Robert Starling SOC

You can find downloads of the basic IATSE 600 scale which includes stills camera operator position at: www.local600forum.com I don't think they are intended for "reposting" on other sites though so be respectful of that. Robert Starling, SOC Steadicam Owner Operator

I own and have rented out two HVX200 packages for the last two years; you can rate the HVX straight at 200 and with the P&S Technique mini35 at 80 ASA. You'll really love what the HVX does with the mini35 adapter and primes. Robert Starling, SOC Steadicam Owner Operator

Here's something I learned from another operator and I try to use it when I can. If you can pull it off it is a good way to nail a booking and keep yourself open for better gigs. For the lower rate/marginal bookings or when you have a few projects pending for a date range, tell them you may have other jobs in the works but you'll confirm with them so they are covered. AND that if the other job comes through, YOU will personally find them a qualified and suitable replacement that is as good or better. It's a three-way win; you've got a bird in the hand, they have it off their plate AND you can potentially get the better job and pass something along to someone you know and trust who will hopefully return the favor one day. Robert Starling, SOC Steadicam Owner Operator

Few small video cameras, if any do very well at all in low-light, some likely better than others but I'm not very familiar with all the models and variations out there in the Prosumer / indie filmmaker range. I would think someone whether individuals, magazine reviews or some web site would have done all the tests and research on the low light capabilities of the smaller cameras. No doubt, some kind of "shoot out" has been done along with the ensuing arguments. All I can speak to for the smaller cameras with regards to low-light are the HVXs and whether you shoot day for night or night, you're still dealing with the issue of these cameras needing plenty of light to overcome the noise floor. Good luck in your search and with your project. Please post a note on your research, final selection and your project as you progress. Robert Starling, SOC Steadicam Owner Operator

Hi Trevor: I have two complete cinema level HVX200 packages in my rental pool and I'd have to say that low light is probably the weakest point on the HVX. Add a prime lens adapter and filtration and you're really going to struggle with it. You're going to have to supplement the lighting I think to some degree in order to get professional quality results. I think there are two low-light scenes on my Steadicam demo reel that were shot on the HVX with mini35 adapter and primes; the hospital scenes. The DP, Tari Segal used a mix of practicals and supplemented with small improvised fixtures ( we had a smallish 5 ton package ) As another example, this past Friday and Saturday I was DP'ing a new national spot for the Hillary Rodham Clinton for President campaign on the HVX's (they requested a P2 workflow for their editors, the HVX was not my first choice). The first day we flew around Nevada on the plane with her to three different rallies capturing speeches and B-roll. Even though the rallies were well lit for TV news, we found ourselves struggling with the available light levels. The second day shooting the main scenes in a private residence I had my favorite local Gaffer and a 5 ton G&E package, no problems there. There are a few custom scene profiles you can test to try to improve the results in low light. We even hired Barry Green (HVX Bible) as a consultant several times and flew him to our location about two years ago to work with us on a 35 day two-unit shoot to maximize the low-light results. Also, if you have not done so already you should go to the DVXuser.com Forum and read the HVX threads there. So, IMHO the HVX would not be the right tool for you based on the description of your project. All the best! Robert Starling, SOC Steadicam Owner Operator

Taking an abundance of batteries is your best bet and using solar panels to charge batteries during the day is the answer to charging. This is the method I used when filming ALASKA; a twelve day unsupported sea kayaking documentary in the glaciers. That was about five years ago and now there are solar panels that are fairly large and roll up very compact. Just do a search online. Plan on enough batteries to get you through 2-3 days of clouds and also turn down the brightness of the monitor, viewfinder etc. and then budget X amount of batteries a day. Regarding the bike, you'll never generate enough power for a long enough period on a bike to charge batteries. As an example, I race bicycles and base my training on the amount of power or watts I output to the pedals. The maximum sustained wattage I can average over the course of an hour is around 260 watts and that is with years of training, racing and professional coaching behind me. A professional Tour de France rider will average 360-400 watts an hour... and we're hauling A$$. In a 100 mile training ride or race I'll generate about 3500 - 4000 kilo-joules or enough to light two 100 watt bulbs for 4-5 hours. It sure feels like I'm working harder than that! Enjoy your trip! Robert Starling, SOC Steadicam Owner Operator Las Vegas

A suitable helicopter which would be an A-Star or Bell Long Ranger with a film pilot will run you about $1200 an HOUR plus about $500 an hour for the pilot. Add the cost of a Tyler nose mount at around $900-$1200 per DAY. The more sophisticated mounts like Gyron and WesCam will set you back about $4000-$6000 per day for the mount plus the transportation/shipping and techs to set it up. And the helicopter company will likely charge a minimum since you're tying up their aircraft for the set up and removal. If you've never done a shot like this before you'd be better off hiring an aerial cinematographer to nail it for you. Unless you are city/location specific or depending on the city there is likely a stock shot out there that will work for you. Robert Starling, SOC Las Vegas

If you can't afford to do it the right way with fresh film stock, how would you ever afford the reshoot if you gambled and lost? Certain risks and cost-cutting measures are low risk or at least you can predict or manage the risk. Film emulsions vary from batch to batch even when fresh; thus we test the emulsions of fresh stock. Robert Starling, SOC Steadicam Owner Operator Las Vegas

I've only used the mini35 with Ziess and Cooke lenses and the results have been very impressive. The higher end lens packages will make a difference...if you can rent them conveniently in your area; after all, isn't that why you're putting a mini35 on there in the first place for the quality of prime lenses? Maybe you can just get few inexpensive lenses to have around in your kit for day to day and then rent the higher-end lenses as needed? Robert Starling, SOC Steadicam Owner Operator Las Vegas, NV

Hi Ralph, sorry to hear about the letter, but actually rejection and learning how to turn it around into positive motivation is good for you, as much as it may not seem that way right now. Use that rejection letter as a source of inspiration and self evaluation of what is really important to you. Rejection is a part of life and a big part of our industry; it's something we all face. It'll either make you more determined or you'll find that this is not a business you are suited for. You'll be rejected hundreds if not thousands of times over your career. Its the eventual YES we're all in it for... looking for approval, acceptance and validation of our creativity or just the next gig that pays the rent. When you read about the big successes in the film / television industry or any other industry you hear a few stories here and there about big names being rejected at some point in their career, but for every one of those examples there's probably a thousand other rejections they don't mention. Back in the early 80's I remember a workshop instructor really ripping apart my work. He was brutal. It was a terrible feeling and it really pissed me off. I left that night with a bad attitude, cursing and bitching about him all the way back to my room. The fact was the work sucked and was riddled with technical problems. By the next morning I had turned that anger around into a realistic self-evaluation that it did suck but also that I would do everything in my power to never shoot anything else that I would not be proud to show my clients and peers. Still to this day that one evening of reality / rejection motivates me to do better work. Best of luck and if one door is locked... go to the next door and the next until you break through. There are other doors into this business than film school so don't let that slow you down; the very next door could be your big break. Robert " Still knocking on doors" Starling, SOC Steadicam Owner Operator Las Vegas

It played just fine on my Mac running Windows XP via Parallels Desktop once I upgraded the PC side with the current QuickTime. Robert Starling, SOC Steadicam Owner Operator Las Vegas

Actually I don't think the guy was even a camera operator, either a stunt guy or rigger. The whole shot was dissected a few weekends ago on some sort of BTS TV show. If you want to see some truly exceptional Steadicam clips go check out Afton Grant's site; steadishots.org - Afton has several hundred of the best ever clips including some where the operators go through windows and in and out of vehicles. Excellent W.A.B (work avoidance behavior) ! Robert Starling, SOC Steadicam Owner Operator Las Vegas

The Camera Comfort Cushion is a must have for any serious camera op who does much in the way of handheld work. It'll save your shoulder and the longer you can hang without physical discomfort the more you can concentrate on what you're seeing in the viewfinder. It's not a bean bag, though I guess it could be if you wanted. It uses layers of dense foam inserts of various thicknesses you can adjust through a zipper on the side. The bottom has a no-slip grip on it so it's not sliding around on your shoulder as well. I use it with the thin insert even with cameras that have a shoulder pad. If you have a mattebox or set of rods for the BL you can use them as grips or rig something to them to give you a place to grab and help you keep the camera stabile. Robert Starling, SOC Steadicam Owner Operator Las Vegas

You're right, and it also depends a lot on where you are in your career and financial situation, and yes you do learn to read between the lines on pro bono and even paying jobs as to whether it is worth your time. I still enjoy working on a few student and low budget projects, even with almost 29 years in the business behind me; the last two were an absolute blast. Frankly a thousand times better than a few full rate gigs I did in 07' At least to me, there is huge difference in some kook who's out there running around half cocked with no idea WTF they are doing, where it's going or anything else. What I love to see is someone with a great script, vision, great passion and professional commitment to themselves, their fellow craftspersons and the art of filmmaking. I'll do almost anything to help the ones with the fire in their eye and in their hearts. Maybe I just like to see and work with the ones who "get it" and who deserve a little help. In early 2007 two projects came my way that at first sounded pretty flakey on the phone, but I read the scripts, talked with the Producers / Directors and DPs and eventually determined they were projects worth doing for a lot of reasons. The money wasn't my full rate or rental but I wasn't there for the money. Both projects ended up being two of my favorites from the whole year. Everyone there was worth 10x more than they were getting paid but not one single person complained, not one and you couldn't have found a more appreciative respectful crew. We had crew and actors volunteering their time who had hundreds of award winning prime time episodic TV and feature film credits to their name, and a boat load of beginners too. Under the right circumstance a little volunteer work can be more rewarding personally than a paycheck... but I like paychecks too and if you feel like you're being taken advantage of, you probably are. Robert Starling, SOC Steadicam Owner Operator Las Vegas, NV

Excellent point David makes here; with higher capacity digital media you end up with longer run times but greater potential for loss before download. Over the course of a day you have less vulnerability with your scenes spread across multiple mags/cards than having all your "eggs" digital or film in one basket. Bigger is not always better. Robert Starling, SOC Steadicam Owner Operator Las Vegas

Hi Mike and Phil, Digital Media Management, at least at this stage of the workflow game is simply not quite that simple; especially on projects where you have non-stop shooting throughout the day for multiple days. Add a second unit and it grows exponentially. Distilling it down to "insert card - press button - change media" would be nice. Maybe it should be that simple as Phil says. The considerations in the digital field workflow for instance are: Capture, transfer to field RAID, backup to shipping RAID, shipping, transfer to working xServe RAID, studio backup, return disk to field and studio archive. While shooting and shipping RAIDS back to our Las Vegas office at any given time we hold the data on up to four different RAIDS: 1. The working RAID on-set 2. The shipping RAID that is shipped back to the Edit Suite 3. The xServe RAID in the edit suite 4. An archival RAID The shipping RAID is only reformatted once it gets back to the Media Manager on-set. Our most vulnerable point in the process is when the shipping RAID is in transit from the set. If it gets lost or damaged we still have the data on the on-set working RAID. Once we get it in the edit suite on the xServe Raid and backed up to an archival RAID only then do we feel safe about it. Unless it's a fairly small project, Media Management is a full-time responsibility when you consider sorting, review and copy/transfer times. Our largest project was about 18 months ago with two ten member units shooting 35 days (6 on / 1 off schedule) in 18 cities from Miami to LA. We used the above workflow and never lost a single clip, nor could we afford to. It seemed like all I did was buy more drives for the first few weeks. By comparison, this process is completely redundant if you look at traditional film or tape based workflows. If the film or tape gets lost/damaged in transit or processing/transfer/dubbing you are completely screwed. At least in a digital workflow you have the OPTION to make backups as soon as you physically can, albeit time consuming and of course expensive. Mike, I think you pose a great question of at what point does the digital media become an expendable item so to speak like tape or film. That is probably not too far off in the distant future where you buy a box of flash memory cards for $15-30 each and they each hold the equivalent of a 400' / 1000' mag or 30 / 60 minute tape. I think my argument at that point would be whether you would still not take the time to back it up right away when you can have that safety net that film and tape does not offer. Lastly, Production Insurance policies usually have a Rider under the Inland Marine section that covers loss or damage to film or tape stock "Faulty Stock, Cameras & Processing" is how it reads on my policy. Many of the insurers will NOT cover a completely digital workflow at this point which is interesting since I can have exact digital backups of my digital workflow quicker and easier that I could with film or tape. My apology for such a long posting. Robert Starling, SOC Steadicam Owner Operator (wearing my Producer hat for this post) Las Vegas, Nevada

The home will be elevated on the carriage and you can probably do pretty well with practicals on the floor since you'll be seeing mostly the upper walls and ceiling, assuming of course you're not elevated shooting down. Kino's might be a good choice or even just a bunch of Home Depot fixtures on the floor if you're on the cheap. Low heat, low power. Robert Starling, SOC Steadicam Owner Operator Las Vegas, NV

I was told a long time ago not to fold tents or changing bags because the folded edges become wear points over time. Think of the edges of a call sheet after its been in your pocket for a few hours. The idea was to stuff tents and changing bags into a sack and therefore "randomize" the wrinkling etc.. By the time you wear out your changing bag you've probably earned enough to afford a new one. Robert Starling, SOC Steadicam Owner Operator Las Vegas

I have not worked with the Red Rock but I just finished Steadicam on a short in LA with the HVX and mini35 where the ISO ended up being 80 when we calibrated the Sekonic 758c to it. I don't remember what glass we had but the imagery was gorgeous for a hybrid rig. Robert Starling, SOC Steadicam Owner Operator Las Vegas

Hi Rob, you're covering quite a bit of technical territory in one posting. What kind of advice specifically are you looking for? Where / what to buy, rent? Probably the BEST place for you to look is to go the the Steadicam Forum and spend a week or two or a month searching the current postings and archives there. Just about every topic you mention is discussed in extreme detail other than where to buy an HVX. I wouldn't bother posting these questions on the Forum until you've researched the postings. Just search search search and you'll learn most everything you need. Also, if you have not yet taken a Steadicam workshop you should. Last but not least, as a Steadicam operator we all dream of a world untethered w/o wires. The reality is you're going to have to learn to work with them, build your own lightweight audio looms and practice going tethered; it's inevitable unfortunately. Robert Starling, SOC Steadicam Owner Operator Las Vegas

I've read that thread. Safety, health and welfare issues should be non-negotiable regardless of the budget. I'll do just about anything, try just about anything to get a shot but safety is where I draw the line, and safety is about the only time I'll be a harda** about something on set. Production insurance and workmans comp MIGHT cover your injuries but when the production is long gone and long over, your accident will be little more than an interesting story for everyone but you if you are no longer able to work. Big studio, little studio, union or non-union doesn't matter. Go read the posts on the Steadicam Forum for Steadicam Operator Bill Brummond who was injured on CSI and got hosed by Production, studios and insurance. He was unable to work for two years or more. The other aspect of these types of scenarios is the liability it creates. Whether your G&E is licensed, experienced, insured or not, if someone gets hurt on the job and someone / anyone in the chain of command was negligent, those Personal Injury lawyers you see advertising are going to sue everyone they can and force you to fight your way out at your expense. Once you speak up and put it on record that something is not safe, I'm pretty sure it becomes negligence at that point. Even the thread / posting you reference here could be used against you and the others if there was a problem with that scenario. The answer is clear, but obviosly not what someone wants to hear. I'm not saying all these thing are not done every day by licensed and unlicensed people but accidents happen. Part of the challenge and interesting nature of our business is to make something happen that is impossible or difficult and capture it to tell a story. But David Mullen is 100% correct that you probably shouldn't be working with the types of people who do not make safety their #1 concern. If you're feeling nervous or seeing red flags pop up, chances are others are too so someone has to have the ba**s to speak up and just say no, wait, stop whatever. Safety isn't always popular because it slows things down or costs money but you have to do the right thing as a professional regardless of the cost. No job, no shot, nothing is worth injury or the reputation that you somehow accept risky scenarios. You'll look and feel a heck of a lot better walking or getting canned "because THEY were running an unsafe set". Most professionals respect that level of commitment. Just yesterday the stunt driver team supervisor on a project I was hired onto here in Vegas pulled the plug on the whole day because the insurance coverage was not as specified to adequately cover potential accidents. The set and scenes were as safe as stunt work can be, but the insurance protection for accidents was not right. He was pretty unpopular yesterday but he stood up to at least make sure EVERYONE on set and the camera cars / property were all covered with the best possible insurance. Robert Starling, SOC Steadicam Owner Operator Las Vegas

I've used a plugin called Perian with good results. Robert Starling, SOC Steadicam Owner Operator Las Vegas

Everyone makes good points here Kevin. I own and rent two cine-style HVX packages and in rentals alone, the packages paid for themselves at least ten times over in the first year. They still go out an average of three days a week but the market is definitely flooded now. The various prime lens adapters like the mini35 address some of the lens issues but it is definitely an intermediary adaptation on the lens side. With a prime lens it's a gorgeous image and a great image to cost ratio. Getting to the base of your question as "an aspiring DOP"; if your object and goal is to have a camera with film-like functions to practice your vision and craft with, you'd get that with the HVX or any other similar camera with the exception of interchangeable lenses. Since you're "aspiring" as you say, having a camera at your disposal to learn and practice on is invaluable; like investing in film school or workshops. I don't think rentals freely enable that. On the other hand, you can always rent a prime lens adapter and lenses when you need them, or a larger camera package altogether. This brings forth a pet peeve of mine that too many people are more infatuated with the latest greatest gear than they are with the art and BUSINESS of our profession. Read through the posts on this forum and others and you'll see what I mean. Five years ago the DVX100 was the holy grail, then the HVX and JVC and now the RED is the almighty magic bullet. Add 8mm, 16mm, 35mm in antique and present day adaptations. Is it standard def, HD, 2k, 4k? I think too many people are consumed with resolution and cine-toys. As filmmakers those are considerations based on project, budget and personal preference but I can tell you that outside of industry professionals I don't think I've ever heard a layman say "wow, that movie really sucked because it was shot on Super 16 or HD". With a great story and high production values few people really care or notice what it was shot on. The elements of the tools should never be apparent in the story anyway except to those of us who are watching with a professional eye and even then it's nice to see a great film where I don't get sucked into the technical side and am in the story. Instead, consider investing a small amount into a modest camera to hone your eye and skills, and invest the largest part of your time and money into marketing and selling your services. Your JOB is to build your business, not to be a DP, Producer, Director, Camera Operator, Filmmaker, whatever. If you build your business and treat it like a business then you'll get to do what you love; whatever that is. i.e. DP, Produce, Direct, Camera, make films, make money and buy the cool gear.... You can always rent or borrow gear but you can never rent or borrow a client! All the best! Robert Starling, SOC Steadicam Owner Operator Las Vegas

Hey Benji ! Sounds like an interesting project! I really enjoyed working with you on "A Moment Alone"; those Steadicam running scenes we did in the subway were great fun. You guys worked my tail off! You don't mention if the shot is interior or exterior? Regardless, here's a still image from a film I operated Steadicam on a few weeks ago. The DP used two 1200's outside through broken translucent windows. It's not exactly the high-key beauty look but it wouldn't be all that hard to build a rig to rotate some kind of cookie and/or vary the distance from the source. Take care and good luck with your project! Robert Starling, SOC Steadicam Owner Operator Las Vegas

Hi Ben: There are several Steadicam workshops that go on throughout the year in the US. Tiffen, manufacturer of the Steadicam holds week-long workshops twice a year. The cost is around $3000 including food and lodging. You do not have to own a rig to attend any workshop. If you're just getting started Tiffen also offers a very comprehensive two-day workshop using the Steadicam Flyer. It costs $500 for the two days but only includes lunch. They have a workshop in some part of the country almost every month or so. The two-day is a great way to get started and also to see if Steadicam is for you. Just go to the www.thesteadicamworkshops.com for the latest schedule and location. The Steadicam Operators Association also holds a Spring and Fall week long workshop in PA. Usually the same instructors as the Tiffen workshops, plus a few others. The Maine Media Workshops in Rockport holds at least two week long workshops. As far as I know Tiffen / Steadicam basically sponsors all of the above with equipment and many of the instructors are the same. PRO-GPI, another manufacturer of camera stabilization systems holds a two day workshop in LA in the Spring. Different gear, different instructors, well produced. Of the four workshops listed above, I've attended all except the Maine Workshop, but I've attended many other workshops in Maine over the last 25 years and can recommend them as well. I've taken four Steadicam workshops total and plan to take more. The bottom line is, a workshop is a "must do" if you ask any operator. No matter who puts it on the concepts are the same and the instructors are all experienced working operators who are there because they love to share, not because of the money; most volunteer their time. Another great resource for you is to visit the Steadicam Forum and search and read the archives. There's thousands of years of combined experience and information there. Best of luck to you and I hope this helps point you in the right direction. Robert Starling, SOC Steadicam Owner Operator Las Vegas Member Steadicam Operators Association and Steadicam Guild