To me that look - the camera always moving - is overused and really annoying. Camera
stabilizers are one of many tools, not a replacement for a good tripod. I've never owned
one - the affordable ones (GlideCam, Merlin, Sportster) are usually a huge pain in the
ass to work with and the real deal is too expensive. Those really inexpensive ones like the
Fig Rig, Flowpod and Ultralight can help an excellent operator get smooth shots.

But they are no replacement for a tripod.

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

I'm a tripod man myself. A friend of mine has a stedicam that is an impressive piece to have in his arsonal of equipment but he rarely gets any use out of it. My advice would be to save your money. Get a tripod. If you want that "the camera always moving" look, extend one leg of your tripod and use it as a monopod.

"Try not. Do, or do not. There is no try." - Yoda

fair enough. i'll save up the extra cash for a new tripod! 😕
thanks for the advice!

"They say a picture is worth a thousand words. But a film? Well, thats worth a thousand pictures."

-(Own3d Studios)-

www.own3dstudios.com

quote:

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Originally posted by Own3dStudios

Hey all, Ive been looking at the next piece of equipment i should get in the ever growing struggle to convince people i AM SERIOUS ABOUT FILMMAKING (haha jk, the added production quality helps a ton, but we all know the bigger the camera the more people get out of the way ?;)?)

my tripod is falling apart at the moment, literally held together by tape.
so im wondering.... in the B&H summer catalog i saw a nice Steadicam system for only about $400.
should i invest in a Steadicam? or are tripods the way to go? I've heard good things about Steadicams and i like the idea of that kind of freedom, but i suppose tripod would be simpler and more reliable...

any thoughts on this?

"They say a picture is worth a thousand words. But a film? Well, thats worth a thousand pictures."

-(Own3d Studios)-

www.own3dstudios.com

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If you're serious about filmmaking and want others to know it too, take the next step and stop worrying about owning equipment. By "filmmaking" I assume you're saying that you want to be a Director. If that's the case, then concentrate on writing and directing. Find someone else who wants to be a Producer to deal with logistics. Hire a Cameraman/DP (someone who wants to do that job) and he will worry about which tools are necessary to complete the project. Do this for every other element in your projects too. I assume you're not shopping for wardrobe racks, steamers, makeup supplies, C-stands, flags, hairbrushes, etc. Why saddle yourself with camera equipment that may not be suitable to accomplish the shots you're after?

The advantage to using someone else to be your Cameraman is that while he is concentrating on the logistics of equipment (camera, lighting, crew) you can concentrate on the story and cast and all the stuff a Director should be concentrating on. Your Cameraman will likely either have or have access to all the equipment you might need, quality equipment that doesn't have to be taped together. You'd never shoot an entire movie with a Steadicam, so a specialist who owns one and is good at it can be brought in on the days you need it. The same goes for jib work or extra camera days (for stunts or party scenes, etc). A broken tripod isn't the proper tool for every shot you need so instead of considering purchasing a rental house full of equipment, let others buy it and maintain it... you borrow/rent it only for those shots and projects when you need them. That way, you can do this like the pro's do and then you'll be seen by others as serious and not just another kid running around with a cheap camera and broken tripod. They'll take you seriously when you take the process seriously.

Good luck!

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com

quote:

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Originally posted by Own3dStudios

(haha jk, the added production quality helps a ton, but we all know the bigger the camera the more people get out of the way ?;)?)

---

Just another comment specifically on this thought above. The truth is that the bigger the camera is, the more seriously EVERYONE takes the project.

There have been a slew of less expensive relatively high quality cameras released in recent years that can give a filmmaker great images at relatively low cost. Using a camera with such little cost can help a project get finished that otherwise might not. But, should you?

I've seen it time and time again, a cast and crew walk on a set and are looking at a camera no bigger than a loaf of bread. What this tells them (accurate or not) is that this is a cheap project and likely won't go anywhere. It says to them that those in charge aren't serious enough about this project (and possibly their own careers) to obtain higher quality equipment. A "big" camera and professional equipment tells your cast, crew, and the world that YOU (Director, Producer) are serious and you intend to create a quality project that everyone will be proud of. Fair or not, the size and quality of the camera (and support equipment) has a direct psychological impact on the attitude that people have toward your project and toward you as a serious filmmaker.

So, my suggestion to anyone who is SERIOUS about making movies as a viable income generating career is to take it up a notch or two. Don't worry about owning equipment unless you want to be a Cameraman (and if you want to do that, there is a lot to consider before choosing a format to own). If you want to be a serious Director and you want others to take you seriously, put the tiny camera and broken tripod away. Your tools are the PEOPLE who specialize in various functions that are necessary to complete a project. THEY will worry about the tools THEY need to complete their tasks.

Size DOES matter. It shouldn't, but it does.

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com

If a Steadi-cam rig helps you tell the type of story you want to tell, you should pick one up. It's just another tool that will help you as a filmmaker. I already own a tripod and steadi-cam so the next purchase for me is either a jib or a dolly system. Even if you're not using them, there's a decent rental market out there and my gear is almost always in circulation if I'm not using on a personal project.

Not sure what $400 buys you in the world of Steadi-cam but they are having a warehouse sale in Glendale, CA this June. Tiffen also has a swap / buyback day if you have old steadi-cam gear you want to trade in for new gear.

David Schatanoff
D Studios Productions

Based on the information Brian gave you above, it's pretty easy to tell I'm a producer...

David Schatanoff
D Studios Productions

quote:

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Originally posted by bjdzyak
Just another comment specifically on this thought above. The truth is that the bigger the camera is, the more seriously EVERYONE takes the project.

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This works both ways. If you want to shoot guerrilla a small camera says "tourist" or "goofing off" to the cops that catch you without a permit, for what that is worth.

RJSchwarz

quote:

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Originally posted by rjschwarz

quote:

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Originally posted by bjdzyak
Just another comment specifically on this thought above. The truth is that the bigger the camera is, the more seriously EVERYONE takes the project.

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This works both ways. If you want to shoot guerrilla a small camera says "tourist" or "goofing off" to the cops that catch you without a permit, for what that is worth.

RJSchwarz

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That's true. But then again, if you're "serious," you're not shooting guerrilla-style, stealing shots with the time you can get away with, hoping to not get caught. That "style" amounts to "event coverage," not really narrative filmmaking. I'm not suggesting that someone shouldn't make a movie anyway they can, I'm just saying that if someone wishes to make a "serious" production, there are ways to do it that afford the filmmaker the time to accomplish the shots they wish to for the benefit of the film.

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com

You are defining professional which is not exactly the same thing. Poor and independent can still be serious.

RJSchwarz