Help with operating Smooth Shooter?

[Vishad Dewan]

Does anyone have tips on how to properly operate the 4000 Pro/Smooth Shooter combo? I've got my XL2 attached to the rig, but it's still somewhat jerky (though, a LOOOOOT better than holding it by hand). The drop time for the 4000 Pro is like 1 second. The Glidecam rep told me it should be 2-3 seconds, and that I should try configuring the weights and telescoping pole. I did everything I could and either the whole thing was unbalanced from not enough weights or still didn't produce the correct drop time. Anyone know how I can fix this?

And how should I operate the Smooth Shooter? I've got my hand gently guiding the sled, but the thing keeps wanting to go its own way. Should it be doing that?

Any help would be greatly appreciated. Thank you.

[Afton Grant]

Originally Posted by Vishad Dewan

And how should I operate the Smooth Shooter? I've got my hand gently guiding the sled, but the thing keeps wanting to go its own way. Should it be doing that?

Ah ha! You've just asked the thousand dollar question. The answer is yes...... sort of.

If the sled is balanced properly (I'm reasonably sure the Smooth Shooter cannot easily achieve dynamic balance so we'll forget about that for now) there are very few aspects to operating that can be answered in any way other than, "practice, practice practice". Things like drop time are more of a preference rather than a setup requirement. You should be able to successfully operate at any drop time once you're used to it. Yes, it does seem the most common suggestion is around 2 seconds, but again, it's just a suggestion.

The sled ALWAYS wants to go its own way. That's the principle upon which the entire system is built - inertia. "An object in motion...." yadda yadda.

I recently read an article in "Am. Cinematographer". One of the DP's was discussing his lighting methods. He said something along the lines of, it's not always about what you choose to show, but rather what you choose to hide.

To apply that to operating a stabilizer, the system works best when it is allowed to simply go without operator intervention. Of course, we cannot just let go and pray for the best. But the operator is there to simply keep it on course, giving it slight corrections here and there to direct to where it needs to go. This could be the genesis of the appearance that an operator is dancing with the rig. It's a constant give and take.

It'll come to you eventually. Just keep practicing.

Best of luck,
Afton

[Terry Thompson]

Vishad,

I just left you a personal email about your questions.

Tery
Indicam

[Vishad Dewan]

Okay, so the sled wants to do its own thing, that's for sure. But how do I really keep it from panning from left to right during a shoot? I've tried grasping the sled tightly, to gently guiding it with my fingertips, to letting it lead ME. But the thing just doesn't want to stay on my subject. Ahhhh!

[Terry Thompson]

Vishad,

When you say that the rig wants to go wherever it wants and completly ignors you wishes, your "wishes" are incorporated into your left hand which gently guides the camera in the direction you want it to point. The system has to be balanced correctly for you to trust that the camera will stay parallel to the ground.

Controlling the sled is a skill that needs to be learned but with time it will become much easier. It feels foreign at first.

If it were that easy everyone could do it and steadicam operators wouldn't be as valuable as they are. When I watch a real good steadicam shot I appreciate all the work that went into it because I have a good idea of all the work that did go into it.

Tery
Indicam