Steadicam

 

photo: Jake Coury

Steadicam can be one of the most efficient tools on a film set for achieving the perfect shot in a timely manner. It can create dynamic images that can add extra layers of depth to your project. As a Steadicam operator, I strive to make sure that we get the shots needed with the following tools:


Equipment List:

- GPI PRO Cine Live Steadicam Sled w/ Volt Stabilizer

- GPI PRO Titan Arm (13-63+ lbs.)

- GPI PRO Vest

- Walter Klassen Flex Vest

- Transvideo 6” HD SBL+ Monitor

- Transvideo Starlite HD5 ARRI Monitor

- Blackmagic 12G 5” Monitor

- Anton Bauer Titon Batteries (98/150Wh)

- ANTI-WIND: Kenyon KS-4A Gyro / Possum Solutions Possum Tail (Antlers)

- American Steadicam Combo Stand w/ Wheels + Moses Pole

- Eartec Headsets (5x)

- Walter Klassen Vehicle Hard Mount (Speed Rail/Mitchell Mounts)

- Rolling Pelican Cases For Safe/Efficient Travel (Includes Media Pass for Flying Baggage Discounts)

- Inovativ Scout 37 Cart w/ Steadicam Support System

- Rock-N-Roller R12 Lightweight Cart


Trinity 2

photo: Jake Magraw

The ARRI Trinity 2 is an amazing tool that can allow the camera to produce movements previously not possible with a traditional Steadicam. My best way of describing it is like a steadicam on steriods: more-or-less a traditional Steadicam with a gimbal on top to allow the camera to move from low-to-high modes, and even do 360º rolls. Overall, think of the Trinity 2 like a mobile jib. The head/gimbal section can also be controlled remotely by another operator to control a mulitude of axes (I.E. tilt, roll, zoom, focus, iris, etc) via wheels, joystick, CMotion Steady Zoom, or any ARRI Hand unit device. The head can even be fully removed to become a remote head (currently only tilt and roll are remote controllable without the ARRI Pan Axis. Please contact me if interested in having full 3-axis control).


Other Equipment Available Upon Request:

- ARRI Alexa 35 4.6K S35 Camera Production Package

- ARRI Ultra Prime 12mm Lens

- ARRI Master Prime Lens Set (16, 21, 25, 35, 50, 75, 100mm)

- ARRI Signature Prime LPL Lens Set (15, 18, 25, 35, 47, 75, 125mm)

- Canon Rangefinder Type SK Lens Set (20, 25, 35, 40, 50, 60, 85, 100mm)

- Venus Optics Laowa 9mm T/5.8 FF/VV Lens

- (2x) ARRI WCU-4 Follow Focus Kit

- SmallHD 1303 HDR 13” Production Monitor

- SmallHD Cine7 Director’s Monitor

- Teradek Bolt 3000 1:3 Wireless Video Kit

- Tango Swing Head

- Bolex REX-5 / SBM Ultra 16mm Camera w/ wide range of lenses (3.5mm Fisheye–200mm)

- Panasonic HPX170 Camera With Century Xtreme Fisheye

- Sony VX1000 with Century MKI Fisheye (Inquire about Tapes)

- Film Stills Cameras:

  • Contax T

  • Nikon FM2N 35mm Camera (Lenses 16mm Fisheye—200mm)

  • Fuji GA645 120 Camera

  • Hasselblad 500 C/M 120 Camera (Lenses 30mm Fisheye–180mm)

  • Hasselblad XPan 35mm Panoramic Camera (28 Nikkor PC, 45, 90mm)

  • 4x5 Sinar F2 Camera (Lenses 90mm—210mm)

  • 4x5 Toyo CF Camera (Lenses 90mm—210mm)

  • NONS SL660 Instax Camera & Hasselblad Instax Back

  • Various 35mm Point ‘n Shoot Cameras




Member of ICG Local 600, Steadicam Operators Association (SOA), and Society of Camera Operators (SOC) Associate