Camera Support equipment site

For those of you that are looking for ideas on Dollys, Jib's, Cranes, Steadicam stuff, here's a link to a site that has all the above, and if you want, they will share plans on how to make them. They also show a lot of professional gear, so if your looking for ideas and are working on a budget, I suggest going to this site and looking around. They also have a a lot of links to other sites that have made music videos and commercials using the gear shown.

here's the link: http://www.homebuiltstabilizers.com/

Hi Steve,

Thanks for posting the link. Your help is appreciated.

As a new member I would like to welcome you and introduce you to an often over looked feature. Many of the topics covered in the past can be found by using the search button in the upper right row of buttons. A wealth of information and links can be found with simple searches. Again, welcome and glad to have you here.

Jeff

Harold Greene and Curtis Media Company www.dolphinrack.com has found a solution to a long time problem I’ve had. I have looked for years and years for a device to hold accessories on location. How hard could this be? Well, harder than I could have ever imagined. Carts, clamps, caddies, bags and numerous other devices have all met with mixed success. Some were limited in size or weight of devices they could accommodate. Others lacked reliability, dependability, and quality construction.

Harold Greene has solved all my previous complaints with his latest product, the Dolphin Rack. Over the past several months I’ve had the chance to use the Dolphin Rack in many different configurations on various production locations. The Dolphin rack is almost infinitely variable in configuration. It accommodates various tripod designs and configurations. I used it successfully with several Bogen designs (single tube) and a Vinten (dual stage) and it can be configured to accommodate almost any present day design.

The fit, finish and overall quality of construction are excellent. The major components are drilled and fitted with different components to accommodate different brackets and fasteners. This extreme engineering is what allows so many different accessories to be attached. At all times the tripod remained stable and secure. This includes having a laptop, various small monitors, waveform/vectorscope, and on more than one occasion soft drinks and lunch.

I was very pleased, even surprised by the stability of the Dolphin Rack. Hanging my Ti Powerbook off a tripod is not something I would ordinarily do. At first I was hesitant of the strength and security the Rack would provide. However, my fears were quickly laid to rest. The laptop sat safe and secure atop the Rack while I panned and tilted to follow hawks in flight. But the TiBook only weighs a little over 5 pounds. How would it perform with much heavier loads, like a Sony 8045 field production monitor? The additional weight and size is no problem for the Rack. The monitor rested safely on the rack through several indoor shoots. The weight limit is rated to 15 lbs. but I feel it could safely hold more. While I don't personally use zoom controls (nor did I test this configuration) an accessory swing arm bracket, to hold the control brackets, is available. The arm does double duty as it can also hold battery belts and helps organize cable clutter.

How does the rack treat your tripod? I’m happy to report that my Vinten tripod, with light grey finish, doesn’t show a mark from the Dolphin Rack. The clamping surfaces are all covered with pliable rubber or felt to protect all mounting surfaces. The fastening hardware is ¼ inch aluminum that screw into stainless steel inserts. This attention to detail not only makes it easier to mount and remove, but lends a heightened sense of security when using it with your expensive gear.

You are probably wondering how I managed to mount so many different accessories. The Dolphin Rack is available with various size angle brackets and mounting arms. Again, all are beautifully machined and finished aluminum construction. Numerous mounting holes are drilled in all the right locations to make custom configurations a breeze. The attention to detail is evident in the smoothly finished edges and carefully rounded angles. No chance of cuts or scratches on your hands and little chance of marring your gear.

Downsides? Well, if you carry all the brackets, angles and knobs for all the various configurations the weight adds up. I found carrying my laptop very convenient and will standardize my field kit for just that configuration. The beautiful black finish gets a little hot in the Florida sun. I would appreciate a choice of a lighter color to minimize heat, not only on my hands, but also my gear.

I highly recommend the Dolphin Rack to both studio and location videographers, hey even still photographers can benefit from the convenience. It has won a place in my location kit and will sit happily on my light grey (read cool to the touch) Vinten for many years to come. After using it for just a few months it has become an indispensable production aid. The regular price is $179.95 and a NAB special is running and you can save $30.00 on the basic kit. The C and I brackets, extra L brackets and extra knobs are sold separately. Contact Harold Greene for additional savings during the NAB sale.

Jeff Donald

Harold has just notified me that a lighter color will also be available.

Hello,

I'm fairly new to DV production equipment. I have an XL1S and a Quantaray Titan II tripod.

Smooth left - right panning is no problem, but I have trouble panning up and down smoothly. If I loosen the handle all the way, gravity pulls the front end of the camera down. If I tighten it at all, the up - down panning is jerky.

Basically, do I need to loosen it all the way and just hold the camera all the time? Or are there better tripods which somehow allow for smooth up - down panning? Or is there a way to counterbalance the XL1S?

Thanks for any info.

Patrick

That tripod is totally unsuitable for use with the XL1S. Return it to Ritz Camera (they have a great return policy) and investigate some of the lesser expensive models mentioned in various threads here. Use the search function and look for Bogen, Libec, Miller and you'll get some ideas. The Libec is the most popular inexpensive model. Bogen offers a better range of tripods and heads but are more costly. Bogen's hold their value better, should you decide to sell it. They are also built to last a lifetime. Miller offers some truly professional tripods at great prices. Do and search and ask questions when they come to mind.

Now on the website with photos: http://www.dvinfo.net/articles/camsupport/dolphinrack.php

I want to go someplace to check out things like the Miller or Bogen Tripods and other equipment I might want to purchase in the future and I am not lucky enough to live in New York close to B&H. Since you're in Chicago what are there some places around here I could go to see a lot of cool stuff. I don't want to throw down for an expensive tripod without being able to handle it a bit first.

Hi Rob,
Helix Photo & Video (http://www.helixphoto.com/home.html) may be your best local opportunity to actually lay hands on some of this gear. I don't think they carry Miller but they do carry the Bogen/Manfrotto line.

I have a Miller DS-10 and a Sachtler DV-6. If you're interested I'm sure we can arrange an opportunity for you to pop over to my home (downtown) to take a look at them. Jot me an email if you're interested.

Hey, I'm new here. I'm a Video Production major at Ohio University looking to put together some things to put me ahead of the competition. One thing that really gets me going is the "Snorri Cam" from Darren Aranofsky movies such as Requiem for a Dream and Pi. It's the body mounted camera that keeps the person still in frame while the background moves frantically around. Here is the only picture of something like it that I have found to duplicate:

http://www.doggicam.com/bodymount.htm

My camera is a Sony VX-2000 which obviously weighs much less than that 16mm camera, denoting a much lighter weight rig. If I made the arms like the ones in that picture, what type of construction in the vest would best fit the weight distribution of my hanging camera? I'm looking for a very very thin vest, one that can fit under a wardrobe when necessary. Thanks for any help! Hopefully someone else shares my interest in this rig.

And yes I know you can get pretty decent results by merely having the actor hold the camera, but that just doesn't seem to be a very professional way to do it, now does it? :) Plus I'd like for the actor's hands to be free.

Thanks again,
Spencer Houck
shouck@neo.rr.com

These are little tripods about 3 inches high, that your fluid head can fit into, right? Where do you get them? How much are they? I thought I read they were around $300. . .that can't be right, can it?

ZGC has some.

http://www.zgc.com/zgc.nsf/902a2548f82c5d6505256b4f00545f81/b002906a752aebcf85256cae0069429f?OpenDocument

I am going to get a pdx10 and I want to film while i snowboard, I have learned it is comfortable to have a handle on the top like the xl1 or pd1-50 has. Is there any company that makes one? Thanks guys!
James

www.ultracameramounts.com

These include car, bike and dolly mounts.

I don't know if this was post before...

In Ron Dexter site you can find useful info about operating camera supports: tripods, cranes, dollies, Inertial Camera Stabilization, Gyroscopic Camera Stabilizations.........and more.

http://www.rondexter.com

This site is a jewel

FP

Yup, and his article collection keep growing.

Hi All

Did a search through the forum but could not see an obvious answer. You may of seen that I am fairly new to using the XM2/GL2 and I was wondering how others get on trying to keep the camera steady during shooting. I was considering purchasing a camera support when I am not using a tripod but I just wanted to invite others to comment on what they use.

I think I can keep the camera fairly steady during freehand mode but I am still lacking the final touch in places. Any thoughts?

Many thanks

Steven

Steven,

I will watch this one with care but have you tried the main DV forum? I believe there is a specific section that may help.

I could do with some help as my hand held shots are a bit shakey when reviewed, being new too I would like to give this Cam the justification it deserves.

The press for the new Sony PD-170 camera says the flip out monitor is a new hybrid LCD that does not use backlight when outside. Unlike all other lcd screens this will take advantage of the sun and not fight it. Has anyone seen stand alone versions of this type of Monitor? It would be fantastic for Steadicams.

Michael Tien

I don't think I would call that an advantage. A backlight screen
with monitor hood will probably work better I think.

Hi folks

I'm about to dive into purchasing this baby - V16 (Xmas present!!!). I will be using a fully loaded XL1. Are there any special accessories I should also purchase?

Thanks

Talk to the people at Glidecam. They have much experience
with the XL1. Also do a search on Glidecam here on the board,
that should return threads on the subject. Perhaps you can
find something in them.

My newbie project is progressing. Screenplay nearly done, story-boarding under way. Camera (DVC80), audio (AT835B), lighting (Home Depot halogen) are decided. Now for camera support.

From my still film kit, I have two solid Bogen/Manfrotto tripods. I'm going to add a 700JR mini fluid head. That will give me fixed shots and pans (horizontal and vertical). My screenplay includes a couple of crane shots (head to toe) and I can envision using a curved track & dolly shot or it could be done with a straight track. I would also like to do one or two high angle POV shots). I think these will make the film much more visually interesting. However, jibs, cranes, dollies and track are pretty darned expensive.

Questions: Can a stabilizer be used as a replacement for some of these conventional support systems? Is a shoulder brace a reasonable alternative to a track/dolly shot? Can a carefully planned pan (vertical) replace a crane shot?

I guess I'm looking for a discussion from experienced user on how to add visual interest to the camera/blocking aspect of cinematography with heavy spin toward economy. Any creative ideas?

Thanks again to all the experienced DV Info Net members for helping this newbie.

Place a tripod and camera and operator in a shopping cart. this sounds strange, but it works incredibly well and it cost nothing. the surface has to be smooth of course.

i was on a shoe-ring budget, while putting together a short film in college, so we tried the shopping cart and it worked beautifully.

happy movie-making!!!

Looking to get the Miller DS-10 or DS-5 for my GL2. With the long-life battery, varizoom controller and camera, the weight comes in around 5 pounds (before mic, etc). What I'm wondering is if anyone out there has any experience with how much the varizoom offsets the balance and control of the head... and what recommendations you'd make before I purchase.

Thanks

Kent

I use a Varizoom Pro-L on a DS-5 with my PDX-10. The camera is probably a bit lighter than your GL-2, but you're right in that the Varizoom does shift things out of balance (specifically, this is the Varizoom which is made from a big block of aluminum).

When I first got the Varizoom I had a few issues that you might want to be aware of with the Miller. First, the shaft on the pan handle is rather small in diameter and the varizoom clamp doesn't close down far enough. Second, the built-in handle on the varizoom is very awkward when it's adjacent to the rubber pan handle on the Miller, and neither of these handles are removable.

Now you can make the Varizoom clamp onto the miller handle by inverting the removable part of the clamp, but when you put it all the way at the end of the pan handle it throws things unaccetably out of balance. Sliding the Varizoom forward produces and awkward alignment of the two handles. The Miller quick release plate doesn't slide very far and doesn't help much with balancing. Perhaps there's some sort of additional sliding plate that could be added between the quick release and the camera?

I finally kludged a solution which works fine, but it isn't ideal. I took the pan handle off my Manfrotto 501 (which I rarely use anymore). It has a larger diameter shaft which fits the Varizoom clamp, but best of all the shaft is actually two sections which splice in the middle with an allen keyed fitting. So I just removed the rear section along with the Manfrotto pan handle. This put things closer to being in balance, but still not quite. Unfortunately, the mounting thumbscrew is a different diameter and length on the Manfrotto handle, so I had to kludge that with a 1/4" bolt which needed to be pretty tight to keep the handle locked down.

Not very elegant but it works. I suppose a better solution would be to buy a second Miller pan handle and saw it off short. Unfortunately the DS-5 doesn't have any adjustments on the head or mounting plate that would help to bring things back into balance. Don't know if the DS-10 would be better in this regard since I've never seen one.

Newbie here, working on a 10 minute comedy, shot partly out of doors, partly indoors. I have the camera and audio worked out so far (Pana DV852, Oktava M012, AT897 and a BeachTek). I also have a Bogen 3021 with 700CR fluid head, and a heavy duty Bogen 3036 (12 kg class). A monopod too. I'm using HomeDepot work lights indoors. Since the camera and mics were way cheaper than planned, I've got some $$ to spend on support.

I've read the Steadicam JR manuals, and that looks tempting becasue it would seem to replace a track/dolly and a jib. But what about mic wiring to the camera, that's a problem?

I looked at the Indie-Dolly system and I could see that adding some very dynamic movements and blocking to my screenplay. I'm also looking that the SkyCrane Junior of Glidecam GlideCrane 200, high angle and crane shots would be useful. Right now, the SkyCrane Junior seems the most tempting.

I guess my question is this: If you had your tripod gear set, and wanted to add another dimension to your camera support (for about $700-800), which direction would you go, why, and what products would you recommend?

Thanks again to all those experienced users for helping and answering my endless series of newbie questions.

Cheers...

I think you need to ask yourself what gear would make your production better match your vision. Could be any number of support or other gear that would make a difference.

Maybe not gear but a pro operator for some aspect of the production.

Or think about your Post. What will you need there? Music, special software, stock shots?

Hi all

I need to put a TRV22 hanging out at the end of the wing on a microlight to capture some footage of the pilot. Any ideas on how I could do this easily. I plan to make it up myself so some pointers on how to protect the camera as it travels at around 50mph would be good.

I was thinking of putting it in some form of tube to protect it from direct wind. I'm not trying to capture sound with this camera so I can cover the microphone to protect it.

The tube, if I use one, will be perpendicular to the wind as it will be on the end of the righ looking back along it towards the pilot.

Other issues I can imagine are the exposure. Obviously there will be a lot of sky in the shot and if I leave the camera on auto it will look like crap depending on the direction of the light. Any ideas on how to set the exposure manully on the ground. Where should I take my exposure from? Remenber the TRV22 has a touch screen LCD panel and exposure can be set by touching the screen and it takes it's exposure from that point.

Thanks for any input.
Donie

Looking for info on both commercial and D.I.Y. rail systems for the purpose of using a follow focus on DV cameras. Thanks to all that can help.

-Brett Erskine

Here is Chrosziel's system at ZGC (http://www.zgc.com/zgc.nsf/active/8D88194B80DC41E385256DA6004FE63C).

Hi, I’m following up to my previous thread asking if the Glidecam forearm brace helped to stabilize the GC2000 rig.

I went to New York last week, so I decided to check out B&H photo video.

Some system they have there, (Conveyer belts with baskets hanging from the ceiling and all that.) very novel I thought.

Anyway, I decided to get the forearm brace and the WA-58h wide converter, which all together set me back $352.97 to be precise.

I got it home, and after re balancing to accommodate for the new lens, I was astounded how stable the picture was. I feel that the brace somewhat eliminates some of the vibration movement that I was previously experiencing.
My shots are now much smoother and fluid.
I don’t know if its my excellent operational skills, ;) but I seem to be achieving pictures that you would only expect to get from a more capable and more expensive system.

I was previously using another wide lens converter, so the wider image hasn’t made the difference.

I’d love to post something for you guys to see, but I have no web hosting.

I've seen it before but can't find it now. It gives
added steadiness. It's a grip that has a shape that
fits your fingers for easy hand holding. About
a half foot long. Screws into cam's tripod socket. Thought
maybe Cavision made it, might be wrong. Anyone
know what I mean? It's just basically a handle
that sticks out the bottom of the cam.

The "8mm" handle i call it http://www.habbycam.com/unihandle.html
this one is made by habby cam i am not sure about the other ones.

Hi, all.

Just got a Steadicam JR for my PDX10 and am wondering if there are other users of this cam and stabilizer and what your thoughts are. Today was my first day of attempted balancing, and I think I'm coming closer to success. I have attached the larger lens hood, the XLR block and an me64, and a four hour battery. I didn't get the JR package that comes outfitted with a monitor, so I'll be balancing with the LCD open.
Does this sound like anyone else? Thanks for your input.

Shawn

I have a gig next weekend and I want to be sure I know exactly how to use my Glidecam 2000 with my VX2000 camera.

Does anyone have any general tips?

I've been practicing for a while but I mostly want to check that I have the right weight. How many rings do people have on each side on the bottom (assuming that the camera does not have anything hooked or bolted onto it).

It has been mentioned that I have to check it on a vertical (or is it horizontal???) drop and see about the drop time. How exactly do you do this properly? How do I know that the drop time is complete? When the camera starts swinging or when the bottom weights drop to the bottom -- it's a little confusing...

I really appreciate any help anyone can give! Thanks in advance!

Brian--

First, make sure your horizontal balance is tweaked as you like it...and then do the drop test.

To do the drop time test with the 2000, hold it out in front of you like you'd be shooting with it. With your free hand, pull the base up so that the center post is parallel with the floor. Let go of the base, and count the number of seconds it takes until the post FIRST reaches a vertical position. Meaning, the time it takes for the base to complete a 90 degree arc is what you're counting. on a 2000 pro, this should be about 1.5 to 2.5 seconds.

Many people wait for the base to come to a dead stop, resulting in 30 second drop times....this is incorrect!

If its droping too quickly, (less than 1.5 seconds), it's too bottom heavy, and you should take some weight off, or telescope the post in a bit. If it's dropping too slowly (greater than 3 seconds), you need to probably add a little bit of weight to the base or telescope the post out a bit.

Recheck your horizontal balance at this point to make sure it hasnt been thrown off by these adjustments.

hope this helps,

Hi, anybody know how they stabilize the skiing cameramans cam? I use my steady cam jr but what I see them using looks like it has a handlebar and maby vari zoom controler? I havent seen their whole system, I dont know if it is some type of steady cam or gyro's with a harness. Any body know or have any ideas? TL

I've seen a set of bike bars with a mount attached for the cam and a harness that slings round the back of your neck. Works pretty well but difficult to use from a snowboard.

Hey kids, I tried to research this in the archives before ordering a Bescor battery powered pan head.

CLICK HERE to see it! (http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=64399&is=REG)

Anyway, I'm wondering why I never heard of people using these before? I know I'm opening myself to some good flaming... and I say bring it on... I've got a pod that's over a grand that I use 90% of the time. Here's why I got this head.

There are times when I want precisely repeatable pans/tilts and the mechanical precision of it is a plus... and for the ocassional time when I really want to be on camera WITHOUT having to worry about how terrible any "non-shooters" are... I can still have pans take place unmanned.

Just to give you ONE example of a time when something like this would be handy. Have you ever watched a travel show where they do a super-slow pan or tilt of a scene with no discernable focal point? Like a luxurious hotel room or the front of a castle?

Maybe I'm sanitizing something that doesn't need sanitizing, but if I'm doing a series of pan and dissolves... like you'd do to make a compilation of features of "whatever"... then I like the effect of precision.

Again... maybe I'm limited by my $1K tripod... but I'd like to see anybody take the exact amount of time to do a pan... over and over again... with no perceivable stops/slows during panning.

Thoughts? Flames? I've never heard ANYBODY talk about these heads...

Hi, I am in need of a support system like the FlowPod for an XL-1s with a mini35 adaptor. I don't know how much the adaptor weighs, but the lens I will probably be using it with is about 3lbs.

I cannot spend thousands of dollars either. Any suggestions?

This is one of many remote pan & tilt heads used for security and surveilance cameras.

You may find it vbery useful, but there are too many limitations to be generally useful. Pans & tilts start & stop abruptly, and, unless your camea features a wireless remote, there is no way to control the camera & lens if you are not at the camera. You will also need to have a fairly large monitor in order to see your framing.

Anyone using this http://www.thebecgroup.com/frameset2.asp?MAIN=brk with the GL2? I've been trying to clean up my install and make my system more compact and less top heavy since I have a dual shoe adapter with a light and boom mic.

I've seen this device and note that there is also a mic mount on the inside, just curious to know if anyone is actually using. I did a quick search on the board and only found a couple of hits but not a feedback report which is really what I need before I plunk down 160 bucks for each of my 2 cams....

thanks
miguel

Hi all,
I've recently started to use my PD150 on a Steadicam JR with the weight kit but it is barely balanced and I've tried all I can to get it right. Any suggestions for setting up or is the camera just too heavy? if so any recommendations for other systems such as the Magiqcam? My budget is tight as I have only just bought the Steadicam.
Thanks
Nick

<<<-- Originally posted by Nick Handley : Hi all,
I've recently started to use my PD150 on a Steadicam JR with the weight kit but it is barely >>>

Try this:

http://www.geocities.com/Hollywood/Lot/7385/

Great information there and some nice tips.

I am condsidering the AT835b for use on my VX2100. I read a post that said the 835 was not hot enough for the VX2000. I also read the the audio was improved on the 2100. Does anyone know if the 835 would be a good match with the 2100, without any additional amplification. I plan to use an XLR to mini adapter.

If it is not a good match, please make other recommendations.

If it would work, what is the best mount for a reasonable sum of money?

Thanks

Hello,
I have a GL2 and I have a shotgun microphone that I use on it's hotshoe. I want to know where I can find an "L" bracket that will fit in the hotshoe, so that the shotgun os to the left of the camera, so it's easier to hold the camcorder. I found this picture on here in a different forum...

here is a copy and paste of the bracket i want to find:

http://img45.photobucket.com/albums/v137/robind-r/XM2_with_Arri_matte_box.jpg

See that bracket he has for the microphone. where can I buy one? Im in Connecticut.....

Please give me some suggestions, ive searched all the sights can't find anything.

By the way, this is My GL2.
http://img78.photobucket.com/albums/v287/kevingalliford/DSC00001.jpg

http://img78.photobucket.com/albums/v287/kevingalliford/DSC00002.jpg

anyone out there fabricating a mic holder for the Ikegami HL-DV7W?
I would love to mount my Sunn me 66 on my cam.
thoughts?

Does anybody have any experience using A DVX100 with the Mini35 and zeiss 35mm primes and Panavision lightweight zooms Supported by the DV Rig Pro?

I know these lenses, seen pictures of the DVX/Mini35 hybrid and it looks great. Well, if you could get that operating comfortably off a DVRig Pro...well...fantasy.

Anybody tried it?

Anybody succeed?

Interesting package, Ronan. I'm personally not a huge fan of the PV LW zooms for 35mm, other than their weight--they are a bit susceptible to flaring and not as sharp as other PV lenses, and at a minimum ap of T2.8, will limit how shallow you can get the depth of field. But as you said, you are familiar with the lenses so this may not be news.

The thing I wonder is if the package when mounted on the DVRig Pro will throw the rear viewfinder back too far. I have found that the flip out screen is uncomfortable unless it is a certain distance away from the eyes also. Viewing with the Mini35 in handheld mode is a big issue. I'm going to be modifying my FU1000 XL1 B&W viewfinder to use with the DVX/Mini35 setup shortly, for just this reason (and for critical focusing, not easily obtainable with the supplied LCD finders).