workshop I have been so obsessed with keeping a perfect horizon.

Nick:

If yours is glued on, how are you "calibrating" it...? If the Pilot monitor is not dead-nuts square to the camera platform it will give a false level. Another option is to use velcro and attach it to the bezel of the monitor which allows one to easily make adjustments--you place a second loose level on the camera or on the top of the camera platform, wherever there is room (if one the camera, make sure it is a section that is parallel to the camera platform, there's a lot of swoopy material on cameras these days) and then true the bubble on the monitor to that--and do this before every mission-critical shoot.

A word about levels. They are prone to acceleration and a great deal of interpretation must be used when starting to work with them; if for instance you make a quick lateral move (sideways), even if you maintain a perfect horizon, the bubble will kick out one direction when you start and the other when you stop, eventually settling at the "correct" orientation. You have to train your brain to know when you can trust the level and discard the information it provides the rest of the time, otherwise you will be constantly attempting to "force" the rig into a level that is incorrect. It is for this reason that many operators don't bother with levels (I do).

If you are unable to find one with a square housing, any hardware store will have inexpensive line levels (the type that hang on string)--you can just pop the cylindrical level out of the housing. The square type is preferable for mounting but they all work essentially the same (some might have different fluid spec'd so that they respond at different rates). FYI we have electronic levels for our big rigs that have the sensor located near the center post, which reduces the forces of acceleration especially in pan, and then inserts a digital level into the video which we can move around screen as desired.

Hi Charles, I calibrate it by adjusting the monitor's position until the bubble matches the one on the camera stage.

You can rotate the monitor (around the horizontal lower spar)? huh...didn't realize that.

Yes, the ring that that loosens and tightens it is a bit of a pain though.

Just getting used to the pilot and I have a question

I can balence the pilot with the Canon XH-A1, static & dynamic without using any extra weight - after reading here I've done the same thing with extra weight so the top stage is around 8 pounds.

apart from being heavier - whats the difference?

I can balance my HVX without adding any weights at all, but it doesn't seem to fly as smooth this way.

Adding weight to the top moves the gimbal closer to the lens, and adds a little inertia in general.

Adding weight to the bottom moves the gimbal further from the lens, but adds a lot of inertia in the pan axis.

To understand the gimbal position issue, grab a pencil. Hold it between thumb and finger of your left hand, and wiggle the bottom of the pencil with your right hand. When you hold the pencil in in the middle, the eraser moves a lot. But if you hold it up close toward the eraser, the eraser moves much less. So having the gimbal closer to the lens decreases the effect of sled movement at the lens.

Adding inertia makes it harder to move he sled inadvertently. Since the Pilot is such a relatively light rig, it reacts to the slightest pressure on your left hand, giving you that squirrelly/seasick look. Adding weights in general seems to help a little with that. Adding a couple of weights to each end of the bottom crossbar increases pan inertia significantly, which make for smooth pans.

So that's why I recommend 8 pounds of total top weight (camera, accessories, & weights), and two pounds of bottom weight (Pilot battery & weights). This seems to be the best compromise for good inertia and minimum lens-to-gimbal distance.

But as always, proper technique helps the most. Where you place your hips, your posture, your balance - that matters most. It's like learning to ski. Good equipment, properly adjusted, makes a big difference. But in the end, you have to learn to ski. And don't forget to have fun!

Well explained Dave. For a moment I thought I was reading something from Charles P. Now that is a compliment.

Tery
Indicam

Well said Dave! I tried the Flyer last week with a JVC Hm-700 and it was a big difference from the Pilot. The weight really makes the entire rig a lot more steady.

I'm currently on a feature with a relatively light film camera (Moviecam SL) and I'm having to work a little harder to control the rig due to differences in inertia between this and a "normal" camera. I'd guess the total weight of the rig (including arm and vest) is around 72 lbs vs the 82 I'm used to. Yet still, the inertia is so many times more than either a Pilot or a Flyer, of course.

A few weeks back I had a Panavision XL with two gyros (K4 and a K6) onboard, the whole rig probably weighed 90*lbs and was so inert between the mass and the gyros that it took significant effort to pan--a bizarre sensation!

I read somewhere form those who are flying the sony ex3 that they remove the viewfinder - However, I can't figure out how to do that - anyone know how?

Thanks!

I read somewhere form those who are flying the sony ex3 that they remove the viewfinder - However, I can't figure out how to do that - anyone know how?
Yup, you want it off.

See page 32 of the manual for removal instructions:
http://ws.sel.sony.com/PIPWebServices/RetrievePublicAsset/StepID/SEL-asset-166554/original/pmw-ex3_ops_manual.pdf

You can see how it looks here:
http://www.dvinfo.net/forum/attachments/stabilizers-steadicam-etc/11048d1235763265-steadicam-vs-glidecam-ex1-3-ex3_3.jpg
http://www.dvinfo.net/forum/attachments/stabilizers-steadicam-etc/11046d1235763265-steadicam-vs-glidecam-ex1-3-ex3_1.jpg

Well Ive got a pilot now as well...still getting used to it.

Have used it already for a filming gig in manchester. Went well.

Need to lose some weight tho...a tad embarassing when the battery goes "bonnnggg" off my belly :(

I know the problem :-) you may of course be positioning it incorrectly, I did a intro course recently and it was a huge help.

Getting in shape is never a bad thing, but I don't think it's critical. I've seen great footage from professional steadicam operators that had a few pounds to spare.

But if the battery is hitting your belly, it sounds like you're holding it wrong. If anything, the battery should be bumping into your left leg. The only time the battery comes near my belly is when I'm switching between shooting forward and backward.