Tobias French

Thanks, Freya and Rich. Your advice has helped steer me in the right direction. The reason for my asking is that a friend of mine who works in the States has offered me his old Lowel Tota/Omni lighting kit. Of course, this runs off the US 120 volt network. In trying to find out if it was possible to run the self-same lights on the UK 240 volt system, I visited the Lowel website and it appears that the lights are fully wired up to operate on either system. One simply has to purchase the correct extension lead with a UK plug attached, and then replace the bulbs with those rated for the 240 volt supply. (No transformers necessary!) http://www.lowel.com/tota/ http://www.lowel.com/omni/index.html In fact, I'm really impressed with the wide range of lighting controls and accessories (filters/flags/clamps etc.) that Lowel offers. I'm not exactly made of money so the Tota/Omni kit seems a really cost-effective way to get hold of a versatile lighting set up. If there any members with first-hand experience of the Lowel lights in action it would be extremely useful to canvass their opinion. Cheers

Lowel/Arri lights sold in the USA run happily off a 120 volt power supply. Is it possible to run the same 120 volt lights on the UK's 240 volt system? I realise the plugs and lamps would need replacing to suit the UK network, but would the wiring and fixtures of the US lights be able to handle the increase in voltage? Or would I be switching on the most expensive fireworks display in history?

Do you have an old O'connor 50D propping open a door, or just gathering dust in the corner? Face facts, since you got that shiny new 120EX, old faithful has scarcely seen the light of day, let alone a film set. Perhaps I could give your redundant head a loving home and a new lease of life. I'm looking for an old O'Connor 50D fluid head, in good condition, complete with base plate etc. and preferably house-trained - i.e. no leaks! Although not rolling in money, I am prepared to pay a fair price should the right offer come along. If you can help me, or know someone who can, please don't hesitate to get in touch! Thank you:)

Is there any significant difference between the O'Connor 50 and the O'Connor 50D? Details are thin on the ground.

Many thanks, Phil! Sage advice, once again. You've really helped to settle my mind. P.S. There's some truly beautiful sequences on your site. You take you life in your hands, out there. Those black bears seemed far too close for comfort! Inspiring stuff.

;) Cheers Robert. I shall act on your advice and go for the 50D and the Peter Lisand sticks, provided I can source a decent second-hand set at a reasonable price. Sorry to drag on, but does the O'Connor head have any quirks and foibles I should be wary of when looking to buy? I know fluid leaks can pose a problem, but is this just an inconvenience or the first symptom of a deeper fault elsewhere?

Ooops! Sorry! Please excuse the growing pains of this cack-handed Newbee. For the record, my name's Toby, and I'm an alcoholic -I mean, I'm a filmmaker from the wilds of Bedford, England. Please to meet you. Thnx for the speedy response. I've spent the past few months struggling with a very basic friction head and all the stiction problems that came with it. I've perfected what I like to call the jitter-pan - a jerky left to right move that induces sickness in the viewer and an experience similar to that of an earthquake. Not being made of money, the old O'Connor heads do seem like a really cost-effective option. By all accounts, the build-quality is outstanding and there's always the option of an overhaul, should the mechanism go wrong. I was concerned that operating the head would be like working in treacle, but Chuck's idea of adding some ballast to the camera plate should sort out any balancing problems should they arise. Given a choice, would you fellas recommend the O'Connor 50D or the 100 model? And what about a choice set of sticks?

Hello All, I have a fairly weighty JVC HD camera kit, yet it's nowhere near the sheer tonnage of a full scale film camera. What kind of performance should I expect from an old O'connor 50 or 100 fluid head loaded with this relatively lightweight camera outfit? Silky pans or woolly pants?! Slick tilts or saggy tits?!