An impressive effort! Considering that there are only bearings in use in the pan axis instead of all three, the results are pretty good.
However the Steadicam that this should be compared to is the Merlin which only costs $800 and will carry the same lightweight range of cameras as this design (there are third-party manufacturers from India and China making versions of this for even less-check eBay).
A $25K Steadicam will manage a basic RED configuration but not a 35mm sync sound camera--once you get to the full-size rigs, the base setup is $65K and with all the necessary accessories to work on features or network TV, more like twice that (and yup, I own and operate one).
@ClydeKollarbear: +5 insightful. One limitation of this rig you could see when he was walking down the steps half-way through... no way to have the camera look downwards smoothly.
@brahmachari99: So true! I've been following his exploits off and on for a while now. Makes you wish you could invest in a person the same way you do with a stock!
I've used something a lot like this, it's called the GlideCam (http://www.glidecam.com/) and it looks like this works the same way (counterweights etc.) and has a similar end result.
@ibelli: Whatever it is, I'll never know because I can't watch the video here in the Middle East because of ominous "Copyright Restrictions" OOooOOoOOoOoooooOooo
@MosesMonster: Hollywood already does a lot of DIY stuff. Spend the day with a grip or a gaffer and you'll find out all the different ways they rig things that are nowhere to be found in the instructions.
However, camera equipment is generally top-notch and for good reason.
A: Investors fund the films, they want return on investment, this means guaranteed results, which professional-grade equipment can come closest to doing.
B: If your ghetto steadicam fails in the middle of shooting your indie film that you're making for $5,000 total, no biggie. If it fails in the middle of a shot that costs $50,000 and can't be redone, that's a biggie, and it's a risk most DPs won't take.
@midwestkel: It's not affecting me directly. If movies cost less to produce, then profits would drive higher, then movies that I like that would only bring in a niche crowd would fair a little better.
given that most major movies have budgets around 50-100 million dollars, saving a couple hundred thousand by putting the entire quality of the film at risk isn't the brightest idea in the world.
@nutbastard: True, granted I was talking about deeper DIY steps. Why not start using HD cameras instead of these expensive film cameras? I know a bunch of indie films that look JUST as good as studio films.
But I can see what @DeeJayQueue is talking about. Those heavy cameras will probably crush something like this. I just don't see the justication for a $25,000 stedicam. I got an internship coming up so I guess I'll get to see how things works more on the scene.
07/14/09
However the Steadicam that this should be compared to is the Merlin which only costs $800 and will carry the same lightweight range of cameras as this design (there are third-party manufacturers from India and China making versions of this for even less-check eBay).
A $25K Steadicam will manage a basic RED configuration but not a 35mm sync sound camera--once you get to the full-size rigs, the base setup is $65K and with all the necessary accessories to work on features or network TV, more like twice that (and yup, I own and operate one).
07/15/09
07/15/09
This is great for camcorders, but anything that's a little heavy will require a vest too, which adds to the cost.
07/15/09
07/14/09
07/14/09
http://steadycam.org/
07/15/09
07/15/09
07/14/09
07/14/09
07/14/09
07/14/09
Don't you feel inspired to have children and follow them around the house?
I know I do.
Inspired, I tell ya!
07/15/09
07/14/09
Someone do a DIY Explosion and we can bring down the cost of Transformers 3 by half.
07/14/09
07/14/09
However, camera equipment is generally top-notch and for good reason.
A: Investors fund the films, they want return on investment, this means guaranteed results, which professional-grade equipment can come closest to doing.
B: If your ghetto steadicam fails in the middle of shooting your indie film that you're making for $5,000 total, no biggie. If it fails in the middle of a shot that costs $50,000 and can't be redone, that's a biggie, and it's a risk most DPs won't take.
07/14/09
07/15/09
given that most major movies have budgets around 50-100 million dollars, saving a couple hundred thousand by putting the entire quality of the film at risk isn't the brightest idea in the world.
07/15/09
But I can see what @DeeJayQueue is talking about. Those heavy cameras will probably crush something like this. I just don't see the justication for a $25,000 stedicam. I got an internship coming up so I guess I'll get to see how things works more on the scene.