steadicam scout manual

8/10/2019 Steadicam Scout Manual

1/32

Contents

Operating Manual

p/n LIT-809000


2/32

2

STEADICAM Scout

Operating ManualThe Tiffen Company

90 Oser AvenueHauppauge, New York 11788

631 273-2500800 645-2522

631 273-2557 fax

www.steadicam.com

[email protected]

Technical Support1-818-843-4600

Manufactured in the United States of America

2011 The Tiffen Company, LLC. Written by J. Holway & L. Hayball


3/32

3

Table of ContentsOverview 4

The Scout Sled 6Getting Started 8 Attaching the Camera 10Balancing 12

The Vest 14

The Arm 16Setting Your Threads 17Picking Up the Sled 18

Adjusting the Lift 20

Operating a Steadicam stabilizer will take time and effort. One key to great operating is setting up andbalancing your sled properly. Another is adjusting the vest to your body, and setting the arm to properly liftthe load.

The next steps are learning how to balance yourself with the rig, how to stand and walk, start and stop, andwhat each hand is used for.

This manual is to be used to help you set up and use your Steadicam

Scout

stabilizer system. If youhave not already done so, we strongly urge you to take a 2, 3, or 6-day Steadicam workshop for the bestpossible training and start to your career as a Steadicam operator. You can nd more information about ourworkshops at www.steadicam.com.

The Scout stabilizer system is not a magic stick that instantly creates great images. Its a precisioninstrument that responds to your touch. Although its not that dif cult to operate, it is a skill that takes a bitof time and effort to learn. The more effort and practice you put into operating, the better you will be, so itsimportant to develop good habits from the beginning.

Several two-hour sessions will get you started, but an operator can always be more skilled with aSteadicam stabilizer and also be more effective and artistic in choosing how to start, move, and stop thecamera. In the beginning, its helpful and more fun to have a friend work with you. Take turns practicing

and spotting for each other. Use a second video camera to record your exercises how you stand and moveis critical for great operating.

STEADICAM , UltraBrite , Ultra 2 and Scout are trademarks of the Tiffen Company, LLC.

Basic Operating 22

Advanced Techniques Dynamic Balancing 24Low Mode 26

Accessory for lightweight cameras 28Scout sled connectors and pin-outs 29

Accessories 30Cases and Packing 31

The Tiffen Company, 90 Oser Avenue, Hauppauge, NY 11788 631-273-2500 1-800-645-2522 www.tiffen.coTiffen Steadicam Operations, Glendale, CA 818-843-4600 1-800-593-3331 www.steadicam.com


4/32

4

Overview

The Tiffen Company takes greatpride in producing the worldsbest stabilizers. The Scout

stabilizer continues our traditionof excellence and innovation,

lling the need for a high quality,lightweight, and low-cost rig.

Like all our models, the Scout stabilizer is designed to beuser-friendly, eld-serviceable,straightforward, and versatile sothe operator can quickly and easilycon gure the sled, arm, and vest tothe best advantage for each shot.Change the sled length, balance,

inertia, and go to low mode in aheartbeat. Solid, versatile, and fast

thats the Scout .

The base Scout system starts with a sturdy, two section, indexedtelescoping carbon ber post coupled to a sturdy two-axis vernier stagefor quick and precise balancing. A new solid base is equipped with asingle sliding rod that supports the monitor and battery. The Scout stabilizer system comes standard with a precision gimbal with a largeknurled grip, 16:9 SD LCD Color monitor, and a single battery mount

for 12 voltseither V-Lock or Anton Bauer (AB).

Included in the base package: the Iso-Elastic Stabilizer Arm,Lightweight Vest, Scout Docking and Balancing bracket, 8 add-onMerlin weights, soft case, 12 volt power cable, video cable, 2 videoadaptors, the EFP instructional DVD, and the owners manual.


5/32

5

Options for the Scout stabilizer system include a compact vest, batteries, chargers, cases,stands, power and video cables, low-mode kits, vehicle mounts, and other professionalaccessories. Visit www.tiffen.com for more details.

The monitor and the battery are adjustable in and out, which, along with the add-onMerlin weights, creates many choices for viewing, balance, and inertial control.

All of the above features are integral to the Scout stabilizer design, ready to be used whenneeded.


6/32

6

Camera mountingplatform

Dovetail lock

The Scout sled

The Scout Sled

Side to sideadjustmentknob

Post

Post clamp

Add-onweights

Addwei

Dovetailplate


7/32

7

Gimbalhandle

Monitor

Battery mount

Gimbal

Fore-aftadjustmentknob

BNCconnector

Side to sideadjustmentknob

Sliding rod forthe battery &

monitor1/4-20 threads formounting accessoryweights

Note: The sliding rod for thebattery and monitor is removablefor storage or transport.


8/32

8

Getting Started

Prepare the stand and docking bracket

Set up the stand and docking bracket:

Prepare the sled for the camera

Set up your stand at about chest

height. Use one or more sandbags to

stabilize the stand. Put the docking bracket on the

stand and tighten the dockingbracket locking knob.

Push the button at the end of theaircraft pin and pull the aircraft pinout of the yoke.

Adjust the monitor position:

Position the sliding rod for themonitor and battery as shown.

Add the accessory weights to therods as shown. For starters, use1 middle and 1 starter weight oneach tube.

Tilt the monitor to about 45 degrees.

Adjust the gimbal position: Slide the gimbal close to the top of

the center post, but always leaveenough space between the gimbaland the stage to accommodate thedocking yoke (about 1in/25mm).

Use the 5/32 T handle wrenchto loosen and tighten the gimbalclamp. Do not over tighten.

.


9/32

9

Adjust the battery position andattach the batteries:

Attach the battery onto the batterymount. Be sure the safety catch isengaged.

Dock the sled in the dockingbracket:

Hold the sled upright, with themonitor (front) to the left. Place thecenter post into the bracket so thebottom of the stage rests on theyoke.

Push the aircraft pin back throughthe yoke, securing the post in thebracket.

dovetaillockside to sideadjustment knob

fore-aftadjustment

knob

Remove the dovetail from thestage and set aside:

Loosen the dovetail locking knobuntil the dovetail can be tilted outsideways as shown.

Safety stops on the dovetail keep

the dovetail from sliding off thestage when the dovetail lockingknob is loose.

The stops also prevent the dovetailfrom being inserted into the front orrear of the stage.

V-lock battery

AB battery


10/32

10

Attaching theCamera

Attaching the camera to the sled

We attach the camera to the sled via a dovetail plate. With the Scout stabilizer,this plate has safety stops on the ends, and several holes for mounting screws. Wewant to attach the dovetail to the camera so that we have the widest possible range ofadjustment, both fore-aft and side to side.

We start this process by nding thecameras center of gravity (c.g.) orbalance point, then properly position thedovetail plate relative to the cameras c.g.

Finding the cameras c.g.:

If you like, remove the battery fromyour camera if it has an auxiliarypower input, either 12 or 24 volts.With a very heavy camera (15+pounds/6.8kg or so), this is a goodidea, but its not necessary oradvisable with a very light camera.

Attach all accessories, matte boxes,obie lights, etc. and load the tapeor lm. If the camera has a quick-release plate (tripod adaptor), leaveit on the camera.

Balance the camera fore-aft on arod or pencil (as shown) and markthe balance point with a piece oftape.

Repeat for side to side.

Attaching the dovetail plate:

Examine the dovetail. Turn it over tolocate the three rows of large andsmall slots, and the stops.

Remove the screws that are storedat the front of the dovetail.

Place the dovetail against thebottom of the camera (or quickrelease plate) and move the dovetailfore-aft until the second slot from

the rear is over the cameras c.g.This position is not intuitive, sopay close attention to this detail.

Now move the dovetail as little aspossible until one or more screwholes are accessible. Chooseholes as far apart as possible formaximum stability.

Insert the screws and tighten with ascrewdriver.

Finding the cameras side toside center of gravity.

Finding the cameras fore-aftcenter of gravity.


11/32

11

Mounting the camera on the sled:

Place the camera above the camera mounting platform. Be sure the lockingknob is loose. Angle the right edge of the dovetail into the holder. Be sure tokeep everything parallel. Lower the left side into the holder.

If the camera wont drop fully into place, be sure the right side of the dovetail

is fully inserted, all is parallel, and the locking mechanism is out of the way.Its a close t.

Connect the power and videocables and test

Connect the BNC to BNCvideo cable (use the BNC toRCA adapter if necessary)

from the camera to the videoinput on the back of the stage.If necessary, choose thecameras video output thatallows you to watch playbackas well as live video.

If necessary, connect thepower cable by plugging thethree-pin Lemo into the Poweroutput on the back of the stageand the other end into theappropriate DC power input onyour camera. Several powercables are available for variouscameras and voltages. See theaccessories page for the powercable details.

Secure the cables with cableties, Velcro , or gaffer tape.Leave enough slack foradjustment of the stage.

Power up the monitor andcamera to make sure you havea picture. If you do not, tryadjusting the brightness andcontrast controls; check thecables, battery voltage, etc.

Turn off the camera andmonitor.

Camera power connector.3 pin LEMO: EGG.0B.303

Standard de nition (PAL/NTSC)composite video in. BNC

After the dovetail drops into place, slide the camera until the fore-aft c.g.mark is about .5in (12mm) behind the centerline of the telescoping posts.The post is just over 1in (28mm) in diameter, so you can use the back of thepost as a guide for placing the camera c.g.

Tighten the locking knob to fully lock the camera into place. You are nowready to static balance the sled.


12/32

12

Balancing

Balancing the sled The Steadicam Scout stabilizer system works, in part, by the careful balancing ofcomponents (camera, monitor, accessories, and battery). We always balance the sledto help us get the shot, so that the operator does the least amount of work to aim thecamera. There are several components of balance. The rst one to work on is staticbalance, where we balance the sled in all three axes (top-to-bottom, side to side, and

fore-aft), so that the sled hangs upright and is not too bottom heavy.

To adjust the balance, we need to put the sled on the docking bracketbalancing stud where it can hang freely

Pull the aircraft pin and remove thesled and camera from the dockingbracket.

Loosen the locking knob of thedocking bracket and turn thebracket 180 degrees to get theyoke out of the way. Tighten thelocking knob.

Place the gimbals mounting holeon the balancing stud.

Top to bottom balance

Lets start with top-to-bottom balance, asit is one of the least understood aspects ofbalance.

Its best if the sled is slightly bottomheavy. Clearly, if it is top heavy, it willtip over. If it is too bottom heavy, it will

hang upright (a good thing) but be hard totilt and very hard to control as you movearound (not good at all!).

If the sled is neutrally balanced (neithertop nor bottom heavy) its impossible tobalance the sled fore-aft or side to side,and the operator must do all the aiming ofthe sled not good either.

Note: Before letting go ofthe sled, be certain thatit will hang more or lessupright. If the sled wants

to hang upside down, thecamera weight is beyondthe weight speci cationsof the Steadicam Scout .

So immediately, you should understandthat top-to-bottom balance is acompromise between competing desires.If it is just slightly bottom heavy, it canbe balanced to hang at a particular angleand easier to control.

How do we get the right top-to-bottombalance?

First we position the gimbal, which actsas a pivot point, just a bit above thecenter of gravity on the center post, andheres how we do that:

The rst step is to rotate the centerpost to horizontal. Hold it securely.

When balancing a heaviercamera, you may haveto extend the post. Whileholding the bottomof the sled, releasethe post clamp andlengthen the post.Close the clamp.

Note: changingthe length alsochanges the rangeof lens heights. Thiscan be a useful toolwith any weightcamera.

12


13/32

13

With one hand rmly holding thecamera or the center post, usethe T-handle Allen wrench toloosen the gimbal locking screw.Remember to always keep thepost horizontal when the screwis loosened! Take the wrenchout of the screw but keep it withinreach.

Grasp the center post and carefullyslide the post in the gimbal. Useyour thumb to push against thegimbal. Find the place where thesled is balanced on the gimbal likea seesaw on a fulcrum. Then slidethe post through the gimbal about1/2 (12mm) towards the battery.This will place the sleds c.g. 1/2(12mm) below the gimbal yokebearings, and be slightly bottomheavy.

Tighten the gimbal locking screw.Be careful not to over tighten asthe Allen wrench can generatetremendous force.

WARNING: IF YOULOOSEN THE GIMBALLOCKING SCREW WHENTHE CENTER POST ISVERTICAL, THE WHOLESLED WILL DROPRAPIDLY AND DAMAGETHE SLED.

We will ne-tune top to bottom balanceafter we get close to fore-aft and side toside balance. We may need to ne-tunethe balance in one axis after we balancein another axis. The object is to get asclose as possible to the best balance forthe shot.

Look at the sled from the side. If the sled is tipped up or down:

Hold the center post vertical. Move the camera forward or

backward by turning the fore-aftknob until the camera is level. Youcan use a bubble level to help you

nd vertical.

Now we are ready to ne-tune the top-to-bottom balance by using thedrop time test

Make sure the dovetail locking knob is tight. Its good to have an assistant hold the stand. Rotate the sled to horizontal. Let go of the center post. Count how many seconds it takes the center post to fall to vertical.

If the rig has a drop time of less than two seconds it is too bottom heavy. You need tomove the sleds c.g. upwards, closer to the gimbal. If the drop time is more than threeseconds, move the sleds c.g. lower, further from the gimbal:

With the rig horizontal, loosen the gimbal locking screw and slide thecenterpost through the gimbal about 1/8 (3mm) in the proper direction.

Re-tighten the gimbal locking screw. Re-do the drop test. Keep making small adjustments until the sled has a 2 to

3 second drop time. Recheck the fore-aft and side to side balance by looking at the sled. Trim

with the fore-aft and side to side knobs as necessary.

Note: A drop time of 1 to 4 seconds might be best for aparticular shot. You will eventually determine what worksbest for you for average shooting, and what works bestfor you for each shot. But lets start with a 2 to 3 seconddrop time.

side to sideadjustmentknob

fore-aftadjustmentknob Fine tune the side to side balance:

Look at the sled from the front or rear.Adjust the side to side knob on thestage until the center post is vertical.Again, you can use a bubble level tohelp you nd vertical.

balance point ofthe gimbal


14/32

14

The Vest

The vest

Shoulderpads

Chest pads

Adjustablespar

AdjustableVelcro straps

Chestconnectors

Shoulderconnector

Socket block

Hippads

Socket blockheight adjustment

Chest platerelease pin


15/32

15

Please read the vest instructionscompletely before you try to put the veston. It is very helpful to have a friend helpyou the rst time you put on the vest.

Otherwise use a full-length mirror.

Open the vest

Loosen both chest straps. Release the hip straps on the left

side. Open the chest buckle on the left

side. Open the shoulder buckle on the

left side.

Slip the vest on. Close the shoulder buckle.

Close the chest buckle. Center the chest plate on your

chest. Tighten the chest straps evenly andsecure the loose, Velcro ends.

Push down on the chest plate toseat the shoulder pads on yourshoulders.

Note : A few operators have body shapesor sizes that are out of the general rangeof adjustments. You may nd you have toadd or remove padding, shorten or extendstraps, etc. to make the vest t perfectly.

Pay close attention to the goodt of the vest in the photo

above. Its very important howthe shoulder pads contact theshoulders and the shoulderconnectors are not too high (acommon mistake).

Putting on the vest Pull out the chest plate release pin

and adjust the center spar up ordown so the hip pad sits centeredon your hips. Replace the chest

plate release pin in the nearesthole.

Be sure the Velcro straps arehorizontal on the hip pads, andtighten the hip straps completelyand evenly.

The vest should be very snug,but not uncomfortable. Adjust thestraps as necessary.

Removing the vest

The vest should be unbuckled on the leftside only, from bottom to top: Undo the hip strap rst. Undo the chest buckle. Undo the shoulder buckle and

slip out of the vest. When youput it back on, you will not needto readjust the chest plate or thechest straps.


16/32

16

The Arm

The arm

Steelsprings

Lift adjustmentknob

Arm postreleasescrew

Arm post

Double action hinge Rod ends

Socket

Socket quickrelease pin

Upper arm section

Lift adjustmentknob

Forearm section

The arm socket is inserted intothe socket block on the vest.

Mounting the arm to the vest The arm mates with the vest via anadjustable socket in the arm and afemale socket block on the vest. The twoadjustment screws in the socket block onthe vest and two rod ends in the matingsection of the arm determine the lift angleof the arm. These two adjustments are yourthreads, and they are speci c to yourbody size and shape. Setting your threadscorrectly is critical for good operating.

Some combination of adjustment ofthese screws and your physique andposture will make the arm lift straightup when carrying the sled. The anglesof adjustment are not directly in-outand side to side, but rotated about30 clockwise (relative to the operator).We will suggest approximate threads tostart, but the only real way to test yourthreads is to pick up the sled and see whathappens. You cant set your threads fullywithout picking up the rig.


17/32

17

in-and-out: countthreads here

Goofy foot

If you want to operate goofy-foot, with the sled on the right side you willneed to reverse the socket block before starting.

Setting your threads

Determining your threads is part of basicoperating technique.

For almost all operators, regardless of

body type, the typical adjustment for theside to side screws (the rod ends inthe arm) is 1.5 to 2 turns out on the topscrew and ALWAYS all the way in on thebottom screw.

Use the rollers when the arm is notunder load. If you are ying the sled,lift it up with your left hand to take theweight off the screws before adjustingthem. The two side to side screws workindependently of one another. Do nottighten the lower screw, but be sure it isall the way in, and then back it out 1/8thof a turn.

The in-out screws work in tandem,and the adjustment varies greatly by theoperators body type.

Adjusting your threads

If you have big pectorals and a atstomach, the top screw is almostall the way in. If youve been eating

well and exercising less, the topscrew will be further out.

Always dial in the top screw rst toyour setting, then turn in the bottomscrew until it just snugs up againstthe tting. There is no need totighten the bottom screw very hard.

Always keep a hand on the freeend of the arm, otherwise it mightswing around and hit something,someone, or you in the face.

With both pairs of screws properlyadjusted, the sled will oat inall positions with the operatorstanding in good posture with avertical torso. If the threads are notadjusted well, the sled will tend to

y or fall away from you.

On the vest, loosen the four screws holding the socket block in place. Flipthe block 180 and re-attach (above).

On the arm, pull the aircraft pin to separate the socket from the arm. Turnit over and re-attach.

Set the top screw about two turns out, and the bottom screw all the way in.

side to side: 2turns out on top


18/32

18

Picking Up theSled

Undocking, setting your threads, and docking the sled

With the vest on and the arm attached to the vest, undock the rig:

Face the sled and bow at the waist.Do not bend your knees. It ishelpful to have a friend spotting youthe rst time you do it.

Align the gimbal mounting hole tothe arm post and slip the arm postcompletely into the hole. Its easiestto align the parts if the gimbalhandle is positioned behind the rig(i.e., not to the side, aimed at you).

Use your right hand to hold the armand gimbal together (frame 4).

Place your left hand on the centerpost just below the gimbal tocontrol the sled. Do not touch thecamera (frame 4).

Step forward and stand up straight.You are now ying the sled, but stilllocked in the dock.

Pull the aircraft pin out of thedocking yoke (frame 6).

Step back from the stand to removethe sled from the docking bracket.

Take a deep breath. Relax.

Move the sled to a position about45 off your left hip as shown. Aim the sled slightly across your

body (frame 9).

1 2 3

Picking up the sled


19/32

19

If the sled wants to move away fromyou, loosen the bottom in-out screwand dial in the upper screw a fewturns. Snug up the lower screw andre-test.

If the sled wants to move towardsyou, loosen the upper in-out screwa few turns, snug up the lowerscrew, and re-test.

Do not get too fussy with yourthreads at this point, as much ofthe trick is learning to properlystand and move, rather thanadjusting your threads.

Take a few steps and experimentwith the feel of it all. Try panningand tilting. Before you get tired,dock the sled.

Test your threads

Stand as upright as possible, ingood posture, with the rig off yourleft hip. Dont be stiff or tense.Do not ever let go of the Scout completely, but let it move a little.

If it tends to stay in place, trymoving it further out in front of you.Lean back a little as you feel thevest pushing against your stomachand pulling your torso forward. Thetrick is to lean a little bit away fromthe rig more if i ts further fromyou, less as its closer to you sothat the sled wants to stay in place

or oat next to you. If the sled wants to move off in onedirection rather dramatically andyou cant lean forward or backeasily to correct it, you need toadjust your threads. Typically its amatter of the in-out screws ratherthan the side to side screws.

Holding the Scout stabilizer rig might feel awkward atrst. Dont worry you will gain control and endurance

rapidly as you practice. The rst time is typically the mostannoying, because there are so many adjustments to makebefore it all falls into place and magically works with you.It may be that you will want to adjust the lift capacity ofthe arm (see pages 20-21) before ne-tuning your threads.Eventually you must adjust them both.

Practice replacing the sled inthe docking bracket

Step up next to the docking standwith the camera aimed to the left.

Insert the center post in the bracketand rest the stage on the dockingyoke.

Insert the aircraft pin back in thedocking yoke to secure the sled.

Bow from the waist and step back. Move your left hand to the gimbal

handle, and your right hand to thearm.

Hold up the gimbal handle andlet the arm post slide out of thegimbal mounting hole. Dont forceit or bend your knees; just nd thecorrect angle so that the arm postslips out of the gimbal.

Always keep a hand on the free endof the arm, otherwise it might swingaround and hit something.

Rest. Stretch. When you dont have time to dock

and undock, you can relieve somemuscle tension by holding the rig

close to your body on either side orclasping the camera close to yourchest.

4 5 6 7 8 9


20/32

20

Adjusting the Lift

Important: The liftadjustment knobs canonly be turned when thearm segments are slightlyabove horizontal. Theycannot be turned when

the arm is unloaded, i.e.,when not lifting the sled,nor if the arm sectionsare boomed too far up ordown. Do not force the liftknobs. At the right angle,they turn very easily.

Adjusting the arm

With the vest on, attach the arm

and undock the rig as before. Stand with the sled off your left hip,

with the lens slightly crossing yourbody.

Move the arm to the middle of itsboom range and let it rise or fall.Do not completely let go of thesled.

Setting the lift capacity of the armNow its time to adjust the arm for the weight of your camera.

Ideally, each section of the armshould come to rest slightly abovehorizontal, about 5 to 10.

Adjust the arm section nearest thesled rst (the forearm section).

If the arm oats at too high anangle, pull the sled down with yourleft hand until the forearm sectionis about 5 above horizontal.

Turn the weight adjustment knobcounterclockwise until the forearmwants to oat at this angle.

If the arm oats at too low an angle,pull the sled up with your left handuntil the forearm section is about 5above horizontal.

Repeat the process with the upperarm section, but this time try to getthe upper arm to follow the forearmas you boom up and down.

Turn the weight adjustment knobclockwise until the forearm wants to

oat at this angle. Keep making small adjustments

until the forearm settles at a 5angle up from horizontal.

Remember, the weight adjustmentknob turns freely when the armsection is slightly above horizontal.Never force it or use a tool to adjustthe arm lift.


21/32

21

CAUTION: IF YOU REST YOUR RIGHT HAND ON THECONNECTING ARM, KEEP YOUR FINGERS OUT OF THESPACE BETWEEN THE ELBOW AND THE ARTICULATING

ARM. A SUDDEN RISE OF THE CAMERA COULD INJUREYOUR FINGERS IF THEY ARE IN THIS SPACE.

Now lets y the rig again

Move the sled off your left hipas before. Keep the cameraclose. This is what we call theMissionary.

Move your torso ever so slightly totest how your body angle controlsthe rig.

Repeat with the sled further awayfrom you, but keep your torsovertical.

The sled should stay in place withonly a little help from your righthand.

Boom the sled all the way up and down while watching the armsections. Be sure you are in good form at all times. The upperarm should follow the forearm smoothly and not lag behind ineither direction.

Do not bend over or lean back as you boom the sled up anddown. Boom the sled with your right hand; your left hand is justfor aiming the sled and camera.

Note: These are photosof another Steadicam model, the Zephyr , but theprocess is identical whenusing the Scout stabilizer.


22/32

22

Basic Operating

Hand gripsThe two-handed technique was inventedby Garrett Brown while working on TheShining , and it has been the preferredmethod of operating ever since.Basically, the right hand does the work

of positioning the sled in space (movinghorizontally and vertically relative to thebody), and the left hand aims the sled(and therefore the camera) by panningand tilting.

If the sled is properly balanced, very littleforce will be needed to aim the camera.Clenching the center post or gimbal hardwill counteract the sleds oat. Lightcontrol is the key to a steady camera andsmooth moves.

The left hand also has the interesting jobof keeping the sled level as we moveabout. As we accelerate or decelerate,go around corners, etc., the left handmust prevent the sled from going off-level before it happens. One of the bigoperating skills is anticipating how thesled will behave as we move along. Thereare several classic grips we use to aimand control the sled.

Finding your grip

Grab the center post with your lefthand just below the gimbal. All

ve ngers should be LIGHTLY incontact with the post, but this isnta tea party. Dont just use your

ngertips wrap you ngers a bitaround the post.

The right hand ne tunes theposition of the sled, moving it sideto side or closer to or farther fromyour body, and booms the armup and down. It also has the jobof eliminating the bounce of thesprings i.e., preventing unwantedup and down movements as youmove along.

Grab the gimbal handle with yourright hand.

Make sure that this hand does notcross the bearing and touch anypart of the Y-shaped yoke, as thiswill in uence the aiming of the sled.

The preferred grip, using thepinkie nger to prevent apendulum effect.

Also used, the full hand grip: allngers surround the post with

a light touch.


23/32

23

Basic movement Try moving around and get used to theway it feels. Pay attention to how yourmovements and posture affect the sled.

Relax your muscles and control theScout stabilizer rig with your bodyposition and a light, ngertip touch.

Leave the monitor turned off for now.Dont worry about making shots youwant to experiment, test, play.

Get used to walking with the sled nextto you.

Balancing with your body

As the sled gets farther away from yourbody, you must lean back a tiny bit moreand use your arm reach to keep that lightbalanced touch.

If you lean forward, the sled willtry to move away from you fast! requiring a rmer grip, tiring yourback muscles more quickly, and most

importantly, not ying properly with thatgreat Steadicam stabilizer feel.

Placing the camera in space

Swing the arm around to nd its rangeof motion. Practice gentle boom moveswith your right hand. Find the lowest andhighest positions the camera can reach.Avoid hitting the stops as you boom (itwont hurt the arm, just your shot).

More practice and trainingFor operators who have not yet taken a workshop, we (once again!) strongly urge youto do so, as it is the quickest way to learn how to operate properly.

However, there are several good training videos, including the 1990 Classic EFPVideo Training Tape, which has been remastered to DVD. Although some of theinformation on the EFP video is speci c to the EFP, most of the concepts, information,and exercises are still taught in the workshops today.

We suggest you spend some time with your Steadicam stabilizer learning how to startand stop moves cleanly, pan and tilt, boom up and down, walk the line, do switches,track sideways, do pass-bys, use long lenses, and a host of other techniques.

You already know what you want to dowith your Scout stabilizer rig. Theexercises and concepts presented on thevideo will help you quickly develop thenecessary skills to make your shots.

As often said in the workshops, runningaround chasing your dog is fun forawhile, but its hard to judge how wellyou did or if you are improving.

Many experienced operators are stillperfecting their moving camera skillsafter 25 years of operating, and most of

them thought they were pretty good at theend of their rst workshop. How goodyou get is part of the artistry and fun ofbeing an operator. You have a great toolin your hands. Practice, practice, practice.


24/32

24

Advanced TechniquesDynamic Balance

BM

M

M

B

B

Dynamic balancing the Steadicam sled A sled is in dynamic balance when thecenter post remains vertical as the sled ispanned (and this is critical) at any and allpanning speeds.

Dynamic balance is extremely importantfor precise operating and for whip pans.

For each arrangement of camera, monitorposition, post length, accessories, etc.,there are many possibilities for staticallybalancing the sled.

However, for each arrangement ofcamera, monitor position, post length,accessories, etc., there is only onecombination that balances the sled both

statically and dynamically. There is someleeway as to the required precision ofdynamic balance. What is acceptabledepends upon the operator and thesituation.

Dynamic balance can very easily andquickly be achieved by the trial anderror method.

In all cases, when a sled is in dynamicbalance, both the cameras c.g. and thebatterys c.g. will be to the rear of thecenterline of the center post. This rulegives you some point to begin balancingthe system.

Three gures to study for understanding dynamic balance

The top gure looks like the Model One or the SK sled. The camera c.g. is centeredover the post; the monitor and battery are on the same horizontal plane, and theircommon c.g. is in the post. This unit is in dynamic balance and pans at.

The second gure has the monitor raised a bit. This looks like most sledcon gurations, in either high or low mode. Note that the battery c.g. is closer to thepost, and the camera c.g. has moved to the rear. Why?? See the third gure.

In the third gure, the monitor has been raised all the way up in front of the camera.Its absurd, of course, but it makes a point. Now the common monitor and camerac.g. is over the post, and the batterys c.g. is directly under the post.

So you can see that as the monitor is raised, the camera c.g. must move to the rearand the battery c.g. must move towards the post. With most sleds, the monitor c.g.is raised above the battery c.g., therefore the camera c.g. is always to the rear ofthe centerpost.

It typically works out that the camera c.g. is pretty close to .5in (12mm) to the rear a bit more if the camera is light or the monitor is higher, and somewhat less if the

camera is very heavy or the monitor is lower.


25/32

25

Looking good!Spinning a bit wobbly.

We put the rig in dynamic balance byrst choosing the monitor position and

then placing the camera close to its nalposition. Then we discover the one-and-only ideal position for the battery by thetrial and error method.

First, set up your sled at the properlength for the shot and place the monitorwhere you want it for proper viewingand inertial control. Typically with theScoutstabilizer system, the monitorrod will be extended slightly past the rststop and two weights are attached to therod (see page 8). Two weights are alsoattached to the battery rod.

Next, position the camera so that its c.g.is about .5in (12mm) behind the centerpost. The center post is just over an inchin diameter, so you can use the back ofthe post as a guide. Next, static balanceby sliding the battery in or out so thatthe sled hangs perfectly vertical fore andaft. Make sure the top-to-bottom balanceis set with a drop time of 2 to 3 seconds.

Trim side to side with the camera, usingthe knobs on the stage. Fine-tune thefore-aft balance with the camera. Youwant the sleds post perfectly vertical.A spirit level will help you get the postvertical.

Give the sled several careful test spins.Very important: do not spin the rig veryfast certainly not much faster than anormal panning speed (3 6 rpm). Notethe results. Is it good or bad, i.e., does itpan at or wobble? Is it your technique oris the sled out of dynamic balance?

If your sled is not in dynamic balance, donot move the monitor!

Instead, move the battery a little bit rst,then rebalance statically with the camera.There are only two directions to move thebattery, out or in. You have a 50% chanceof choosing the right direction, so stopworrying about it and give one direction atest. Just be sure to make a note of whichdirection you move the battery.

Each time you lock the battery in a newposition, you must rebalance the sledstatically with the camera. Do not movethe monitor! Once you are in staticbalance, spin the sled again. Is it better orworse? Again, you have two choices formoving the battery.

Re-rack, rebalance, and spin again (andagain!) until the sled pans at. Thisshould not take a lot of time.

When the battery is within about .25in(6mm) of ideal, the sled will behavenicely pan at and feel sweet. Wesuggest you do not attempt to do this forthe rst time on set!

Adding any accessory or extra Merlin weights to the sled will affect both staticand dynamic balance. Changing thelength of the sled, and/or moving themonitor in or out will change both staticand dynamic balance.

How much will dynamic balance change? Itdepends on how much things have changed.

In practice, its a lot easier than it soundson the page, and luckily, theres onegreat gift in all this: it doesnt matter fordynamic balance what weight camera youare using or if you change lenses, lters,etc. Really!

So if you make any changes with thecamera or use a different camera there are no worries about getting backin dynamic balance! You only need torebalance statically and you will be indynamic balance again. Honest.

Put the other way around: you can set upyour rig in various ways with a practicecamera at home, making it long or short,monitor in or out, with an extra weight,etc. Just note or mark the positions of themonitor and batteries, and you will beable to get into dynamic balance quicklyon set, regardless of the camera youcarry. Really. Honest. No fooling.

For the complete story, see the DynamicBalance Primer and play with theDynamic Balance Spreadsheet, availableonline at www.steadicam.com.

Dynamic balance spin test with an Ultra 2


26/32

26

Con guring the sled for low mode

In order to con gure the sled forlow mode operating, you must:

Flip the monitor and the camera

upside-down. Attach the F-bracket to the gimbal.

Use the provided safety pin. Rebalance the sled, both statically

and dynamically. You also might change to a longer

post in the arm and/or raise thesocket block on the vest to restoresome of the arms lost boom range.

The camera will need some means ofattaching a second dovetail to the top ofthe camera.

A low mode handle clamp (P/N 802-7417) works for some cameras, butbe sure the cameras handle is strongenough. Many plastic handles on videocameras are inadequate, and a customcage or bracket is required.

Many lm cameras come with dedicatedlow mode brackets and 100% videoview nders. Some camera-speci c lowmode bracketry might also providea means of mounting motor rods (ora dovetail with motor rods), and thissystem should not interfere with camerafunctions or working with the camera inhigh mode.

Most operators work with the low modebracketry and second dovetail in place

ready to go at all times.

Attach the second dovetail directly abovethe rst dovetail. Check that it does notinterfere with changing tapes, lm magsor any other camera functions.

Advanced TechniquesLow Mode


27/32

27

Tip: Many video cameras or video cameras with lm lensadaptors do not have a proper way to mount a dovetailabove the camera. We suggest you use the bottomdovetail for low mode, shooting upside down. You will needto ip the image in post production, so be sure thats okaybefore you shoot. You can either leave the monitor upsidedown, or physically ip it over for better viewing. The latterwill require electronic ipping of the image.

Flip the monitor by unscrewing themonitor mount, turn the monitor over andreplace the screw.

Attach the F-bracket to the gimbal handleby inserting the post into the gimbalhandle and securing it with the pin. TheF-bracket brings the arm back into aproper relationship with the inverted sled.Without an F-bracket, the end of the armcan be next to the camera. When thisis the case, switches are impossible andoperating is severely limited.

Balance the sled

The sled can be balanced the same as inhigh mode. Hang the rig by its gimbalon the balancing stud. The camera willstill be on top, but it is upside down.Balance statically and dynamically. Oncebalanced, adjust your drop time so thecamera now falls to the bottom of therig: simply slide the gimbal towards theelectronics to achieve a proper drop time.Cautionary Tip: In low mode, the dovetaillock works better if the camera weight issupported as you lock the dovetail.

A useful trick

The range of low mode lens heightscan be lowered by extending the centerpost and/or making the rig more bottomheavy.

Low mode operatingTraditionally, its considered harder tooperate in low mode than in high mode.Why?

Several factors may work together tomake low mode operating harder. Theoperator usually holds the sled furtherfrom his body than in high mode. Theoperators hands are not at the sameheight. Many times, the post is tilted fromvertical. The boom range is sometimes

reduced. The rig may not be in dynamicbalance. The operator often cranes hisneck to see the image. In addition, everydirector wants the lens height lower orhigher than one can properly reach. Andits just plain weird to have the monitorso far above the lens.

Balancing on the stand withthe F-bracket attached.

Hand positions for operatingwith the F-bracket.


28/32

28

Accessory for lightweight camerasWhen using very lightweight cameras,its often better to add weight to thecamera or stage, so that the gimbalposition remains close to the stage.

Its very easy to use the Merlin StageWeight Bracket and any number ofMerlin weights as shown.

See the accessory section for partnumbers.

You also can make a custom weightcage for your lightweight camera - weuse a variety of cages in the workshops.If you make a custom cage, be sure youcan access the battery, media, and allother functions. Many operators add aquick release plate to their weight cage tofacilitate easy changes.


29/32

29

COMPOSITEVIDEO IN

BNC

12V POWER3-PIN LEMOEGG-0B-303PIN-1 = GNDPIN-2 = +12VPIN-3 = n/c

STAGE REAR

12V POWER3-PIN LEMOEGG-0B-303PIN-1 = GNDPIN-2 = +12VPIN-3 = n/c

SLED BASE REAR

MONITOR CONNECTOR

COMPOSITE VIDEO BNCBNC TO RCA ADAPTER

12V2.1mm DC POWER PLUGCENTER POSITIVE

Scout sled connectors and pin-outs


30/32

30

AccessoriesScout sledScout armScout vestSoft caseCable, 3 ft video 078-4122-01

Cable, 12V power 078-7351-017 16:9 Monitor 807-7500Docking bracket 803-7900T-handle allen wrench, 5/32 MSC-093270

Adaptor, phono-BNC JCK-130000 Adaptor, BNC-RCA JCK-130001Instruction manual LIT-809000DVD, EFP Training DVD-200504

Supplied equipment and accessories

BatteriesPowerCube battery FFR-000035IDX VL-4S battery charger FFR-000008IDX VL-2SPlus battery charger FFR-000005PowerCube battery hard case 011-0368

Anton Bauer Dionic HC (Li-Ion) battery FFR-000151 Anton Bauer dual charger FFR-900152 Anton Bauer quad charger w/ LCD display FGS-900059

Optional accessoriesThe Steadicam Operators Handbook LIT-900000

Merlin stage weight bracket 801-7940Dovetail plate assembly 802-7417Low mode kit 078-7393-01Video low mode cage 078-2038-01F-bracket for low mode 300-7901Merlin Start Weights 801-7920-04Merlin Middle Weights 801-7920-05Vehicle kit 078-7410-03SteadiStand 601-7910Mounting block 803-7801Thumb screws for block 078-0627-01Long straps for vest 803-7817Long arm post 602-7237-01Cable, 12V power, spare 078-7351-01Cable, 3 ft video 078-4122-011/4-20 camera screws 078-11213/8-16 camera screws 078-1122Tool pouch FFR-000013Saddle bag-sand bag/portfolio FFR-000014Steadicam cap FFR-000021Trolley for system soft case DAA-22B

Visit www.tiffen.com for a complete list of Steadicam accessories.


31/32

31

Cases & packingWhen repacking the sled into the case, make sure the gear gets wiped down and notput away wet. Remove the batteries. Dont leave any loose components in the case asthey may work their way over to the monitor and scratch the display. The arm shouldbe packed inside the vest to keep things compact.

The soft case works well, but you should use a hard case when shipping your gear.

Most operators have several other cases for their accessories, tools, low modebrackets, video recorders, video transmitters, diversity receivers, remote focusequipment, etc.

Also recommended:Wireless follow focus system and bracketsVideo transmitting and receiving systemWired zoom control systemCamera speci c low mode bracketsInertial augmentation

(Antlers or Gyros)Video recording system

Disclaimer: There is no implied or expressed warranty regarding this material. Speci cations,accessories, etc., are subject to change without notice.


32/32

The Tiffen Company, 90 Oser Avenue, Hauppauge, NY 11788

steadicam scout manual

Documents