Robert Starling SOC

*** SOLD ***

Thank you for your interest and consideration!

Robert

Set of Six Ultra Prime Lenses

16mm, 24, 32, 50, 85, 135mm

These were purchased from Ablecine 23 months ago and I still have all the original boxes and packaging for them. They are in absolutely mint condition.

I have individual images as well but I can tell you that they are pristine from every angle.

$68,000 USD includes a complete inspection and evaluation by Ablecine.

We are selling these as it seems in the Las Vegas market clients want our zooms mostly for run-n-gun type jobs.

** SERIOUS INQUIRIES ONLY - NO TRADES - SELLING COMPLETE SET ONLY **

If you’d like to move on to the next step in this I can send you all the other photos and of course you are welcome to inspect them.

Includes custom case

$68,000 USD

I just bought a set of Zeiss Ultra Primes. During my research I polled 25 DP friends from around the US including five ASC members. Everyone on the list has notable credits in their specialty. Across the board it represents cinematographers with feature, commercial and episodic specialties. While not scientific it would be fair to say they represent at least 300+ years of combined experience.

The poll was simple:

Considering the range of Ultra Primes only, what six focal lengths would you select for a starter set?

The range to chose from is 8,10,12,14,16,20,24,28,32,40,50,65,85,100,135,180- all T1.9 from 14mm up

What six do you think would be the most versatile and rentable?

* Some DPs responded with more than six choices or offered two set options. Several as well added notes that they use compact zooms more often now as well. I tried to include all choices but no one person got to vote twice for the same focal length even if they provided two set options. *

Here are the results sorted by number of votes most popular to least popular:

50mm - 23 votes

24mm - 21 votes

32mm - 21 votes

85mm - 22 votes

16mm - 17 votes

135mm - 15 votes

20mm - 11 votes

14mm - 10 votes

100mm - 10 votes

12mm - 7 votes

40mm - 7 votes *

28mm - 7 votes

65mm - 4 votes

10mm - 3 votes

180mm - 3 votes

8mm - 2 votes

* While the 40mm did not receive a large number of votes, four of the seven DPs made very specific comments that this was a "must have" lens for them. This was the only lens that received special comments.

It was very tempting to add one or two more lenses to the set but we'll have to add those as we go along.

My set of six is reflective of the poll: 16mm, 24, 32, 50, 85, 135

Again, this was not a scientific poll just a representation of all the specialties from all the geographic regions of the US.

Robert Starling, SOC

Hello Everybody!!!

I am very pleased to announce The Stabilizer Workshops sponsored by GPI-PRO Stabilizer Systems! I’ve spent pretty much the entire weekend cranking out a new website and banner ads for the Steadicam Forum, Cinematography.com and a few more. For now, check out the website, proof read it for me and let me know if you find any glowing mistakes or egregious errors! I am currently working on a few photo gallery glitches and am still filling out the links section. Let me know and I'll link to your site!

The Stabilizer Workshops

One of the things I love almost as much as operating is sharing my love for it by teaching stabilizer and business workshops. If you didn’t know already, I’ve been teaching one-on-one and small group workshops for quite some time now.

No, I haven’t retired from operating yet and don’t plan to! I’m still out there in the trenches actively working my business plan, doing my part to keep rates up and looking for work just like the rest of you. There’s no shortage of work, but I’m a guy who thrives on variety and enjoys teaching almost as much as operating.

All the best!

Robert Starling, SOC

BTW, I’m actively looking for a few other established operators who are interested in teaching with me either partial days, single days or for the specialty workshops. Especially if you have previous teaching experience! Check out the FAQ section of the website for more information.

Here's a link to an interview I did during CineGear on the new Angenieux 45-120mm compact zoom:

Robert Starling Angenieux Interview

Robert Starling, SOC

Over 90 Detailed Photos - Click Here!

STEADICAM CLIPPER 24 CUSTOM SLED WITH MANY UPGRADES

12 and 24 Volt ready - with many custom upgrades: built in Video DA in top and bottom stage, HD ready (add an HD monitor and you are good to go), Ready for film, video, HD and live show work (Tally, inputs for Program monitor, etc.) Tilt stage and three section center post, included is the standard def 7" LCD

Monitor with built-in frame Lines. NEW never used G-50 arm and Ultra2 vest.

SLED

Clipper 24 Hi-Def sled with Custom mods

Open Design Tilt stage (15 degree)

Composite Telescoping Center Post, no tools, three section

Low Friction Gimbal

Color Day-bright Composite NTSC/PAL 7" Monitor with Frame lines - 700 nits

V-mount IDX steadicam Power system

Rain gear for Sled and Monitor (set of three)

ThermoDyne Sled Hard Case

Power:

IDX VL-2 Plus Quick Charger - NEW

AC Cable

IDX Lithium-Ion Endura 10 Battery (2)

ThermoDyne Batteries & AKS Hard Case

G50 ARM

NEW NEVER USED 2010 Geo G-50 Dual articulated Iso-Elastic Stabilizer Arm with ride control 10-

33lb (4.5-14.9kg) Net camera Capacity

Includes arm adapter for Ultra/Clipper Sled as well as for Flyer/Provid

G-50 Soft case

VEST

Ultra2 Vest with brand-new Pads, never used.

Steel full size Socket Block

Steel Flyer Socket Block with Bridge (to use a flyer arm with the Ultra vest)

New and never used spare complete Vest Pad set

Bad weather spare Vest Pads (used)

Misc. Back-up Screws, Buckles & Straps

ThermoDyne Vest & Arm Hard Case

BRACKETS

Dovetail Plate 9" Standard Length (2)

Dovetail Plate 7" Short Length

Low mode "F" Bracket (new model)

Low mode adapter Bracket for Video cameras

Hill Docking bracket and 2 inch Gorelock

Hill 2" Docking Collar to 1.58" Post (Highmode)

Hill 2" Docking Collar to 1.685" Post (Lowmode)

CABLES

HD-SDI 7-Pin Lemo to BNC Cable (3)

HD-SDI 7-Pin Lemo to BNC w/Tally Connector Cable

HD-RGB/Data Breakout Cable 7-Pin Lemo to RGB Cable

3' Mogami 1354 BNC to BNC Cable

Photo Electric Optical Tally Sensor

Monitor Cable w/Lemo Tally Connector (2)

Monitor Cable w/Molex Tally Connector

Monitor Cable No Tally Connector

Monitor Cable Coiled 4-Pin Hirose to 7" LCD Lemo

Monitor Cable 6-Pin Hirose to 7" LCD Right Angle Lemo

Monitor Cable 6-Pin Hirose to 7" LCD Lemo

Monitor Cable 8-Pin Lemo to 8-Pin Lemo

Clipper 24v Lemo Power to Bare wire Pigtail

Clipper 3-Pin Lemo Power to Master Series 2-Pin Female Adapter

Camos LCD Power from Sled Cable

12v Power to Video Camera Cable (3)

Panavision 24v Power Cable

RED Camera 12v Power Cable

ARRI 24v Power Cable

Moviecam 24v Power Cable

CanaTrans Power & Video Cable

Stanton Y power cable

Misc. Back-up Screws, Fuses & Parts for Sled and Vest

Approximately 3 years old. Very well cared for. Just completely tested, serviced and upgraded to the latest specs by Tiffen factory. Tons of new and/or never used parts.

Reason for sale: Outgrown… Moved to bigger rig / arm with larger payload.

Over $52,000 new – Price Reduced to $34,995.00 including three day private workshop and business course in Las Vegas

Buyer pays all costs of shipping and/or import duties if applicable. Available for pick up in Los Angeles or Las Vegas.

VISA / MasterCard / AMEX accepted! Financing / Leasing available for qualified individuals through Summit Commercial Finance.

I'm a motivated seller and will consider all REASONABLE / RESPECTABLE offers!

Robert Starling, SOC

702 810-5707

robert@westcoaststeadicam.com

*NOTE: Erwin is still brokering this sale / rig for me and it's still here in the US. While he's getting settled back in Switzerland, please feel free to contact me directly with any questions.

Thanks!

Robert

Steadicam Clipper 24 - For Sale

Steadicam Clipper 24 sled (12 and 24 Volt capable) - with custom upgrades: build in Video DA in top and bottom stage, HD upgrade (add an HD monitor and you are good to go), Ready for Live Show work (Tally, inputs for Program monitor, etc.) Tilt stage and three section center post, included is the standard def 7" LCD Monitor with frame Lines. G-50 arm and Ultra2 vest.

Sled:

Clipper 24 Hi-Def sled with Custom mods

Open Design Tilt stage (15 degree)

Composite Telescoping Center Post, no tools, three section

Low Friction Gimbal

Color Day-bright Composite NTSC/PAL 7" Monitor with Frame lines - 700 nits

V-mount IDX steadicam Power system

Rain gear for Sled and Monitor (set of three)

ThermoDyne Sled Hard Case

Power:

IDX VL-2 Plus Quick Charger - NEW

AC Cable

IDX Lithium-Ion Endura 10 Battery (2)

ThermoDyne Batteries & AKS Hard Case

Arm:

Geo G-50 Dual articulated Iso-Elastic Stabilizer Arm with ride control (Brandnew, 2 weeks old)

10-33lb (4.5-14.9kg) Net camera Capacity

Includes arm adapter for Ultra/Clipper Sled as well as for Flyer/Provid

G-50 Soft case

Vest:

Ultra2 Vest with brand-new Pads, never used.

Steel full size Socket Block

Steel Flyer Socket Block with Bridge (to use a flyer arm with the Ultra vest)

New and never used spare complete Vest Pad set

Bad weather spare Vest Pads (used)

Misc. Back-up Screws, Buckles & Straps

ThermoDyne Vest & Arm Hard Case

Brackets:

Dovetail Plate 9" Standard Length (2)

Dovetail Plate 7" Short Length

Low mode "F" Bracket (new model)

Low mode adapter Bracket for Video cameras

Hill Docking bracket and 2 inch Gorelock

Hill 2" Docking Collar to 1.58" Post (Highmode)

Hill 2" Docking Collar to 1.685" Post (Lowmode)

Misc. Back-up Screws, Fuses & Parts for Sled

Cables:

HD-SDI 7-Pin Lemo to BNC Cable (3)

HD-SDI 7-Pin Lemo to BNC w/Tally Connector Cable

HD-RGB/Data Breakout Cable 7-Pin Lemo to RGB Cable

3' Mogami 1354 BNC to BNC Cable

Photo Electric Optical Tally Sensor

Monitor Cable w/Lemo Tally Connector (2)

Monitor Cable w/Molex Tally Connector

Monitor Cable No Tally Connector

Monitor Cable Coiled 4-Pin Hirose to 7" LCD Lemo

Monitor Cable 6-Pin Hirose to 7" LCD Right Angle Lemo

Monitor Cable 6-Pin Hirose to 7" LCD Lemo

Monitor Cable 8-Pin Lemo to 8-Pin Lemo

Clipper 24v Lemo Power to Bare wire Pigtail

Clipper 3-Pin Lemo Power to Master Series 2-Pin Female Adapter

Camos LCD Power from Sled Cable

12v Power to Video Camera Cable (3)

Panavision 24v Power Cable

RED Camera 12v Power Cable

ARRI 24v Power Cable

Moviecam 24v Power Cable

CanaTrans Power & Video Cable

Stanton Power Y-Cable

Less then 3 years old. Very well cared for. Just totally overhauled and updated to the latest specs and/or serviced.

Tons of new and/or never used parts.

Reason for sale: Outgrown… Moving to bigger Rig with larger Payload.

Over $52'000.- spend, Asking $42'990.-

Located in Los Angeles. Will ship worldwide via Fedex.

Buyer is responsible for shipping, insurance and any import duty and taxes.

Wire transfer preferred.

Contact:

Erwin

1-818-448-2639

steadicam@landaucamera.com

It's not mine but I'm selling it.

Pictures:

http://www.steadicam...p?recordID=4249

Less than a day left on this auction and the bids are still low.

This is a great little client or AC reference monitor for those of you with PAL or PAL capable transmitters.

Casio 3" LCD PAL TV

Thanks for considering or passing this along.

Robert

Only one day left on this auction and still a very low bid !!!

Monitor Auction

Thanks,

Robert Starling, SOC

A GREAT little monitor in excellent condition! Perfect for use in the field for standard def video preview and/or by Steadicam operators with a tuner and a transmitter. All details are in the eBay auction, your questions are welcome either direct, via the Steadicam Forum or via eBay.

Sony Monitor Auction

Thanks for your consideration!

Robert Starling, SOC

Anyone have or know where one of my clients can rent a wide angle lens for a Canon XL H1 HD camera? It could be from a rental house or a personal rental; either way the client has the proper insurance and ability to pay a good rental rate on it. We need it for for Dec 28th - Jan 3rd. I'd also like to get them to rent a ZOE or Varizoom type zoom controller I can mount on my gimbal.

Email me directly at robert*at*westcoaststeadicam.com, PM here or call my cell 818-641-1159.

Thanks and happy holidays!

Robert Starling, SOC

Steadicam Owner Operator

Los Angeles and Las Vegas

Hi Bill,

All-in for a 30' Jimmy Jib with back-ups, dutch head etc. to run any camera and have spares you'll get to around $26k. I can't stress backups enough on the Stanton products; they're great jibs but the hardware, connectors and cabling is outdated and a little on the skimpy side IMHO. Also, be prepared to have some of your own cabling and adapters made. Stanton makes it one way and one way only, that's it period. No custom lengths or connectors; not an option.

I had them build a new zoom focus controller for my Steadicam last week and they still use an outdated 2-pin Lemo for power. Since they had to make up a unit and cables from scratch I pleaded for them to put a current 3 pin Lemo on it, offered to send them one, pay them extra whatever... "Nope, this is the design, this is how we sell it". Talk about sticking your head in a hole!

Otherwise, their service is good and it's great value in jibs for what it is.

I love the Harrison Tote; it's got some padding, a divider compartment inside a big zippered top, long handles and side loops where you can connect it to the handles of your camera cart.

I have no idea if it is cotton or whether it would suit your needs but it's quality and well-built. Here's the contact info:

Patti Harrison

Camera Essentials

Tel:(323) 666-8936

Fax: (323) 666-0214

patt0214@sbcglobal.net

http://www.cameraessentials.com/

Good luck!

Everything you need right here:

Patti Harrison

Camera Essentials

Tel:(323) 666-8936

Fax: (323) 666-0214

patt0214@sbcglobal.net

http://www.cameraessentials.com/

BFD & M-One Focus System #1 ++ PLUS AKS ++

(1) BFD system with transmitter and receiver ( $2100 -)

Includes - transmitter, receiver/amplifier, XLR power cable

and carrying case.

(1) M-One Motor System ( $2500 -)

Includes:

Motor cable, Rod Collets: 5/8?, 15 mm, 1/2"

Lens Gears: Module/Pitch 0.8m-32P, 0.6m, 48P, 0.5m, 0.4m-64P, extra wide 0.8m-32P.

Mounting Brackets: 19 mm universal mounting bracket, Will mount on either side of motor in either direction. Also a 2.5? universal extension/offset bracket with 19mm attachment tubes (1.12? & 2.12? long)

(1) BFD Gimbal Mounted Controller ( $100 -)

(2) 3015 Steadicam to BFD Power Cables ( $125 ea)

(1) Spare Antenna ( $35 -)

(1) * Extra/BU * 6162 Motor Cable ( $145 -)

(1) Mattebox / Rods BFD Mounting Bracket ( $200 -)

(1) BFD to BFD Power Jumper Cable ( $125 -)

(1) 6066 ARRI 435/535/SR3/MovieCam Compact Run/Start Cable ( $140 -)

(1) 6091 ARRI BL/SR/35 III Run/Start Cable ( $200 -)

(1) 3035 P-Tap to BFD Power Cable ($150 -)

(1) BFD case from Bartech

(1) M-One Peli micro case from Palomar

Price New: $5,945

Selling Price: $4,600 + Shipping & Insurance or Pickup in LA or Las Vegas

Total price for this and the second system I have listed combined: $8,700 + S&I or Pickup

Excellent condition, purchased new 1.5 years ago, very very well taken care of with minimal signs of normal wear.

Robert Starling, SOC

(818) 641-1159

robert (at) westcoaststeadicam.com

Manufacturers Websites:

http://www.bartechengineering.com

http://www.palomarengineering.net/m-one.html

BFD & M-One Focus System #2 ++ BASIC AKS ++

(1) BFD system with transmitter and receiver ( $2100 -)

Includes - transmitter, receiver/amplifier, XLR power cable

and carrying case.

(1) M-One Motor System ( $2500 -)

Includes:

Motor cable, Rod Collets: 5/8?, 15 mm, 1/2"

Lens Gears: Module/Pitch 0.8m-32P, 0.6m, 48P, 0.5m, 0.4m-64P, extra wide 0.8m-32P.

Mounting Brackets: 19 mm universal mounting bracket, Will mount on either side of motor in either direction. Also a 2.5? universal extension/offset bracket with 19mm attachment tubes (1.12? & 2.12? long)

(1) BFD Gimbal Mounted Controller ( $100 -)

(1) 3015 Steadicam to BFD Power Cable ( $125 -)

(1) Spare Antenna ( $35 -)

(1) Mattebox / Rods BFD Mounting Bracket ( $200 -)

6066 ARRI 435/535/SR3/MovieCam Compact Run/Start Cable ( $140 -)

5795 BFD to Video Camera 12 pin Run/Start Cable ( $125 -)

(1) BFD case from Bartech

(1) M-One Peli micro case from Palomar

Price New: $5,325

Selling Price: $4,200 + Shipping & Insurance or Pickup in LA or Las Vegas

Total price for this and the second system I have listed combined: $8,700 + S&I or Pickup

Very good condition, minimal signs of normal wear / use, serviced by Bartech about 45 days ago.

Robert Starling, SOC

(818) 641-1159

robert (at) westcoaststeadicam.com

Manufacturers Websites:

http://www.bartechengineering.com

http://www.palomarengineering.net/m-one.html

Wired control of your BFD from your gimbal or within a few feet.

I had three of these and I don't think this one was used except to test it. Still in original package.

Price New: $100

Selling Price: $75.00 includes shipping within US or pickup in LA or Las Vegas

Excellent condition

Robert Starling, SOC

(818) 641-1159

robert (at) westcoaststeadicam.com

Manufacturers Websites:

http://www.bartechengineering.com

New IDX VL-2 Plus 2 Channel Sequential Charger with integrated power supply

Includes camera power cable and AC cable. Cables still sealed in their bags and protective covering still on the charger display. Never been used as in EVER other than to plug it in tonight to make sure it works.

Price New: $549

Selling Price: $425 + Shipping & Insurance or Pickup in LA or Las Vegas

New condition, came with a rig I bought in 2007 but I already had the four channel simultaneous chargers and am finally getting off my a$$ to sell it !

Sorry for the crappy photo!

Robert Starling, SOC

(818) 641-1159

robert (at) westcoaststeadicam.com

I'll probably get clobbered for this but the challenge will be finding crew and equipment. There's talented crew, there's equipment but you simple won't have a wide range of resources to select from as you might elsewhere, and if another project is shooting you'll have even less to choose from. I LOVE Montana and the crew there but only you can decide how much you'll need to rely on local crew and equipment resources and to what level you expect those resources to be available when you need them OR if you need to replace someone or something.

Why not just quote your rate as hourly with a ten hour minimum? OT starts at eight hours 1.5x up to 12, 2x after that.

If I see the steadicam op move in closer to the subject (unrehearsed), now I have both a solid distance guess and a field of view to help my mental measurement call.

Really good point Allen since actors (and sometimes Steadicam ops) don't always hit their marks and dynamically the scene and shot changes every take. I wouldn't necessarily have thought so much about it for the AC / Focus Puller but then I'm always looking at the monitor.

Casio, Panasonic, RCA and others make little handheld TV's; we use them all the time for Steadicam. I provide the DP and Director with nicer 7" versions but most of the rest of the crew and production use the smaller ones. When we shoot MTV Cribs pretty much everyone has one of the small ones of their own.

I don't really know how an AC could pull focus with one though if that is what you mean by using it with a Preston. Putting one on the back of the slate is not a bad idea though.

Try eBay since with Digital TV coming in a few months they're getting harder and harder to find.

Hi Jagna:

You can be anything you want in this business if you're willing to work and fight for it.

I just worked as a Steadicam Operator on a short here in LA with an entire group of Polish filmmakers who studied film in Poland and have come to the US to work, study and make films. Pretty much the entire crew was Polish and many of the actors were as well. It was a story of a young Polish girl and the Baba Yaga. In fact, their last two films were funded and made possible by the Polish American Society and other Polish based organizations. AND... the Director and DP are both Polish born WOMEN.

Contact me by private message off the Forum and I'll introduce you to them.

Hi Jake, it's not a matter of just one setting but more a function of adapting every aspect of the camera settings to lens, lighting, movement, production and the scene; the same as a film camera where the DP selects a specific film stock, lens package, lighting package / style and post production process to give the desired effect. Setting the HVX or any other camera on 24 frame and selecting the factory "film look" setting is just a very very basic starting point.

There are volumes written on this topic related to the HVX and DVX on the DVX user forum. Much of "film look" is subjective to the eye of the viewer or creator. Experiment and see what YOU like and what your vision is.

I have had two cinema level HVX packages in rental for over two years now and have seen some phenomenal imagery come out of them and... a whole lot of crap too depending on who is DP'ing and all the other factors mentioned above. We're not even talking about the quality of the script, directing and acting yet.

A compelling story shot well on a cheap video camera or 8mm is still better than a POS script shot on a Panavision 35mm or Genesis by someone who does not know how to direct, light, shoot and edit.

Hi Blade:

Congratulations on getting a start in the business and don't worry about mistakes; the only people who don't make mistakes are those who don't do anything!

For clarity; there is no such job classification in the camera department as a "Camera PA". There may be Producers hiring PAs to work in camera under that title but the tasks you're describing are those of a 1st and/or 2nd AC. If you're handling any portions of those responsibilities based on the job descriptions of a 1st / 2nd then you're doing 1st or 2nd work even if it's a freebee or your first time. As you found out it's a very challenging position.

With this in mind, you should be paid accordingly the same as a 1st or 2nd would. If it was pro-bono work the point is still the same.

The issue here is that Producers hire someone at a PA rate for cheap and give them the important responsibilities you describe in exchange for a non-existent and low paying job title.

Again, congratulations on your new work!