Rich Steel

Can't comment on Dr Who but I was fortunate enough to work with Ernie in the first series of BBC's Drama Sea Of Souls as steadicam Operator. I believe they were originally going to shoot HD on the series as Sony were willing to sink cash into the project but Ernie insisted on film. Regards

VFG are constantly discounting gear. You could also try Axis Film at Shepperton Studios and there's also Hammerhead facilities.

I was working on a UK drama series around 2 years ago doing steadicam. Did one shot and the director shouts cut. My grip's about to grab the rig when the director see's another shot he'd like, I ask how long before turning over and the director says a couple of minutes so I say to my grip stand fast I'll carry the rig for a bit, so we're ready to roll immediately. Anyway, 20 minutes later the DOP's happy about the lighting reset, I'm still standing with the rig when I'm told the talent won't be ready for another 5 minutes. I tell my grip to get my stand so that I can dock the rig and rest. He brings my stand and my brain sends the right messages to my legs to move over to the stand and dock it, unfortunately only my upper body decides to move and my legs stay firmly planted where they are. It's amazing how quickly you accelarate to the ground when you have a fully loaded SR3 pulling you down. The rig bites the dust first with me very soon after it. Everyone's standing around looking in disbelief at what just happened. I've got a bloody nose and cut lip but the rig seems AOK. I believe because I was standing in one position for too long a time my vest actually nipped my nerve ends at the top of my legs stopping any bidirectional communications with my brain. Moral of the story.....Never, ever listen to a director between takes and always and I mean always dock the rig when your not using the bloody thing. Rich "Bruised Ego" Steel

Some behind the scenes images taken by the production assistant for anyone interested: Studio BTS

Well, the shoot went swimmingly well. First time I've used space lights and they rock. The only down side was by the end of the day the crew we were stripped down to our underpants. Jeez it was hot. I only needed to use my 4x4 Kino as an eye light and a Gold reflecter for some bounce. Less is more I guess. I'll hopefully post some shots when the production give me a copy of the filming. Rich "we need more space lights" Steel Steadicam Owner/Operator www.steadicams.com

Hi Folks, I've been asked to light a studio which is painted white with infinty cove. The director wants that blown out flat soft kinda look. I'm shooting on the DVX100a and I've done something similiar on a smaller scale. I've hired 9x Space lights for the studio space and I'm going to use some of my existing lighting kit (1x 2k Fresnel, 1x 4' Kino and 2x 300 Fresnels) to light the talent. Anything I should be looking out for? Has anyone done anything similiar and want to share experiences. For close up's I'm thinking of getting the gaffer to rig one of the space lights on a pully system that way I can crank it down to just above ground level and use that as a possible key source. Thoughts and comments always welcome.

Hi Daniel, I think £150 (GBP) is un-realistic. It would cost that just to hire a basic DVX kit from Axis Films, never mind someones time. Do you have a separate budget for lighting/grip/sound etc? You might be better off convincing a film student who's in their last year to consider DP'ing for you, that way they might bring some college/uni kit to the production at no cost to you. Good Luck though and as they say...."if you don't ask....you don't get." Rich Steel Steadicam Owner/Operator

When using the squeeze mode on the DVX100 your actually losing resolution. To obtain maximium resolution with this camera you need to use the Anamorphic Adaptor and set the camera in 4x3 Mode. That way you'll increase resolution by 33%

I believe he used Arri Vairable Primes on Eyes Wide Shut.

The only reason to upgrade to the HDV is if you want more resolution. The DVX100a still blows the HDV out the water when it comes to Gamma settings, Latitude and Visual Control of the image. Sony's Pseudo 24p sucks and doesn't come close to the TRUE 24p you get with the DVX. Stick with the DVX for the moment. You never know Panasonic may well hint at a newer model in a few weeks time at NAB, so it's not too long to wait before you blow your cash on the HDV.

Forgot to say, If you think your starting to look bad now, think what you'll like when you turn up with a system that you've bought off ebay for a fiver. Don't waste your money man. The £5 quid could go to renting the steadicam Mini.

The worst thing you can do Daniel is to just go ahead and rent one out. Firstly you won't have a basic understanding of the dynamics of how even the basic system balances. Secondly, if it's not properly balanced the rig won't operate right and you'll find trying to nail the shot a damn sight harder and thirdly I reiterate you can do some serious damage to yourself, others and the equipment. I don't think Optex will rent out equipment unless they know you have a basic understanding of the equipment after all it's their investment and they want it returned as it was sent out. Finally a word of caution. I've worked pilots before and have been paid a full days rate regardless if networks pick it up or not. There's no excuse for not getting payed for a project that may or may not ever see a broadcast. In my experience I've found the shows that I've worked on as a pilot has never I repeat NEVER guaranteed a position on the crew when it's been commisioned. Just be careful and don't let some lame producer take you for a ride regardless of how tempting that carrot he's dangling in front of you.

When your walking backwards with a 35lb camera attached to you then YES safety is a huge issue. It's amazing how quickly you accelarate towards the ground when things go wrong and things do go wrong from time to time. If you operate a body mounted rig with no experience you become a liability to yourself and others. That's why I recommend a training course. Your right, it's your money but I diagree with your statement of not having anything to show for it. (A) You can do the training course. You've added a new skill to your arsenal. (B) You'll have some pretty slick shots in the bag which you can use for your Demo Reel. All the best

If your budget is £450 (GBP) then you can afford to rent a rig from Optex. They have everything from the steadicam Junior (£35 pd) steadicam mini (£65 pd) all the way up to the top of the range Ultra Film (£395 pd). Alternatively, use your £450 and invest in a steadicam workshop at Optex. That way you can hire any body mounted rig from them if and when required. Just my tupence worth! Whatever you do make sure your safety comes first and not the shot.

Hi Phil, Your right it is soft and this still does the set-up no justification. When viewing the image on a broadcast monitor it Zings man. As you know I had a 500 for a number of years then got the 570 and sold it fairly recently. I could never in a month of sundays get the drop off in depth of field that the P&S offers up. I still think (even though it has a smaller chip set) that the DVX-100a blows the 500/570 out of the water when it comes down to pound for pound cost v's quality. Keep busy PS: Do you ever come up to the Edinburgh Festival? If your planning to this year, I'll buy you a pint. I'm trying to dispell the myth that all Scot's are tight with cash.

Apologie, Try the link below....Then click on the DVX STILL Link at the top of the page. My Webpage PS: Equipment used was DVX100a, Mini35mm, Arri VP 2 Lens, Kino Flo 4x4, 2 350 Fresnels and bounce board. DVX-100a was wide open as was the P&S. Camera to subject distance was 8ft. Focus dropped of around 1ft.

Below is a link to sample image, but it really does not do the format justice. Questions & Comments welcomed? My Sample Image

Forgot to say Phil, with the exchange rate being so bloody good at the moment you can pick up a road rags kit for £75 (GBP). Get shopping........

Hi Phil, Matthews has already manufactured a system, see the attached link: Cirro Lite

Nice one Phil.....

Ran a test today using the digibeta and Optex Boroscope Lens system. Used 4 Flat head 80's and a 1K Arri. One directly above, one left and above the glasses, one right and above the glasses and one above and in front of the of glasses and finally the 1K underneath (Glasses are on a sheet of white perspex with an infinity cove). Then made a full diff tent of sorts (very heath Robinson) between the Kino's and glasses. Blacked out around the camera and rig and also rigged a 12' x 10' Black drape directly behind the camera and track. Firstly I noticed that if the camera level is just above the line of vision with the glasses and you tilt the glasses forward you greatly reduce the reflection of the camera movement. The down side is that they lack any features whatsoever so more worked needed modelling them now. Thought I'd try a micro flo kit and some small bounce boards.....Any suggestions though would still be appreciated. I'll try and upload the test footage shortly so that you lighting chaps could perhaps shed more light on modelling the pair of glasses (No pun intended).

Because it's motion control the camera is going to be very close to the product so I'm thinking maybe paint the lenses green and work that way....any suggestions to why or why not?

Hi Folks, I've been asked to shoot (Digi-Beta) a set of designer reading glasses using a motion control rig and basically was wondering what pitfalls i should be aware of and how to go about lighting the damn things bearing in mind there's glass in the frames and the camera is fly around them. Any and all suggestions would be appreciated at this time.

I have to agree with Phil, I've only ever shot 2 wedding video's, my sister and my partners best freind. They are a nightmare. Constantly thinking 3 steps ahead of the wedding party. I was burn't out by the end of the night, they are very hard work. I have to salute those who do it really well and make a living from it. In hind sight I would definetly shoot a wedding with at least 2 camera's if your serious about starting a business, a bigger invetsment but I think you'll be glad to have the backup/coverage of a second unit.

try downloading the magic bullet software plug-ins from redgiant.com