Bob Woodhead

First off, that "thing" is NOT A STEADICAM! My god, it's not even a poor imitation of the real thing. I paid $8,000 for mine, and it's one of the CHEAPEST professional models! Call it, at best, a camera stabilizer. OK, that vent off my chest (it's the "kleenex" problem, sorry)... even the low-end real Steadicam models (JR & Merlin) require PRACTICE. And these are well-designed units, with quality gimbals, moving stages, etc (look that stuff up on Steadicam's website). Practice, practice, and a desire to "get it right". Not what you're going to get from agents, I'd guess. That said, to get your unit to work, it's not friction (exactly the opposite, really) , but Center of Gravity positioning, coupled with the gimbal quality. You want the CG of the entire unit to be just above the gimbal. Overall, maybe 40/60 , top/bottom, weight distribution. Mass **is** required to create inertia, which, coupled with a really good gimbal, and correct weight distro + CG positioning, allows stabilizers to work. So even if you're balanced correctly, if there;s no mass, you won't get much stabilizing effect. Add weights top & bottom. Of course, this makes it harder to hand hold for extended periods of time. I'd suggest looking at shoulder brace supports. No training, and will smooth out a fair bit vs handheld cam. http://www.varizoom.com/products/supports/vz1shooter.html as an example. Please, please, don't call it a Steadicam, thanks.

It won't let me edit my post.... hmmmm.... Anyway, for 1 section of curve, it's easy to bend a 10' section using rope or whatnot for a temporary arc. That's another nice thing about PVC track.... if you need another 30' of track, just find your local hardware store.

I've done the PVC route, built a dolly using purchased wheel kits. Decided not to go totally from scratch, as I'd read many posts as to the best wheel formulation (soft/hard) so wanted someone ele's experimentation results, and didn't have the tools to machine the bearings, swivels, etc. Platform's same size as standard doorway dolly, with spring-loaded tie-downs, removeable pushbar, and built up from 3 layers of 3/4 ply. (very rigid that way) Track... using 1" pvc, as the wheels run fine on it (though they'll also run on standard metal track also), and the 1" takes up less room than the 1.5" in the carry bag (an old ski bag). Got a bunch of 10' pipe cut to 5' to fit ski bag. I use a very fine-toothed miter saw to cut the PVC, as the ends need to be as straight & smooth of a cut as possible for best joint. There are a few ways to keep the track joined, but the only way I've found that works are the track connectors seen at glideshot.com - but I made those myself for a fraction of the cost. Curved track? I'd rent it. lol. Though if a 10' bit of curve is enough, it's easy to bend the PVC on the spot & tack it down with a screw or nail to scrap wood. So far I've had 2 people, sticks, HPX500, and a few acc's on it, and it runs fine. Just 1 person & cam isn't enough weight for a silky glide, so I throw a bunch of sandbags on to help. Works really, really well on any fairly level floor. Very smooth. Very fast to set up. Easy to transport. The dolly platform, upside down on a transport cart (Magliner, RocknRoller) makes a great larger area to carry stuff. Track weighs nothing. Used on rough surface, like a street, you need to lay down felt to keep the PVC from "skittering" around. Not as easy to shim as metal track, esp. on uneven terrain (hillside). For uneven terrain, though, I reach for my Steadicam FlyerLE. :lol:

Ditto... also in the market for a short jib (US vendor though, don't need to pay overseas shipping). I've been using the Seven Jib (a friend's), but thinking of buying the EZFX, due to it's flexibility. The only issue I have with the Seven is the small bounce you get at the end of a move sometimes. There's no pan drag, so when you're coming to the end of a fast swing, it's hard to feather it to a stop... often I end up with a bit of bounce-back - small, but noticeable. I don't think the EZFX addresses this either, but don't think any in this price range do.

Done a few angles of that gag a number of years ago (in a Quantel Editbox)... I'd suggest using the green, and trying to art-design the postcard to give tracking points that don't LOOK like tracking points. That way you get the best of both worlds. Problem with tracking points is they need to bo roto'd out. Even in the green, they won't key, and need roto (well, if they HAVE to be in the green, keep them well inside the green so you can do a sloppy (ie, fast) roto, rather than a "finesse" job. But if your tracking points are some lines, stamp, etc, printed on the postcard, you can track 'em and not roto them. Remember it's a 4-point track, so try to not cover them with the hand. Other approach, "full bleed" video on the postcard. Not inset. In that case, I'd just track the corners of the postcard, or marks well in from the edges. Easiest track if the talent doesn't change their hand position during the shot. Only time it gets tricky is when the postcard is flipped over to reveal the video side.... suggest make the action fast so it's harder to see frames where the video is edge-on to camera... harder to sell. Have fun.

Large frame buffer.

I think a graduated ND filter (glass) would be a good example of when you can't "fix it in post". Maybe those clouds up high are clipping white, and you don't want to iris down, at the expense of losing black detail elsewhere. A polarizer is an even better example. Those are the only two I carry.

Haven't used his truck, but met the guy, & was nice. Can't speak to his work. Covers FL as gaff & grip. He can also call in extra juicers & grips. Illumanation (yep, that's the sp.) 904-797-9011, 904-669-6294 Stuart Bicknell

More detail on the green/blue aspect.... the choice of blue/green is primarily not to have any wardrobe, objects, etc too close in color to the blue/green - either keys just as well. Separate your talent as much as possible from the screen to avoid green spill. Light the screen EVENLY, and not too HOT. (emphasis intended - these are important points) Contrary to many posts you'll see, it's not necessary to backlight talent with straw gel to help "separate" the key. Light your talent to match the composited background. Locked off background plates are easiest to composite. Beware shiny objects (even vinyl jackets have bitten me) that might reflect the green/blue. If you're shooting DV, try to use a software keyer designed for 4:2:0 video. You can also turn your camera 90 degrees (shoot talent on long frame axis) to increase your keying resolution.

Ahhh... then you can up-sell to a remote head & VR goggles!

Dunno.... think maybe it shoulda been on a jib....